sixdegrees

With the cable tidy bar in situ, the internal measurements are 630mm x 220mm. When the foam insert is removed (to accommodate a double pedal) it measures 180mm long x 170mm wide. This fits a Trace Elliot or Ashdown pedal perfectly. The B3 is about the same length, but a little wider, so would require only minimal foam cutting. And I will have a BCB60 for sale very soon!

Hi all, I'm looking at getting a multi-effects unit, and have narrowed the search down to A Korg AX3000B, Boss ME-50, and Boss GT6B. I mainly use overdrive, fuzz, wah, and chorus, and often combine pedals (wah + OD). So rather than do impressions of a bad tap dancer, I'm looking to pre-set some patches for each song. I don't use amp simulators or synths. But EQ and compression would be handy for slap moments. At the moment I'm torn between the Korg and the ME-50. Any views as to which would be the easiest to use with the appropriate functions?

I'm thinking along the same lines as Gub (pedals for slapping). I understand the need for an eq pedal to scoop the tone and reinforce the loss of low-end, but would a limiter be better than a compressor? Is something like a Boss LMB-3 more appropriate than an out and out compressor?

I'd have the chorus after the overdrive. And the multi would depend on what effect you selected. But generally I find that overdrive/fuzz/distortion pedals go in front of delay/chorus/flange type effects.

[url="http://www.gumtree.com/p/for-sale/fender-classic--70s-jazz-bass/107692251#gallery-item-full-2"]http://www.gumtree.com/p/for-sale/fender-classic--70s-jazz-bass/107692251#gallery-item-full-2[/url] Obviously you'd knock another tenner off too. If I didn't already have a sunburst/tort Jazz I'd snap this one up.

D'addario EXL 165's ONLY, ever! (that's two of us that want a D'addario endorsement).

Buy a Matt Freeman Squier. Perfect tone and look for punk, and the one I played this morning is better than most MIM Precisions. I would agree with most of the replies on here. But spending 1400 quid on your dream bass and then risk it being trashed on a regular basis isn't fun. I'd get a bass that I was comfortable using and rocking out with, and keep the MM for the more subdued gigs.

I read about this bass quite a while ago (BGM?). Nate went back to Fender before they recorded the last album and has also been touring with Fenders. I hope that clears up the Lakland issue. Apparently, the neck will be the most 'signature' thing about the bass. Back when his bass was made ('73?) the necks were planed by hand and therefore varied a great deal. Nate's neck falls directly between a Jazz and a Precision in terms of nut width and profile.

+1 to the 'try as many as you can' advice. I spent six months with a budget of 700 - 800 quid to spend on a P bass. I tried second-hand MIAs, new MIMs, Road Worn series, MIM Deluxe (although I didn't want to go down the active route), and ended up buying a MIM 50s Precision (mint condition) from a pawn shop for 330 quid. Since acquiring the 50s P, my heavily customised MIM Jazz hasn't been out of the case. The build quality is top notch and the pick-ups have plenty of poke (I thought I would have to replace them when thinking about buying it). To cut a long story short - the MIM 50s P wasn't even on my radar when I saw it. And the dozens of MIM standards I tried varied a great deal in build quality and sound. But the 50s P just felt right. It has the extra wide neck, vintage radius, and vintage tint to the laquer, which isn't to everyone's taste. But it felt right for ME. In fact, I still have the 400 quid left from my budget and haven't 'gassed' since. So try as many Precisions as you can, and if you're not sure - don't. Wait til you find one that feels 100% right for you.

I originally thought that 'bass' meant E & A strings, and 'treble' meant D & G. But it specifies height for Precision and Jazz basses. Bearing in mind that bridge pick ups are usually closer to the strings, I now assume the 'treble' and 'bass' refers to individual pick ups. If I'm correct, the second edition should specify them as 'bridge' and 'neck'!

Thank you so much. Off to get me screwdriver, and a pot of the stuff that makes the missus squirm at the sight of...

Would you believe I've lent my camera out for the day?! Do you mean vaseline on the contact part of the lever? Done that. And graphite dust on the nut. It seems to have settled down now but I am wondering if there should be a washer or lubrication between the gear and the back plate? As this seemed to be the issue of grinding/almost locking in place in when tightly in tune. It's not so much the fact that it's an xtender, just that it grinds as I approach 'E' and the gear digs into the swivel plate.

Hi all, I've just fitted a Hipshot D-tuner to my Fender P. I've got 4 wraps around the E string and when I tune up it's fine. But there's quite a bit of free play in the tuning peg when tuning down. Is this because of too many wraps, causing the sting to bind into position? Should I re-string with only 2 or 3 wraps? Or could it be a 'settling-in' issue that will sort itself out over time? I've also noticed that the spoke has slightly cut into the plate. Is this the issue, and do I have to loosen it off a little, or is this again something that happens with a newly fitted tuning peg? Any advice very welcome!

I like the Morley Dual Wah for live stuff. Two different wah settings at the tap of a toe, and no stamping to turn it on and off. Great volume boost knob too.

I used one for quite a while (still have it, if anyone needs one!). I used to go heavy on the low compression (between 2 & 4 o'clock), and light on the high (10 c'clock-ish). Adjust the input until it clips, then dial it back a touch. EQ at 12 o'clock. And output at full. I used it mainly to clean up the low end and brighten up the highs and add sustain. This was when I had quite a 'muddy' sounding rig and I couldn't get rid of the boom without it. Also, experiment with it in front of the pre amp, and after it (FX loop) - you'll get surprisingly different effects. I preferred it in front. And my last suggestion would be - to play around with the settings and don't expect it to behave as you'd expect! Sometimes doing the reverse of what you think is logical achieves the required result. Edit - I do remember that I added quite a bit of right-hand finger noise with these settings. But that was a small compromise for the clarity that the SMX added.

I've found the PW Mini to be reliable enough not to have used my Boss TU-2 since I got it. I had to play around with its position when I first got it to find the 'sweet spot' - as close to the nut as possible is best. I even used it to drop tune between songs before I fitted a Hipshot D-tuner. I've only used it for the 440hz setting though.

The planet waves mini headstock tuner goes from 430 - 450 Hz. Under 15 quid too.

John Entwistle would famously put a brand new set on to sound check with, then replace them for the gig.

The steels eat frets! I was having my frets dressed every 3 months because of the damage caused using Roto 66s. Duff McKagan, Geddy Lee, Chris Squire, John Entwhistle, Billy Sheehan all use(d) them because of the tone. I hate them.