BigRedX

More than one pickup is fine (pickup position is one of the few things that can't be accurately replicated with EQ IMO), just don't expect to be able to get a sound that doesn't disappear in the band mix with more than one active at any one time (unless you are running them in series).

And this is exactly the problem with just posting quotes because we don't exactly what you are quoting and what previous post it refers to. It's just lazy arguing. It doesn't show that you have really understood what you are quoting, just you have learned how to copy and paste. Ultimately it adds nothing to the thread and undermines your credibility as someone who is worth listening to. And with that I am done listening to you. You're blocked, so bye bye...

Maybe Basschat should ask Mr Chomsky if he's like to become member?

On the whole the reasons why power attenuators never mention the use with bass amps, is that most of them can't handle the output of a typical bass amp. They are generally designed for guitarists with all-valve 50-100W amps who don't need the ridiculous volume that they produce but do want the sound of the overdriven valves in the power-amp. We'll conveniently ignore the fact that speaker break-up which is also usually associated with this type of overdriven sound is at best reduced when a power attenuator is used. To give you an idea of how hard power attenuators have to work when used with relatively low wattage amps here's a real-life example from my personal experience. I also play guitar and have a very nice Hughes & Kettner 50W all-valve combo, which I am able to run at sensible volumes using a Marshall Power-Break between the power amp and the speaker. The Power-Break is a large heavy device full of high-power resistors and inductors and a big temperature-controlled fan to cool them. Any sound with more than gentle overdrive (especially when I use either a phaser or flanger) will cause this fan to go into overdrive. Remember that this fan is powered completely by the output of the amplifier - nothing else. At the end of a typical 45 minute set the Power-Brake is close to being too hot to touch and has to be left until last so that it is cool enough to pack away. That's just from attenuating a 50W valve amp down to the same level of something around 20W. Now try and imagine what you would need for your typical bass amp. And as has already been said the only benefit from having a power attenuator is to be able to run the output valves hotter than your normal playing volume would allow. Since the amp in question has a class D output stage you'll get no benefit from it. The JHS Black Box is designed to be used with valve amps that don't have a master volume control. It is not a power attenuator. I can't help but feel that if you ain't able to get a suitable overdriven sound out of your amp at low volumes, then you haven't set it up correctly. Maybe @agedhorse can help?

Even the "mighty" Bass Bros aren't immune to supplying the wrong information. This 8-string Kramer is listed as having 20 frets and being 34" scale, when you can clearly see that it has 24 frets and which means that it is 30" scale.

Unless you are regularly playing outdoors where the power is being supplied by a generator, in which case you would probably be better off with a UPS, there is no benefit to having a power conditioner in the UK.

Actually it is - the origin is from a R4 comedy program.

Nut width is a bit of a red herring, because it gives little indication of how close together the strings actually are at the nut. I discovered this in a major way in my quest for a playable Bass VI, where several instruments with what looked on paper like suitably wide nuts, actually had the two E-strings set in quite a way from the edges of the fingerboard. IME if these things matter to you then you really need the following measurements before making any decisions: 1. The width of the neck at the nut 2. The string spacing at the nut 3. The width of the neck at the last fret along with what fret number that is 4. The string spacing at the bridge 5. The scale length Because in reality there is no set distance between the edge of the neck and the outermost strings and this distance isn't even constant along the whole length of the neck. And close string spacing at the nut does not automatically lead to close string spacing at the bridge as well.

Why? That looks fantastic, although somewhat overpriced.

Regarding signatures, I always hide any user's signature that is larger than their average post length. Once hidden, signatures are rarely re-instated, so AFAIAC your signature is gone forever. TBH unless a signature contains either a link to the user's music or to items they have for sale, I'm probably unlikely to be interested in what it contains.

Paging @Bassassin

Looking again it has got a bit of a Mosrite/Bigsby vibe, which is maybe where the notion of it being late 60s comes from. Also has the control plate been broken at the top?

Could be A-A 30" baritone on the 6-string neck. I think we need some more information like scale length and photos of the neck joints and whatever is under the control cavity cover. If it is a 4 and 6 string bass the reason for both will be string spacing and therefore the playing technique each neck lends itself to.

BTW the pickups are probably single coils despite having two sets of "pole-piece" screws with the coil between them. This is how they were on the Burns/Balwin 12-string I used to own.

Probably something custom made. Despite the Baldwin pick-ups the vibe of the rest of the hardware is mid-70s at the earliest. Especially the machine heads and mini-toggle switches. Is there any information lurking under the control cavity covers?

On a Firebird with banjo tuners they all turn in the same direction, but that is 6 in-line. To me it would feel natural to have all 4 machine heads turn the same way to tune even on a 2+2 arrangement. Is that possible with the mechanisms used? Also with it being Gibson, what is logical isn't necessarily what was produced...

Exactly. And how hard is it to make a P-Bass? It's an instrument designed to be made originally by relatively unskilled labour using 1940s (at best) technology. The design is tried and tested, hasn't changed in over 60 years, and now the far east can churn out perfectly acceptable copies for next to nothing. Given this, anything built to this design with the words "Custom Shop" in the name should be absolutely perfect in every way.

Is it a Rickenbacker?

Personally I'm not a fan of on-board pre-amps unless it does something that is specifically design to compliment the instrument it is fitted into and it's function cannot be replicated elsewhere in your signal chain. For instance the pickup(s) and preamp in a Stingray or Wal are designed to work together and should not be separated, especially in the Wal where the pre-amp controls are able to act on each pickup individually. Too often in "active" basses a generic pre-amp is shoe-horned into the instrument without any real thought about how appropriate it is for the overall sound and how it will integrate with the pickup(s). There is an argument that the active electronics in the bass work as a buffer and allow better signal transmission to the rest of your rig. However IME you only get the benefits if you would otherwise be using a very long lead, and if you do have any effects units they are all true bypass. There is also an agreement that for the best overall sound your should only apply active tone-shaping at a single point in your signal chain, and since most amps already have excellent controls built in to them (if if they don't do what you want then you probably have the wrong amp for you). I've also never got the advantages of having these controls on the bass. When I'm playing it would sound far worse if I stopped to fiddle with the controls then if I carried on playing to the end of the song with a slightly wrong sound and then corrected it using the controls on my amp. Also I do everything I can to avoid using devices that have to be powered by batteries.

Could you please ask whoever has moved/hidden the thread to get in touch with the OP and explain to them why this has happened. That might give them the opportunity to create a post regarding this bass that doesn't contravene the forum rules for non-supporting members, as some of us had some useful information about the bass that we would like to share with the OP. Regarding the placement of the rules, they are easy to find once you know were to look, but it might be an idea next time the forum is updated for them to be moved to the top level of the Basschat menu where the link is immediately visible on every page rather than being hidden in the "Support" sub-menu. Also, since the forum rules have changed several times since Basschat was first started, it would be quite easy for older members to fall foul of newer rules that weren't in force when they originally signed up. Maybe it should be mandatory for all members to have to agree to any new rules in order to continue using the site?

Also we (or at least all the people I knew) started with small, cheap houses in the less desirable areas, whose only concession to modernisation was the fact that the toilet was inside the dwelling. I was in my 30s before I lived anywhere that had central heating - before then in was gas fires in the downstairs rooms and a portable fan heater to take the chill off in the bedroom upstairs. The plan would be to do as much renovation as you could afford (usually doing most of it yourself) before moving to something a little bit bigger/better. Often the renovations would be building society mandated such as damp-proof courses, rewiring and insulation. Of course all those relatively cheap houses in need of modernisation have nearly all be modernised and are therefore no longer relatively cheap. The less desirable areas have either become "gentrified" or are now completely undesirable places to live.

Disappointing, considering I spent a fair amount of time typing my replies which would have given the OP some important information regarding the "originality" of their instrument and which are now essentially lost. I trust that someone has messaged the OP and explained why their post has been moved/hidden, and pointed them in the direction of the relevant rule, so they can understand why this has happened. Otherwise it's not a good first impression for someone who's just joined the forum. BTW I've been here forever and it still took me a good tens minutes of digging about until I found firstly, the rules and secondly, the section regarding "valuation posts". Is reading and agreeing to the rules now a mandatory part of signing up to Basschat? Again it's been so long since I joined I don't recall ever having had to this and even if I did they will have changed since joined. Maybe it would be a good idea if all the members on here had a read of the current ones?

OK fair enough. Edit: Does that mean that my posts have been removed? It seems a bit weird having posts on a thread I can no longer see. Will the OP be able to see it since I doubt they are a supporting member either?

One of the things to consider if you are going for two tiers of footswitches would be to stagger them so that there is less chance of hitting one of the front switches whilst pressing one at the back. Have a look at the Roland FC100 Mk2 to see what I mean. For this very reason I don't use any of the top row of switches on my Helix whilst I'm actually playing and they are reserved for use between songs, which IMO reduces their effectiveness.

The thread about the Burns Sonic Bass in "Bass Guitars" seems to have disappeared. Why?