BigRedX

I've owned two Overwater Originals - one with the Overwater pickups and filter pre-amp and the other where the pre-amp had been replaced with a Ken Smith one. The all Overwater electronics suited what I wanted far better. That's not to say that the Ken Smith pre-amp was bad it just wasn't what I was expecting.

Headstock very carefully photographed so you can't see if it's been broken and mended.

Unfortunately he's paired them with the a very stinky poo cardigan

Yes you can. It should be automatically included in your claim when you make it. You should also be able to claim interest on any money owed, during the time between when you paid and when you actually file the claim.

Freur-Underworld tend to be forwardly rather than backwardly compatible, if you liked Freur, then you'll probably like Underworld Mk1 and Underworld Mk2, but not the reverse.

Karl Hyde is actually a pretty good singer as is Rick Smith (who doesn't do vocals at all in Underworld Mk2). Just have a listen to the harmonies on the two Freur albums, or Underworld's pre-house output.

Thanks! I liked that a lot. Who were you playing with in your "hardcore goth" days?

That's the thing. Just looking at Epiphone they have produced a lot of different basses all called Thunderbirds, but most of them being very different instruments to the original 60s Gibson Thunderbird, and many of them have nothing really in common other than they have similar looking bodies. They even made a non-reverse model that in every respect other than the body shape was a J-Bass!

TBH I'm not one to spend ages agonising over relief adjustments. So long as I'm not getting fret buzz, but at the same time the action doesn't require a vice-like grip to hold down the strings I'm happy. If you are into measuring, either go with the same amount as you are used to on your other basses; alternatively since it sounds as though your truss rod is not too tight for your current strings, slacken it off until the fingerboard is perfectly flat, and then release it slightly until the string buzz disappears. BTW do you have a link to your band's music? It will probably be exactly to my taste.

I find music to be too much of distraction to have on for anything apart from the simplest work.

It depends what you want. Once you step outside of the Fender (and it's copyists) market where the parameters of an instrument are clearly defined, i.e. if you buy a P-Bass you know what body shape, neck, construction, pickup arrangement and electrics you are going to get; things are much more fluid. All of a sudden there is a lot of variation in design and construction of supposedly similar models to the extent where sometimes it only the general shape of the body that two instruments of the same model have in common. So you have to ask yourself what is it that makes a Thunderbird for you? If it's simply the body shape, then the bolt-on neck Epiphone may well be fine. If, like me, you consider the essential features of a Thunderbird to be the construction and the pickups, then you will probably be disappointed.

I also had the Flanger kit. Both eventually ended up in a 1U rack unit for studio use. Also because of the semi-kit nature of these pedals, you didn't worry as much about modifying them. My flanger pedal had an additional input which allowed me to use a control voltage instead of the built-in LFO. Got some interesting sounds out of it using the envelope CV from a Korg MS20 synth to sweep the flange.

I don't think you can count anyone whose first language is not English or American.

I'm surprised that Newtone say the Axions are too long for the Hellcat, as they fit perfectly on my Burn Barracuda, which has a Strat-style bridge and therefore no more excess string after the saddle than on the Hellcat. The Hellcat is 30" scale length isn't it? If you are now getting fret buzz around the 7th to 9th frets it's probably because the LaBella strings are lower tension than whatever was fitted before and the truss rod needs slightly slackening off to compensate.

Obviously we play our Bass VIs in completely different ways, since IME the LaBella set with it's 95 to 26 gauges is only just heavy enough for my needs. I have a set fitted to my Squier Bass VI, but if I decide to keep this instrument (unlikely as the neck is too thin even by guitar standards for me) they would be replaced with the Newtone Axion strings - 100 to 24 which suit my playing style far better with bass-style strings for the bass and more guitar like strings for the G/B/E. However having said that I am very much liking the feel of the GHS strings on my recently purchased Hooky Bass 6 - 105 to 30, and I haven't noticed that the strings (particularly the higher ones) are quite a bit heavier than the Axions. What I have noticed is that very rarely do one set of strings suit every bass guitar of a given scale length and string number. Hopefully the OP will find something that they like from the various suggestions. I would recommend that they try the Newtones because they are less than half the price of the next cheapest Bass VI set, and therefore well worth a punt, especially as The LaBella's aren't working out for the OP. I do take your point about the heavier strings being too thick for the typical Bass VI neck - one of the reasons why I'm probably going to ditch the Squier, and in my quest to find the most comfortable Bass VI for me I've ended up with the two with the widest necks, the Burns Baracuda (38mm E-E) and the Eastwood Hooky Bass 6 (43mm E-E), where the extra neck, and overall string spacing, width allows these heavier string to really come to life.

The clue as to why these might not be the right strings is in the name. Baritone. Baritone is not the same the same as Bass VI. They are two separate instruments with which are tuned differently and have different tonal characteristics. From personal experience with both baritone guitars and a variety of Bass VIs from different manufacturers I would be very reluctant to go with anything lighter than a 95 for the low E, and experience with both the Netwone Axions and the GHS Hooky 6 strings shows that 100 and 105 respectively give a much tighter sound, with a better defined note, which if you are playing goth/post-punk music is what you want.

The Newtone Axions should be fine. I have them fitted to a Burns Barracuda which has a Strat-style bridge and therefore not as much excess string length after the saddles. Alternatively you could get a set of GHS Hooky Bass 6 strings. The Hooky Bass 6 is a replica of the Shergold Marathon 6-string bass and has a BBOT style bridge so there shouldn't be any excess length. I wouldn't bother with the D'Addarios, the E and A are way too light for a good bass sound. Given the prices, I'd try the Newtones first. Edit: I couldn't find the Ernie Ball Bass VI strings on their web site, so maybe they have been discontinued, and the only sets left are those in the retail chain? Besides at 90 and 74 respectively, IMO the E and A are still too light.

No that's it's been added to the top of the forum, can all the other usual suspects be included too?

Unfortunately if you consider the physics behind it, you realise that high mass bridges don't work because they are high mass (the additional weight they add to the body is pretty much negligible when compared with the total body weight of the bass), but because they are better engineered than the standard BBOT bridge in reducing lateral movement of the saddles.

Flat-wound or round-wound? - i.e. are you going for a vintage 60s sound (flats) or a more post-punk/goth sound (rounds)? For flat-wound have a look at offerings from LaBella and Picato. For round-wound you really can't go wrong with Newtone Axion Bass VI strings. LaBella also do a round-wound bass VI set but the Newtones are better IMO and a fraction of the price.

Interesting, especially #1 as my all-time favourite chorus effect is the MXR Pitch Transposer, on it's "0" setting which gave a massive thickening of the sound without loosing any of the power or definition to the bass sound. Unfortunately it was horrendously expensive, not particularly reliable and all but unusable without the separate and equally expensive display module. My second favourite was the far more affordable Amdek Chorus which was basically a Boss CE2 in semi-kit form, and which was an essential part of my bass/guitar/synth rigs during the 80s until I was able to afford a Roland GP8 multi-effects unit.

"Stereo" by Pavement name checks Geddy Lee. (But as a vocalist rather than a bass player)

Do the pre-amps on the interface have any controls other than input gain? If not then you shouldn't be adding any extra "colour" to the input signal by running it through two sets of pre-amps. Pre-amps for recording devices should be doing anything to your input signal other than setting the optimum signal level, unless they specifically have controls for the features.

The strings change angle after the nut anyway. If you think in 3D it's not a problem (as long as the nut has been cut properly).

The point of using duvets is that they are easily repositioned when you are experimenting with the room acoustics. Once you have found the best place for them they should be replaced with proper acoustic treatment panels.