paul_5

I put a set of Jim Dunlop flats (45 to 105) on my fretless, and there was very little difference in the tension - the Rotosound Steve Harris (50 to 100) needed a significant of truss rod adjustment, even drop-tuned a tone (D, G, C, F). I seem to remember Ernie Ball flats being quite stiff too.

My fretless neck is flat, next to no relief, and very low action. In fact, I think I even shimmed the neck.

Most O/D circuits are just tubescreamers to be honest; if it ain't broke...

And check your smoke alarms too!!!!!

Music is my sole source of income. It's not all from gigs though, I teach a couple of days a week as well.

Get on your timekeeping asap - timing is the key to (nearly) everything. Get a metronome or drum machine/app and practice playing steady, solid parts; once you've nailed that, everything else will fall into place. Even the wrong notes, but that's OK, we can work on those later.

[quote name='nash' timestamp='1470948165' post='3109605'] Small but mighty [/quote] That mini bass wah looks amazing!

There will be a way to do it; altering the value of one resistor at the output stage (assuming it's either an opamp or transistor buffer) will do it, but without seeing a schematic it's incredibly difficult to know which one. I'd contact Moog too.

A preset 'volume pot in a box' might be your best bet - it's non-invasive, and won't reduce the resale value of your pedal if you decide to sell it on at a later date. I'd go for an Audio Taper pot and take the output of the pedal (the tip of the 1/4" jack lead to the centre lug (there are 3); this is the bit that carries the signal. The Left hand side lug (looking at the back of it) should go to the output of the 'pot in a box', and the other lug (right hand side) should be connected to ground (the bit that connects to the barrel of the 1/4" jack lead). I'll have a look-see to see if I can find a diagram

Most of the time I'd plump for an envelope filter, just because it's a 'set and forget' sound, and I can run around and be an idiot whilst funking out. There are times when I want a slow sweep though, and a wah is much better for that sort of thing.

Nic! Those SX basses ate really good instruments for the money.

I'd second this, I've had similar issues when replacing pickups in an SG with 2 humbuckers.

There's a pretty definitive list over here... http://www.thetoptens.com/best-bass-anglers/

I just built a part for part clone, but looking at the schematic it might be possible to increase the signal to the divider by swapping a couple of diodes, that could improve the tracking, but to be honest the high output of my bass coupled with my tractor-esque right hand 'technique' means that it's always been the perfect octaver for me.

Yup, you'd be hard pushed to find a band that's anywhere near as good in a live setting as those guys.

'arry's looking old isn't he? One of my favourite live bands ever.

Looks like it's a Marlin Sidewinder; a KB24 to be precise. Plywood body. Thanks to Andy for your keen eye.

Thanks Andy, looks very similar but the Arbour has 3 knobs in a linear arrangement, not the 4 knob 'diamond' pattern.

It's up to £16 on eBay at the moment, and I just wondered whether it would be worth a punt or not- I though it looked a bit 'Washburn'y, but could be wrong. [URL=http://s1221.photobucket.com/user/paul_510/media/PMM_zpsahum5l71.jpg.html][IMG]http://i1221.photobucket.com/albums/dd471/paul_510/PMM_zpsahum5l71.jpg[/IMG][/URL]

Oh my good god Terry!

I had one a while ago. It's not as 'warm' as the SVP Pro preamp that I was running at the same time (hence I sold my B2RE), but it was a lot lighter than lugging the SVP and a power amp around. I seem to recall it was a bit quiet when up against a full band too...

I've played it a few times and always got paid to do it; not got a problem with that.

My compressor (Aphex 1404) optical compressor is always on. I use it as a buffer for my pedalboard, clean DI out and finally a compressor set to 'tickle my peaks' by giving me 3 - 4dB gain reduction on my peaks. Lovely stuff. FWIW flatwound strings are what you want if you're looking to hide bad technique

So I've just fitted a set of Steve Harris signatures on there - even in drop D tuning I've had to tighten the truss rod slightly - god knows what the tension would be like at concert pitch.