1976fenderhead

[quote name='Higgie' post='495725' date='May 23 2009, 01:45 AM']That's what I was gonna suggest. Should work fine.[/quote] Yeah, I only learned about those virtual batteries from your post in another topic, they look like a great idea if you don't already have an adaptor. If my microsynth hadn't come with one, I'd buy a virtual battery, but it's the price of a full blown adaptor anyway so I won't bother...

[quote name='JJTee' post='492573' date='May 19 2009, 06:15 PM']Small and simple. Sold 75% of my effects (which were bedroom use only in the main) to buy a new bike, leaving me with these four that always come in handy. Pedal Train mini turned up today. I might invest in some George L's, but it's not a priority. I'd love to find a power supply that has an 18v output capability (for the Blow Torch, which the DC brick has)) AND has isolated outputs to deal with the reverse polarity of the Compulator (if I use the DC Brick, it shorts out the other outputs), then I'd get one of those. For now, the Compulator runs on batteries.[/quote] Absolutely love that board (though I hate the sound of the Blowtorch). Didn't know Pedaltrain was doing that model, thought you had turned it upside down for some reason :-p Why do they do it like that anyway? Weird... It won't take a CryBaby will it? Hey why don't you get one of those virtual batteries for the Compulator (I think it would work) and the Diago 9v-18v converter cable for the Blowtorch? I've been using one of those for my MXR Stereo Chorus for a long time and never gave me any problems...

Not enough distortion on that board I'm afraid...

[quote name='pete.young' post='492788' date='May 19 2009, 10:35 PM']Maplins to the rescue - Yay! These are good for making up pedal board cables: [url="http://www.maplin.co.uk/module.aspx?TabID=1&criteria=usb&ModuleNo=1249&C=SO&U=Strat15"]http://www.maplin.co.uk/module.aspx?TabID=...O&U=Strat15[/url][/quote] I highly recommend against those. Years ago when my dad used to solder these cables for me, those were the only plugs he had problems with. They were really hard to solder (can't remember why) and most of the ones he did gave me problems. He never had problems using any other normal right-angle or straight plugs... Might have just been him, but you've been warned... I use Adam Hall cables btw, and very happy with them, you can get them pretty cheap off eBay and you can choose between 15cm and 30cm. The plugs are excellent! [url="http://www.adamhall.com/uk/AH_p--project_27__b--KI015WKS"]http://www.adamhall.com/uk/AH_p--project_27__b--KI015WKS[/url] Maybe I'm old-fashioned but I wouldn't feel safe using non-soldered cables...

That's right, the XO is true bypass, that's why I won't change to the world version, which has a terrible bypass, because then I'd have to get a loop on my board just for it.

I don't like to add pedals to my board to sort out other pedal's problems, so I'm sticking to the new version, otherwise would have to get something in there to take the old one out of the chain because of its famously dodgy tone-killing bypass...

[quote name='alexharvay' post='491301' date='May 18 2009, 12:55 PM']Can anyone tell me if the Korg Pitchblack lets you set the tuning mode down a semi-tone or a full step like the TU-2?[/quote] No, but who needs that? It's chromatic, so if you want to tune a semitone down, you'll tune so the display shows D sharp, G sharp, C sharp and F sharp and you'll know you're fine! I got a Pitchblack recently. Advantages compared to TU-2: [list] [*] true bypass (though I never noticed tone loss with the TU-2, in fact I AB'd them and couldn't tell a difference) [*] more accurate (though I can't tell the difference either) [*] looks [*] bigger, easier to read display [*] half-strobe mode [/list] Disadvantages: [list] [*] annoying one: unless you want to use the default 'needle' mode (whatever it's called), you have to keep a battery in the pedal, otherwise it won't remember you chose a different mode when you plug the power back. I prefer the half-strobe mode, so I have to keep a battery in it. Also, it will forget if you chose anything other than 440 calibration if you have no battery in (not a problem for 99% of people). [*] no way to tune with the sound on (trade-off for it being true bypass) [*] strobe mode and the 4th mode (can't remember name) are useless (strobe mode is actually quite good in the TU-2) [*] if you're starting out and don't know basic music theory, TU-2 will be more helpful because it has those b, bb, bass and guitar settings that let you tune by 'numbers' instead of note names. In fact it's probably an advantage that it doesn't have those modes, you should learn the note names!!!! [/list]

[quote name='ritch' post='488669' date='May 15 2009, 11:17 AM']Could you let me know his details as well? I have a bass microsynth that needs the input/output wiring fixing.[/quote] PM sent.

[quote name='CuticleThorns' post='486445' date='May 12 2009, 10:14 PM']My DOD Meatbox just crapped out on me! Signal just massively decreased then fitted around before barely kicking out anything... Can anyone recommend a tech who might be able to repair this for me??? I ruddy love this pedal and need it fixing, also; after taking it out my chain I realized how much of a tone sucker this pedal is so I might look to get a true bypass mod done as well. Taaaaaaaaaaaaaaaaaa[/quote] I don't know where you live, but this guy in Denmark Street (London) fixed my MXR Stereo Chorus, he was really good and cheap. PM sent with his number.

[quote name='EskimoBassist' post='486354' date='May 12 2009, 08:47 PM']I've always really liked your board. Really simple, neat and effective. I've also got an Ultra Fuzz, which I think is an amazing, and massively underrated fuzz pedal, and a 105Q Bass Way, I can't really think of a better wah for me. Rich[/quote] Thanks. I've actually recently tried to reduce it and got rid of the modulation pedals and the synth as I'm not using them in my bands at the moment, but I went back to the full thing as I missed playing with them. It's definitely the perfect incarnation of my board for me, and if I take some pedals out, then I'm never going to get them in the songs, which is a shame because they sound so good! Lots of fun in rehearsals too...

Just replaced the TU2 with the Korg Pitchblack :-)

I'm probably the only one here using one, but winner hands-down: MXR Stereo Chorus. Several things make it PERFECT for bass: - Intensity knob, so you can set how much of the effect you mix with the clean sound - Bass and Treble EQ, so you can match the EQ of fx on and fx off. - Deep button: If you feel you're still loosing bottom, engage this and it enhances the low frequencies. This makes the effect less pronounced, so you should then increase intensity or width. Plus, it's true bypass and has a very warm full analogue sound. Only 'problem' is it needs 18v. I'm using Diago's step-up converter though, so I don't even need MXR's power supply, I use it with my 9v Godlyke PowerAll. It's an amazing pedal and I'm baffled as to how there aren't more bassists using it. I haven't tried a chorus pedal yet that didn't completely mess up my EQ, either adding lots of lows or making the whole thing too trebly. EQ in a chorus pedal is absolutely vital for me...

[quote name='john_the_bass' post='474639' date='Apr 28 2009, 10:20 PM']Cheers all, I found some double sided carpet tape in a drawer in the back bedroom and tried that Dunno if it'll work properly yet, but as long as it sticks down enough to take the weight of a Diago power supply, then I'm happy![/quote] Ha! Funny you said that because that was exactly my suggestion: when the carpet of my Diago board came out (which was a few days after I got it!!!) I just put loads of double-sided tape over the wood in several directions always going through the centre (similar to the Union Jack pattern) and along the 4 edges, and some 2 years later and many pedals added and removed, still going strong!!! Double-sided sticky tape all the way!!!

[quote name='neepheid' post='440344' date='Mar 20 2009, 03:13 PM']It doesn't look like there's a lot to restore to be honest. You'll almost certainly do further harm its value if you try on an amateur basis. It just adds to the character as far as I can see.[/quote] In a way, I agree with you: I believe that 'restoration' made it worse and I wish it had just been left as it was... But as it is now, it would be a bit silly to dig those holes out again, so if it was possible to do a proper near-invisible, near-perfect repair, I'd do it... I just don't know how good it can get with a translucent finish... Hey is that a Fender neck and some dodgy mod on the bridge for 4 strings? My dad just puts 4 strings on it and sets up the neck for that tension, no need to assassinate it like that... :-D

I have (well, my dad does) an original Hagstrom H8. It is pretty battered and I'd like to restore it. Main things I'd like to fix are these holes I hope you can see on that fuzzy mobile picture. One is to the left of the bridge, and 2 round ones behind it on the edge. They've been covered with some paste and varnished over by a friend of my dad, but it all looks very shabby. Being a translucent finish, how much better can it get if fixed properly? Will it always be obvious like that, a flat colour shape filling the hole? Or can it somehow blend and mimic the lines of the wood? Also, does anyone know how much this bass can be worth on the vintage collector market, if in good shape? Same colour as the one owned by Jimi Hendrix and played by Noel Redding, serial number a bit higher...

It seems it has something to do with the new setup needing to settle. I left the bass alone for over a day and now picked it up... The G string needed the saddle adjusted again (checking the 12th fret only) as it was sharp. Did it and checked all strings: maximum 'sharpness' is now around 3 or 4 cents on the 22nd fret. Tuning also seems to be much more consistent and stable across strings... So hopefully it should settle at some point and anyway, a 1 to 4 cent error on the upper 5 frets is something I can live with!

Thanks for the input, especially octavedoctor for the thorough explanation. I don't know if I trust my ears that much to do what you suggest though My feeling is that even if I achieved something that would be better than what I have now, that would be because the fretted 12th would be slightly flat, the fretted 22nd would be slightly sharp but none of them would be 100% in tune (which I'm guessing is probably impossible). It would sound better because none of them would be as far as 7 cents, but I would have lengthened the scale so that those 7 cents would be distributed more equally (3% flat on the 12th and 4% sharp on the 22nd, for example). Does this make sense? I don't think it's a fret placement issue because the harmonics are 100% in tune on the 5th, 7th, 12th and 19th frets. It's only when I press the string down ("stretching" it down to touch the fingerboard) that it gets sharp, and it gets more pronounced from the 16th or 17th fret which is where the neck is bolted to the body. So I'm guessing the neck curvature and the action are all factors here. By the way, I have adjusted the trussrod to Fender's specs (0.3mm distance between 7th fret and strings when depressed on 1st and last fret) and action is slightly higher than recommended. Further to this, even with the 12th fret in tune, if I press the strings in lower frets, I get random variations (like 9th will be fine, 10th will be sharp, 11th will be less sharp, but 10th on another string will have some different variation and so on). What do you guys make of all this? Bass is a US Fender Jazz Deluxe btw, with new DR Lo-Rider strings...

My band is now playing tuned half-step down so I fitted new heavier strings and so all this required a new setup. After I intonated the bass so that harmonic and fretted note are in tune on the 12th fret, I noticed that as I go up, from the 16th fret to the 22nd (last) pitch gets progressively sharper until it's roughly 7 cents above pitch. It's noticeable and I can hear that it's not right when I play some open strings along with those high notes (which is why I checked tuning on those frets). It just is the case that now I play a lot on those very high frets on some songs so that is a problem. How can I solve this? Is this something that has a solution at all or just inherent to any bass? I remember when I had a bass with 24 frets that I could never match the pitch on the 12th with the 24th, but I don't think it was such a big difference...?

[quote name='timloudon' post='424781' date='Mar 4 2009, 09:17 AM']No gear and no idea! Plus you don't get treated like an idiot in the Gallery.[/quote] I used to think the guy and girl working at the bass shop in Denmark St. were really unfriendly and unhelpful, and yeah treating me like an idiot, though recently I went there and there was some guy I'd never seen so don't have an opinion anymore... Still prices are for the most absurd... Unlike for example Music Ground, who are excellent and where I've actually ended up buying pedals a few times instead of just trying them out and going to buy them online somewhere...

[quote name='Soulfinger' post='424779' date='Mar 4 2009, 09:17 AM']The basses do nothing for me I´m afraid but that archtop g*itar is making me drool... [/quote] Hehe... the one on the top right? Basses are his speciality though, that's how he started, but he does guitars just as well I think... I only know a guy who has a guitar (not bass) made by him but I haven't seen it yet... I will probably meet JP next summer and have a look at his studio (I often have my holidays in that town)...

Just thought you might be interested: [url="http://www.jpcustomguitars.net/"]http://www.jpcustomguitars.net/[/url] Seems good stuff and by what I was told, he'll make it to your full specs of body shape, wood, pickups, bridge, etc etc... Haven't found out anything about prices yet though, guess I'll have to email the guy...

[quote name='Musicman20' post='423503' date='Mar 2 2009, 06:35 PM']LOL yeah I know what you mean. I wouldnt rant and rave, I just know the ins and outs of the legal side of my position. Which I suppose anyone does in this day in age. Manager called, much better attitude. Fender Rep is calling him back with a date on a brand new one. He has no idea why the condition was so bad. He is also asking one thats come virtually straight in from USA and is still in every bit of packaging. I then said, that if we could sort this out and get a very pristine black with maple Jazz USA like I wanted, I would consider ordering the Orange 1x15 if it was brand new in. See what happens! Cheers for all the input![/quote] Cool, curious to see how that turns out. Interesting the bit about it coming straight from the US: the ones I was getting were coming (so they said) from an European distributor in Holland. It's hard to know who to blame, the US side or the European middle men... In my case, I blame basses 1 and 3 on the US and bass 2 on Holland :-)

[quote name='bubinga5' post='421142' date='Feb 27 2009, 05:24 PM']Look no further in my opinion, Fender Jazz 24 I had one and it was a very very good bass, very growly, with a bridge pick up honk better than my 75RI..Light as a feather, quilt top, hipshot tuners, SD jazz pups, slap switch..passive active switching.. Im thinking of getting another and putting some Nordy's and an OBP3 in it.. Awsome bass for the money!!![/quote] Wow... I have to confess I never looked at the Deluxe series for if I'm not mistaken they're made in Mexico and all the standard MIM Fender's I've played felt and looked really cheap... That looks better done than my American Deluxe though, what the...? So those who have owned it recommend it both in tone and build quality? Is it made in Mexico or am I totally wrong? EDIT: Ok, that one apparently is made in Korea? One more surprise to me, I thought Fender were made in US, Japan and Mexico only... the ones from Japan were actually quite good so I'm guessing these won't disappoint... But after my experience with MIA Fender, my feeling being that all other countries with the cheaper basses have even less stringent quality control, I'm still a bit uneasy with getting another Fender...

[quote name='simon1964' post='421062' date='Feb 27 2009, 04:17 PM']Its a push pull volume knob. Pull it up and its passive - same on the $$[/quote] Shame they don't list that on their website, hard to know which ones do it... EDIT: Managed to find through the manual for all basses on their website that nearly all of them are switchable in that way... The manual lists which are and which are not...

Do most Warwicks switch between P/A? I had no idea the Thumb could ever do that at all... Where's the switch? What exactly are the differences between Warwick's Rock Bass range and their normal expensive range? I think there is an Artist model 24 fret Fender Jazz Deluxe, all other models are either 22 (like mine) or 20 (standard). But I don't trust Fender much and would like something different. I love the sound but the build quality is hit and miss. I returned my bass twice when I bought it years ago, the first I got had the bridge so misplaced to one side that the G string was nearly off the fretboard on the high frets, the second had weird lumps and deep "cavities" on the fretboard and its hard-case was cracked!!! I settled for the third which has always had an odd fret-buzzing problem I could never get rid off no matter how good the setup. Also, its "noiseless" pick-ups were anything but, EXTREMELY noisy until I had them shielded... All build problems my cold-sounding cheap Ibanez never had! So I'd like something with really reliable quality control this time!!!