NancyJohnson

I'm a bit lost here. With the stereo socket, I can still use a regular cable?

Everything is getting a bit of a mess and covered in solder, so I've pulled everything out except the mids/bass pots. I'm going to put an order in for new wire and a bloody stereo socket. This was supposed to be a 20 minute job. What a load of arrrrrse! 🤣

Stereo jack? Gadzooks.

I'm starting a new thread here - sorry if this gets too wordy. I'm trying to install a Darkglass Tone Capsule into a bass with two pickups and three potentiometer holes. Struggling. I've had a short exchange with @KiOgon about this too. As I have insufficient holes to accommodate the wiring, I'm wiring the pickups to a concentric pot, the two mid controls from the Tone Capsule to another concentric pot and (just to keep things tidy) the bass control from the same unit to one half of a concentric pot. Nothing fancy or stupid. The black and shield wires were already soldered together by Lull. I've sorted the pickups, wired as follows - if I connect the black and yellow wires to the output jack, all is well; output is fine, no buzzing (even without the ground attached to the bass's grounding fixture). The tone capsule (and wiring) looks like this; in theory, I should be able to take the yellow from the above (hot out) and screw it into the 'Audio In' below, the battery is straightforward enough (you'd think). I'm assuming 'Input Jack shield' (the black wire) is from the ground : I've spent about three hours today trying to get it to work and all I'm getting is zero...it's been getting to the point where I've just tried hooking things up with Wago connectors! The schematic below is off the Darkglass site - the black and yellows off the pickups is essentially all handled by the concentric pot. Does the 9v black go to the jack tip or shaft? Need a beer.

Here's mine: All the old Nancy Johnson/Who Killed Nancy Johnson? stuff has dropped off Spotify, but there's one track up on Soundcloud (Christmastime Has Come To Town), which I've posted below. I may investigate putting them up again at some point. The stuff lower down (96DB/Eddie Roxy/Lizard Sweets/Lutz) are all fairly current projects. Ninety Six Decibels: Eddie Roxy & The Adjacent Kings (this is an old Ninety Six Decibels song): Lutz: Lizard Sweets:

I'd concur...my Lull has a sublime B.

Bongo 5HH. Honestly one of the best basses I've ever owned.

I've seen Aerosmith a few times, sadly most were a massive disappointment. I had an opportunity to see them in the late 1976 at Hammersmith Odeon; I was besotted with my mates sister, older than me, she was. My mum was working in Shepherds Bush for a few days and swung by the box office and bought me two stalls tickets. Sadly, my mates suster turned me down. Ack.

Absolutely great call on the heatshrink. I just had a quick test...requires a couple of short lengths to cover the individual shafts and applied one after another. Works a treat. Brilliant! Cheers!

Just bought some concentric pots (with solid shafts) for a project, I would have liked to have used some existing knobs but they're a little too big. The concentric pots have 3/16th" and 1/4" diameter shafts. I ordered some Allparts brass sleeves SKU# EP-0220-008 which will appear to fit, but beyond this, what's my option?

The John East unit is out and I'm just waiting for the Darkglass Tone Capsule is incoming. Going to test both 9v and 18v before deciding which to sick with. I did get a reply from Chris Kollias at Darkglass along with schematics, pots, Dupont connection details etc. I've not really found anything online that helps with wiring this unit into concentric pots, so if nothing it might be of some help to future installations elsewhere. Thanks to @Hellzero and @KiOgon (who has offered remote assistance).

I have little desire for more basses (cheap or otherwise), I have bought two Thunderbirds through Ishibashi in the past. These were ridiculously cheap compared to UK market value at the time. My main draw to Japan would be guitars, I'd just like something Gibson; little desire for a Les Pauls/SGs, so something pointy, a 50s style V, Explorer, Futura, Moderne.

I think there's a point here. Yesterday we're in the back garden, music going and I hear someone knocking on the front door. My wife is, 'How did you hear that?' Maybe we're just receptive to noises that buck normality.

I follow a channel on You Tube called 'A Flash Flood of Gear'; the channel is run by a Floridian musician called Alex Budnik, quite a few videos of buying trips to Japan along with a lot of US guitar show footage. Very interesting insight to guitar shopping in Japan, presented by a very calm, knowledgeable guy. Yen/GBP exchange rates are lowest (or most favourable) for about ten years; 100,000¥ will buy you £530.00. Granted there's shipping/taxes involved, but search around...the Japanese used market seems to be priced very low and there's a lot of stuff that are Japan only exclusives. I spotted a fully specced 5-string NS Radius (fretless) for £1k... immaculate. UK price, £3k. Bonkers.

It took one extremely loud gig with a punk band I was playing in for me to wise up that I needed to protect my ears. I bought some of these layered latex things (no idea of the manufacturer, but they're flexible/one size fits all, and are of a multi-cup design with an air channel)...the most important things for me were the cutting out of the overall volume hitting my eardrums and more importantly wiping out the high frequency stuff entirely (cymbals, snare, guitar solos), which is the stuff that does the damage. They cost me about £50. My wife was horrified at the cost, but despite my exposure to so much damaging levels of volume, my ears are in remarkably good shape, no discernable frequency loss (or if this is a measure of what's actually hitting my ears, I have zero requirement for ramping up the volume on hi-fi/TV for instance). Ultimately, any protection is better than nothing.

Oddly enough, while searching Spotify for a song for my wife, I happened across the a recent/theatrical German version of the Chitty Chitty Bang Bang soundtrack. It's just glorious.

There's been plenty that I've desired, been lucky enough to own most of them. Thing is, while there's a few I'd still like to get my hands on (Rickenbacker Blackstar/Hamer B12A/Gibson Thunderbird II), I'm happy with my lot. Desired a Spector Thunderbird for a long while (that happened last year); my Lulls are delicious as are my Hamers.

I've popped Dark glass and email; I just want to confirm there's nothing sinister in the supplied pots and that it's ok to not use them (their loom is solderless connections).

Yup. I kind of like the added oomph from a preamp. Wasn't always the case, mind.

I'm looking to swap out the pre-amp on one of my Lull basses (currently there's a John East unit in there); it's got two Lull 60s-style Thunderbird humbuckers. I have three pot-holes and a small micro switch hole. I'm reluctant to drill additional holes. Ideally (as I've had reasonably good results from these), first choices are a Darkglass Tonecap or a Spector Tonepump, but these both seem to require 4+ pots. Question is (and whether anyone has done this), is whether it's possible to wire the pickups to a stacked-knob pot, then take this feed into a couple of additional stacked pots (for whatever the preamp does bass/treble/mids/whatever) and use the micro switch to just turn the bass off or just leave it installed doing nothing. Help!

I've got an Epiphone Phantomatic... it's a bit of a lightweight thing, but fine for writing/home demos. If I needed something better/robust, roadworthy or, more importantly, a workhorse, I'd try and source a Yamaha SG1000/2000/3000.

I suspect the farty may have been the bass. Spent a bit of time in the Spector control cavity and rolled back the Tonepump, which has improved things significantly. I haven't hooked the HB up since doing this as of yet (it's also had a positive effect through my AO900).

I have hands like shovels; in truth I struggle with ukeleles, but beyond that I'm fine. What I don't get is people will go, 'Tsk! 1.64" nut, no good for me!', but in truth, unless you're playing a bass with a non-tapering neck (viz. Rickenbacker 1 & 11/16"), what happens when you get up the dusty end where it's half inch plus wider?

Never understood this obsession with nut width. This is pretty much P-bass width and barely a 1/15th of an inch more than a Jazz Bass. Reckon Jeremy Beadle wouldn't even have an issue.