BigRedX

What is doing your IR? And what are you adding with your IR? I assume it's just a cab since your EBS is essentially an amp. Do you really need it?

You don't need to set up a dummy account if you are passing a used Mac on. All you need to do is Quit and shut down when you get to the point where the re-installed Mac OSX is asking to create a user account. Then when the Mac is next started up it goes straight to starting a new account just like it would if it was a brand new Mac straight out of the box.

Bands who want to use an instrument for just one song that requires extra setting up and additional sound checking is a massive bugbear of mine. I suppose if you are the only band on and have plenty of time to set up and sound check it's OK, but in the musical world I inhabit unless you are playing last having more than 20 minutes for set up and sound check is luxury and even if you are "headlining", every unnecessary minute your band spends on the soundcheck takes that time away from the other on the bill and IMO makes you come over like petulant prima-donnas. I been able to cut down on the amount of gear and hence set-up time one of my bands uses and talk various band members out of bringing additional equipment that's only going to be used for a few minutes in a 30-45 minute set. I know we all think that everything we do and all the equipment we use is absolutely essential, but I can guarantee that most of the audience would never know the difference if a song was played on a six string or 12 string guitar, and any tuning differences could be compensated by using a capo or just singing a semi-tone lower.

That only works if the PA is entirely responsible for what the audience hears. Also as I said in another thread recently I was at a gig where it was painfully clear that EQ alone cannot fix room problems. The venue is well known for being problematic with regards to sound quality mostly because the room is higher than it is wide. Over the past few years since new owners have taken it over the sound has been much improved by the addition of a bit of acoustic treatment and a better PA system. However it's still far from perfect. Normally when I go to gigs there one of my bands is also playing so we're normally stood at the back near the dressing room and close to the mixing desk location where the sound is usually pretty good. On this occasion being a punter only I was down the front for one band where the sound was very strange - almost no guitar audible and the bass guitar was mostly composed of nasty nasally mid-range tones. Retreating to the back of the room where I would normally stand and everything had a more suitable balance and the bass had the right amount of body. The headlining band sounded much better because they weren't using any backline, and although it still wasn't as good near the stage the difference in sound front and back of the room was much less pronounced.

The manual should include instructions for setting up the synth pickup and associated parameters to get the best response and tracking. One thing that strikes me is that the synth pickup is much further from the bridge than would normally be recommended which I find very strange as Roland's advice for their pickup system, when sold separately, was always to fit it as close to the saddles as was physically possible. It might also be worth fitting a new set of strings.

Does the direct jack from the bass into an amp work OK, and do all the associated controls on the bass that should should work in this mode function as expected without noise and crackles? If so the next thing I would do is to get your multi-meter out and check every contact on the multiway cable ideally while flexing it to make sure there are no intermittent faults. If both of those check out OK you'll need to get an analogue synth specialist to check the floor unit and the synth control on the bass. Go and ask on the Sound On Sound forums as there are people on there with the relevant info. Expect anyone good to be expensive and busy so it may be some time before they can get around to fixing it. I'd also suggest that if you intend to use the synth part live that you invest in a spare good quality multi-way cable.

IIRC the Jack Casady Bass doesn't have a central block in the body and pickup is attached to the free-floating top. Hollow-bodied basses are notoriously prone to feedback issues with high-gain signal paths. My Reverend Rumblefish would feedback like mad at when using anything more than the most subtle of drive settings, and I believe that @Bassassin had problems with the hollow aluminium body of his Tokai Talbo bass - I never used mine at anything above home practice volumes so never had a problem. My Warwick StarBass II was much better behaved but it had a solid wooden block extending all the way through the middle of body and the top was relatively thick and rigid compared with other hollow-bodied instruments I have owned.

Yesterday evening it would have been a cool impulse buy. This morning when I was finally able to get past the product page, I realised that I wasn't that bothered about having one. I'll put the £100 I've saved toward my next Mac which will actually be useful.

However they have released the Theremin 100 album which has got people who can really play including Bruce Wooley's Radio Science Orchestra and Charlie Draper.

And of course the Born To Rock F4B with a one-piece aluminium neck and fingerboard:

£34??? It's an Eko guitar, and while it might have some nostalgic qualities, let's face it back in the day no-one bought one out of choice. They were bought because we couldn't afford anything good. Having said that my Kimbara acoustic bought for about £30 in 1974 out performs all the Eko guitars I have played.

Andreas Basking Shark Bass with an aluminium fret board. I used to own the Black Shark Guitar, and other than looking great it didn't really make the instrument sound any different to my other HSS strat-type guitar made with more conventional materials.

I was really keen to buy one, but after the fiasco yesterday I gave up. This morning I had a long hard think and decided that I really didn't need it. Having said that I'm sure our synth player has already got his order in.

On the early made in the US Reverend instruments the serial number was written on the back of the headstock in Sharpie. When I bought mine second hand it had already been reduced to a near illegible black mark. A lick of the finger and a quick wipe removed it entirely before I realised what it might have been.

That looks absolutely brilliant!

What about their two tracks on Earcom 2? They are pretty poor (IMO)

I can't think of a single band that I like that doesn't have at least one song in their back catalogue that shouldn't have made it into the recording studio, let alone have been released to the public.

In the days when I was still using a traditional bass rig I found that there was a lot of air movement from the ports which I doubt most mics would be happy with. We tried mic'ing the speaker closest to the port once in the studio for exactly the reason suggested in the OP. The static peak frequency produced by the port was not particularly pleasant and that idea was quickly abandoned.

I went down this route just over 6 years ago, having followed the thread linked in the previous post. I got a Helix Floor and an RCF745 based on the assumption that if I went for something lesser, at some point I would require more out of the system and be disappointed. As far as the Helix is concerned I made the right choice, but on retrospect I could have got away with something cheaper and lighter than the RCF. I play in two bands one of which has ditched the backline entirely and always go direct into the PA. For the other the FRFR cab only gets used for rehearsals and the very small gigs where the PA is for instrumental support only. My FRFR performs much better than a typical bass rig especially when it comes to dispersion, and on the two occasions when the PA has been vocals only I have only needed to be slightly louder on stage than I would normally in order to fill the room as opposed to having to be so loud I could barely hear the rest of the band as had been required with my previous rig. On the Helix I rarely bother with any amp or cab models. Most of the time I think they make the bass sound worse. I just have a versatile EQ module and a subtle drive pedal which varies depending on what sound I need. For some of the Bass VI patches I use the Roland Jazz Chorus model - a guitar combo which would be completely unsuitable for bass at gigging volumes. I couldn't see myself ever going back to having a traditional bass rig unless I was being paid a lot of money and supplied with a roadie to compensate for the unnecessary inconvenience.

This won't help the OP but Hohner have form for having undocumented instruments with their name on them. I used to own a very nice electric 12-string guitar with a Jazzmaster style light blue offset body and three lipstick pickups. However if you did a search on the model name/number all it brought up were photos of a black Telecaster-shaped instrument with two humbucking pickups, which is the version described in the PDF. However looking at the other electric 12-string models listed there is one where the description of the body matches mine (although doing a search for that model brings up no images), so maybe it was "Frankensteined" together from two different instruments. So for the OP, it might be worth having a look to see if you can find a model with the right neck (and model number) and looking separately for a Hohner V-shaped bass body with the correct pickup configuration.

The irritating banner keeps popping up on my browser, and clicking the "x" only makes it go away for a week before I have to get rid of it again. And on my phone even clicking the "x" won't remove it.

Having seen that photo of the back of the head, you are very unlikely to get any decent replacement machine heads that don't require having to drill new holes.

Unfortunately they can also be as poor as the weakest member. I've been in a band like that.

For me the problem with trying to record using mobile devices is that the screen is just too small to use it for anything other than a capture device where I will be moving the what has been captured onto something with bigger displays for editing and mixing. I run Logic on a computer with three 24" screens and even then I sometimes run out of screen space!

TBH unless the guitar is rare and valuable you are better off replacing the machine heads and then not keeping it in the barn.