paulbuzz

Bought a pedal from Pete - speedy, helpful, and friendly message responses, quick posting and well packed. Many thanks, Paul

In 1979, at the second touring-band gig I had ever attended, I spent the whole gig crushed against the stage directly in front of Algy and his blasting natural-finish Fender P, thinking it was the coolest thing I'd ever seen. This definitely had an impact on my choice of a natural finish P-copy (Satellite!) to learn on when I started playing bass not too long after. Thanks Algy. The gig was at the local university and was meant for the students, but lots of us local kids had blagged our way in. Before the Damned started, I had wormed my way to the front of the packed bar queue, to be confronted by an intimidatingly mature (student-aged!) barman. Not wanting to push my luck too far, I squeaked "A... half of lager, please". He glared at my blatantly underaged visage and growled "This is a punk rock gig. You'll have a pint or you'll have nothing." "Er... ok... a... pint of lager, please" I squeaked back. He served me and I fled, victory pint in hand.

Nice! Enjoyed it, and the other couple of songs on Spotify too.

Ahh, I too still have my much-used and much-loved Trace Elliot GP11 Mark 4 preamp, identical to yours as pictured above; great sound and completely bomb-proof construction. Haven't used it in anger for ages, but my emotional attachment to it probably outweighs the paltry sum it would be sellable for. It's certainly earned the houseroom for a quiet retirement!

In case it helps: the Boss website says that the WL-50 uses 60mA in normal operation, and 320mA while charging the transmitter. Edit: just seen that this info has already been posted above. Just ignore me!

I'm sure your pedal would cope fine with phantom power being applied to it; all modern equipment does, unless designed by a lunatic. My personal rule is that any equipment that would be killed by the application of phantom power should be killed by the application of phantom power. 🙂 (With very rare exceptions for vintage ribbon mics)

Another vote for the Joyo American Sound - ridiculously good for the price. Also the Danelectro Cool Cat Transparent Overdrive (Version 1) - a clone of the Paul Cochrane Timmy. They altered it slightly for the Version 2 variant after getting a lot of grief for cloning a one-man builder's original circuit.

For live versions of Stay, this is the one that does it for me. The end section is really cooking on gas.

This has nothing to do with bass playing, and it's definitely a bit unfair to Tony Visconti, but it is very funny...

Yes, I think so; it's fairly spacious under the main board as far as I can remember. There was certainly no problem finding space for my output level pot below the 'Mode' control. I would think there's almost certainly space for another pot in the equivalent position on the right hand side (ie below the 'Start' control). There's probably even space for a couple more below the 'Blend' and 'Stop' controls... 😁 Desoldering the internal trim pot for the distortion level control would just be mildly fiddly, I expect. As far as I can remember, I did have a bit of trouble desoldering the expression input jack, but managed ok in the end. As you can see, once it was rewired I replaced it upside down, to keep the new connections away from the board. As you can also see, I managed to acquire a matching EHX knob to go on my new output level control, though I can't remember where from now - it was definitely somewhere slightly obscure - a shop in Finland possibly...?!

Ah, that's just an extra effect output jack, wired in parallel with the original one, purely for convenience in placing/cabling the pedal on a board. Hope the pics/notes I made above are sufficiently helpful - I don't want to derail the thread with a long and detailed description of my efforts (Is it even possible to derail an eleven year old thread...? 😁 ) but I can post more detail if you want.

Hm, I think most of the interesting stuff is probably slightly hidden under the main board, and I think getting the board in and out was the most challenging part of the process, so wouldn't be too keen to repeat it unnecessarily. Electronically it was all pretty simple (just as well, as I'm no electronics expert). It just involved identifying and hacking into various points where signal was coming in or out of the pedal anyway: - the output volume control is at the very end of the circuit, so accessed at the bypass footswitch - the effect loop was added at the footswitch for the built-in distortion - it's in the 'non-distortion' signal path, and yes, it's (usefully) post-envelope detector - the footswitch for the expression-pedal input was hacked in at the expression input socket This all works extremely well despite my mediocre electronic skills and technique, so definitely wouldn't be hard for anyone competent to duplicate.

Ha, all credit to you Loz! - I haven't done that kinda thing for a while now! Perhaps your energy levels are holding up better than mine! (56 now, I think!) 😁

Maybe it's also partly to do with playing opportunities: I still love that bright grindy tone, but it wouldn't suit any of the music I play these days as a middle-aged fart. I feel like the opportunities for me to sound like that have largely disappeared - in 2021, who wants to listen to to a load of old farts playing the kind of aggressive indie-ish music in which I used to use that bass sound? And would I still have the energy to play that music convincingly anyway...? 😆