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Good move. I'm not sure when production ceased. I bought it new at the start of 1990, the serial no dates it as late 89, which makes sense as they had to order it in. I know the later models changed the PUPs to EMG & then they stopped doing the PJ config not long after. The bass was originally black but 7 years ago, I decided to strip it down. I had intended on painting it, but when I saw the grain, I decided to oil & wax it. Here's a link to some pics of that process... https://flic.kr/s/aHsjuw23Lc There used to be an Ibanez website with loads of info about discontinued instruments, but I can't find it just now.

The pedal will draw as many mA as it needs, so a 150mA pedal can go on either the 200 or 500mA feed, but don't put a 300mA pedal on the 200mA feed. Same goes for that 18v, don't put a pedal that needs more than 100mA on it. So technically, you could put a daisy on one of the 500mA feeds & run 3-4 100mA pedals from it. I'd love to get those 2 Moogs back sometime. The sound they made was immense. If you've got a spare 15 mins, here's my old board with a full run through.

It's got the IBZ USA C2 PUPs, PJ config. I've never noticed any noise from the BOD when I'm not playing. Could it be caused by the signal from your bass if it's an active bass? My Ibby is passive.

It was the solo octave down that I was referring to. With a mostly clean & just a touch of sub, then I can play open E if I like as it's just adding a bit of depth to the sound (which the BOD is rather good at). It's when I'm doing synth sounding stuff that I find anything below A doesn't track too well, though I'm gonna try on my own at home either today or tomorrow. I always run the neck pickup & sometimes blend a little bridge in too.

I play an Ibby SR1000 with D'addario Chromes. Turned it into a passive bass a few years back. I'll need to try & see how it sounds on the lower notes, try & get that low F. At band jam, it didn't sound good below A, but the house rig could be adding to that.

I've never tried it, it was just a thought. Though I know envelope followers often work better with a "not so hot" signal. I've never had any major tracking issues with either the OC-3 or the MXR BOD. They both track down to A (5th fret on the E). Both seem to wobble on the Ab. As this is a "Which octaver" thread, here's my tuppence on the 2 that I've had. The OC-3 is very similar to the OC-2, but it does have a different tone to it. However, the tracking was better than the OC-2 that I tried & I liked the poly mode too. The MXR BOD is very different. It has 2 versions of a -1 octave called Girth & Growl as well as a clean. It can get some decent sounds for your base synth sound, but with the clean blend & a mid boost, it really does do funk pretty well.

I'm another who doesn't have a compressor on my board (I do use one to record). Like jposega says, having one at the start isn'r a bad thing if you've got it set up right, though you don't have to have it squishing to limit the dynamics of what goes into an envelope filter. I've never had any issues with tracking where I thought "Oooh, I need a compressor", though if you are having trouble, why not try a signal booster before the octaver & then don't have the octave out at full (so it's not giving too hot a signal to your filter).

I'm not sure about digital being more fussy than analogue. The Moog LPF was analogue & it wouldn't share. My current filter is a BEF Pro, which is digital & it has no probs sharing with 4 other pedals on a Godlike Powerall (similar to the oneSpot). A brick does look more professional & if you need to power more than 6 pedals, then it makes sense to do that as opposed to 2 daisy warts. But a daisy is a good bit cheaper & you can run a noisy pedal on it's own PSU. Old board had a 2 gang extension run to it, one wart for the LPF, one for everything else. Now just the daisy...

I was hoping you'd found a switch I could fit to my wife. Sounds like it may be dry solder somewhere. If you don't know what to look for, then it may be worth getting someone who can give you a quote.

The audient interfaces look pretty good for the money. I think it’s hard to get a bad interface & the main things to look at are what connections do you need from it & if you need any software, what comes with it. I wanted 4 ins and midi, hence going for the NI KA6, & it’s been a great bit of kit & solidly built.

I play a couple of instruments, but this has been getting most of my attention lately... Pretty good for bass in the band too.

+1 That’s partly what I was inferring to when I said “to make things easier”. I was trying to learn Superfresh by Jamiroquai, but without the low B, my only option is to use the octaver & it’s probably trickier to play on a 4 like that.

IIRC, Billy Sheehan said something along the lines of "I'm still learning the 4 string & once I've mastered it, then I'll add another string". The benefit of a 5 string is having those 5 lower semitones (though you could buy an octaver & have 12 lower semitones ). If the songs you play call for the lower (or of you string it E-C, higher) notes, then defo go for it. If your playing style means the extra string will make things easier, then again, go for it. If you want a 5 string just for the sake of having a 5 string, stop. Have a think & work out why you're going for a 5 string & not a 4 or 6. I've played a 4 string for 30+ years & never needed more. That doesn't stop me wanting a 5 string fretless though.

You'll need to have very good hearing & still need to know what you're doing. The point of compression is to not hear what it's doing. When it comes to relying on your ears, there's a chance that you could either over compressing or not do much at all. There's also the chance you'll get it right, but you might never know. I'm not saying you should only buy a compressor with a meter, but a meter is better than using your ears unless you know exactly what you're listening for. I think (& I might be wrong here) that most pedal compressors have parameters pre determined to a degree to make it harder to over/under compress than what a compressor with metering would allow. Here's a useful link: http://web.archive.org/web/20130215154741/http://blog.basschat.co.uk/setting-up-a-compressor/ Reading the OP's post again though, he might be best suited to a 1 or 2 knob compressor.

Aye, okay. The thing with a compressor is that you're using it to level out your sound (to bring up the quieter notes & trim the louder ones down a bit) & that's not something that's instantly noticeable to most people just with the ears. If you have a meter showing you where the note db is, then you can make the appropriate adjustments to stop notes spiking above/below that level. There's a whole thread on here that's dedicated to compressors & how they work. I'd suggest searching for it, it's a good read & very informative.

Ideally, a compressor should have some sort of meter so you can gauge what it's doing, otherwise you're just twiddling knobs & pretending you know what you're doing. Though there's a lot of compressors without meters that do a decent job, but I think the user may have to guestimate things.

Sounds like a good reason to take up double thumbing.

I find them an exceptional band. I know a lot of folk don't like JK, but he's a great front man & a great vocalist too. The bassline in this is fantabulous...

I'm not going to derail the thread & I can get where you're coming from, but the main cause of pubs & clubs not wanting to pay much for bands is because of the twazzicks that either play for very little or even pay to play. I had the same issue with cakes. People saying "I can get a wedding cake for less than £200 elsewhere". I'd tell them to go elsewhere as I was already struggling to make a profit. Numpties making "wedding cakes" & charging peanuts. Though the cakes spoke for themselves.

But then I get to hear of musicians that I never would have. I do think that musicians should get paid more, but then it's musicians who are to blame for that. My guitarist keeps commenting about getting signed & raking in the dough, but there's 3 main stopping points. 1- We play 60s & 70s inspired rock music (I suggested the band name be "Grandad's Grooves"), 2- We're all old (apart from the drummer, he's 24 but looks like 42) & 3- the singist isn't even mediocre. I can't see us getting out the jamming room, let alone gigging. My point being that musicians can make money if they're creative, make music that people want to listen to & are actually good. They do need to put in a lot of effort & this could even require moving to somewhere where they can get heard (AKA not Perth), but the recorded music is the advertising to get the punters to spend money on you.

That's easy. Bladerunner by Vangelis. Probably one of my fave albums too.

I've never understood "burst" finishes either. I know some people like them. I don't hate them, but I'd never choose to have a burst finish & would even contemplate a refinish in a solid colour.

When I had mine, I cut a bit of perspex to size & drilled a couple of holes for screws to go through. Only took it out a couple of times to take to rehearsal, as the cab there was decent, but the amp was crap.

Is the 102 a Traveller or Standard? Any of the TC RH heads would fit on a vertical Traveller, any TC head would fit on the Standard. Another suggestion is to look at the Markbass amps. I got a great sound with the LMII.

Same here & agreed, but I can't help but think that he could do with turning up the bass a bit. I've never listened to the original, but if the drums are a bass lacking as they are in that, then hopefully there's a sub synth a bit later on the track (I only got about 1:30 in).