tauzero

Ah yes, the Sei 750 by that fine Welsh bike factory, Benelli. They did a 900 too. As for the middle image, I'm not sure how you get Sei from GG. I'd have gone for some sort of horse.

Sorry, was busy the last few days. Currently sitting in A&E with Mrs Zero who has a kidney infection, so I have a few NHS minutes to fill. Lovely repair by @Andyjr1515 which has secured the top and sealed the edge of the joint. Has the poetry stopped yet?

A bit late as it was Friday night - a place called the St Bernard's Grange in Sheldon (Birmingham or Solihull, I'm not sure which as the two seem to keep trying to offload it on the other). We play a mix of mainly 80s music, with a fair bit of ska and reggae, and normally get a few dancers. This was a bit different though. Before we started, one member of the clientele had discovered that the keyboard player's mic was turned on, and started reciting "Up the junction". Mics duly turned down. Then we went on, got a little bit of a reaction, but there seemed to be some tension in the bar area. It may be that their normal means of communication is nose to nose shouting at each other with lots of prodding fingers, but to we outsiders it seemed that some big fight was going to kick off any minute. At some point in the interval, one of the chavs (apparently a female called Beth, although she seemed completely indistinguishable from the males) asked for a song - "The Wanderer". The keyboard player and I knew it, and it was simple enough for the guitarist to play along, so we did it. Then we did the rest of the second set. We decided to avoid an encore, but the barmaid signalled one more. We were about to start "Lip up fatty" when the only person who'd shown any sign of dancing, whirling around like a dervish and waving his coat like a cross between a matador and wossname in "Saturday Night Fever" to "Jean Genie", came up to the stage and yelled "No ska!" a few times, with a selection of adjectives added, so we played something else, and then set a record for the knock-down time. We're booked in again for the place but we've decided to cancel that booking once we've got paid for this one.

It's a fantastic repair - picking it up on Wednesday (hopefully). I did the original damage about 7 years ago - gig bag slipped out of my hand as I transferred it from one hand to the other, and it landed smack on that corner below the control cavity. I think moisture may have wicked in from my sweaty mitts to cause the top to bend a little.

Music shops and rehearsal studios generally have notice boards for musicians wanted/available too.

Tried it, gave up on it almost immediately.

You might even find it cheaper to have a luthier build you a replacement neck to your specification.

If you use ToneLib, the DSP load is shown in the effects list - Low EQ is 5%.

That was my logic for putting the Low EQ first in the B3n effect chain.

You could build your own...

I realise that I'm cutting at below the bottom frequency of the bass. What I wasn't sure of was whether that was the frequency at which the cut starts, or whether it was the -6dB frequency, or what, and whether any other artefacts might be introduced, so experimented to see if there was any discernible change to the sound. I know what the Thumpinator does, and that's why I thought it would be an idea to put an HPF in my effects line, and why I'd like to eventually build a Sallen-Key HPF (which would actually be two Sallen-Keys, giving 24dB/octave roll-off).

When I updated it and ran ToneLib on it, there were a couple of updated effects available for download (Bass Wah and something else). So those are in, although neither were effects I'd be likely to use.

I don't think it's hugely steep. I've just been experimenting with Low EQ on a B3n - thought I might as well eliminate at least some subsonics. Setting frequency to 40Hz on a 4-string and 20Hz on a 5-string makes no difference to the audible sound. I've put the Low EQ as the very first stage, before a compressor stage, so the compressor isn't getting phantom sounds to compress. I did some experimenting with changing the frequency to see what the effect was, and there didn't seem to be a huge roll-off as I increased the frequency. It may be relevant that I'm doing this through a Line 6 G50 wireless to avoid having to disturb my pedalboard, and that might have some sort of HPF in it. I really ought to get round to putting together a Sallen-Key filter.

Neck dive? What's that?

Where I've replaced preamps in my basses, it's been with Delano Sonars. I put one into my first Sei as the original Bart preamp had failed and the bass is very shallow, so there were physical limitations on the replacement. After being very happy with that, I used it for my first Antoniotsai as part of an electronics upgrade, and most recently replaced an Aguilar OBP-3 in another Sei with the Delano. I found the OBP-3 to be pretty much unusable with anything other than everything set flat - the boost and cut is vicious.

Just had a look at the available software for assorted Zoom pedals, and saw that there's a recently updated GuitarLab (not that that's much cop compared to ToneLib) and, more significantly, a release 2.1 of the B3n firmware. I shall be loading that into mine tomorrow. And speaking of ToneLib, that's up to 3.7.2 (which I have yet to play with) and now includes the new B1 Four and its other variants.

?

And you don't want to buy from a dealer with a bad Attitude.

One of my Antoniotsais is sycamore. It's lovely.

Why is it that it's considered a good thing to have something relicked to look like that, but if it had attained that look by the normal means of being dragged behind a car and then left in a pond for a year, it would be rightly considered as being horrible? I wouldn't want to touch that without rubber gloves on.

Fence sitting over. Have PMed Stevie.

For further information, I have a Line 6 G50 on one pedalboard, and a Smoothhound which gets used with a Zoom MS-60B as my other "pedalboard". I don't notice any latency with the Smoothhound, I just have a bit of a problem connecting the Smoothhound and MS-60B because of the way short leads are, and because the Smoothhound receiver is so light.

Late to the party but - https://www.ebay.co.uk/itm/6x1-5V-AA-2A-CELL-Battery-Batteries-Holder-Storage-Box-9V-Case-With-Lead-Wire-T9/302965512945 plus a 5.5/2.1mm power connector, positive centre, would give you a 9V AA supply. Just hold the battery box and receiver together with a laccy band.

I'm shifting over to an X-Air XR12 but I've been using a Behringer Xenyx 1002B. I like it as it has sliders for FOH on each channel rather than rotaries, but still keeps a quite small footprint by clever control layout. https://www.gear4music.com/PA-DJ-and-Lighting/Behringer-XENYX-1002B-Mixer/AM5 However, it doesn't have built-in effects.

Probably wants it gone from his hallway.