rmorris

[quote name='SubsonicSimpleton' timestamp='1398878083' post='2438604'] The best way to identify them is to go to an engineers merchant, they should have the proper thread gauges and measuring tools to correctly identify the machine screws - they may even have suitable replacements in stock. [/quote] +1 Find out the thread size either from a 'Engineers Merchant' or a friendly engineering workshop or might Fender be able to tell you ? If they are prone to rust then at some point you'll likely want or need to replace them with stainless steel (prob A2 grade) or black anodised types.

Will send PM

But you don't have to cut the heatsink. Just need to isolate the regulators from the heatsink with insulating thermal interface sheet stuff and 'tophat insulators' if using screws. It's standard practice - my own electronics designs with MOSFET or IGBT isolate approx 400V like ths. Ask here or PM me if further advice needed.

Assuming the regulator tab is 0V then bolting them all directly to the heatsink will connect the 0Vs together and negate the ground loop breaking aspect of having separate transformers. You don't necessarily need to cut it up though- just use isolating kits / isolating thermal interface sheet to mount the regulators.

Both solutions might give some noise issues. Especially considering that your bass/pedalboard/amp setup is (I assume) using unbalanced signals. Have you considered using LED strip ?

Good points from all. Esp on phantom power. Need to consider that while XLR to jack leads are readily available (mic to jack) they aren't generally optimised for high impedance ( like normal passive pickup ) sources. 'Proper' 'low noise' cable for high impedance pickups has a semiconducting layer between signal and screen to attenuate cable movement noise. With low impedance signals (good quality mics) this isn't considered necessary although cotton or plastic fillers are generally used to maintain (roughly) constant geometry between the conductors. From a practical point of view consider: if you wander too far away from your amp / pedal board a jack connection will probably pull out of one end - not good but not THAT bad considering that an XLR is unlikely to detach ( I recall that that the original Cannon XLR spec' is that it pulls a big truck or something ) and depending on your connection at the other end to the bass you could end up with a lot of amp / Cab / Stack toppling over. On the plus side it may land on the drummer (Joke!) I guess you just get a long enough cable :-)

If it's visible flaking corrosion then you need a new jack socket. Get something good quality - Neutrik / Switchcraft / Rean / Cliff etc. - depending on what fits and it should be good for ages. If more like surface tarnish then I'd suggest cleaning with a Caig DeOxit product to remove oxidisation products and a swab with isopropyl alcohol (IPA) to degrease. But given that the Caig DeOxit stuff isn't cheap then if you don't need it for other contacts and are okay with a soldering iron it might work out better to get a new jack socket anyway.

There's a fair number of 'budget concious' rack eqs alongside the Behringers - Samson etc. For used kit RANE stuff is good. But it sounds like you could do what you want with a pedal eq if you wished ???

[quote name='Diablo' timestamp='1397247053' post='2422297'] The Fender setup guide for truss rod is to put a capo on the first fret, then depress the lowest string (E for 4, B for 5) at the last fret and then measure the gap between the string and the 7th fret. Should be 12-14 thou, about 0.35mm, a thick business card, or the like. If the string touches the 7th fret you need have too much backbow and need to slacken the truss rod, if you have a wide gap you tighten the truss rod to being the neck backwards. Before adjusting the rod make sure you drop off the string tension, adjust rod, retune, then check 7th fret gap again. Remove capo then set saddle height at 3/32" (2.5mm) between strings and fret at the 17th fret. If you cannot get this right you need to shim the neck. In this case set saddle heights at mid adjustment and shim as required, so at least you have some saddle adjustment for the future without reshimming again. Set pickup heights to spec (see manual) and then intonation and at least you should have a base setup to then play about with to suit your style. Cheers, Rich [/quote] In the procedure outlined - when you remove the capo and adjust saddle height the nut height (re action at first fret) must be important too it woukd seem ?

technically Copper is a better screen than Aluminium. Why not use the adhesive copper tape (or aluminium ) to screen the cavities anyway - you can always peel it back off fairly easily to get back to original condition although I can't think why that would be an issue really. Or Ki's copper plates sound a good option.

Fair enough. I haven't tried a VT. Have a BDDi and now a BDI21 on the (ebay) way. I'm seldom looking for a sound in 'break up' territory so BDDi at low to moderate gain setting sounds good to me and the midrange characteristic sounds about right to my ears. But I know some point to the ParaDriver to avoid this - does that have similar Drive characteristics and/or a Presence control ? I guess I can check onlne but it juts occurred to me while typing. On a similar note is the VT now available with a balanced DI option ?

I think these are essentially the POD 2.0 models in a smaller enclosure ? POD2 is generally good ( I have one ) Can be a bit 'fizzy' on high gain settings maybe.

[quote name='chrismuzz' timestamp='1394981497' post='2397302'] Tech 21 VT Bass will do the job! [/quote] Or try the 'original' Tech21 Sansamp BDDI esp if you're not looking for a noticeably distorted sound but rather just some 'SVT' type warmth. You get a balance DI function - this might be available on the VT Bass now too ? And to save risking £££s just try out a Behringer BDI21 for a fraction of the cost. Stick with it if happy else take it from there.

Recently got a Nux Mod Core on Ebay from this seller: [u][color=#0000ff]hossen-au[/color][/u] £25.99 delevered quickly - seems UK stock. Pedal looks well built - 'proper metal jacks etc' though I know some suspect switch failures reported. Pots feel good. In General good sounds and seems very quiet in terms of noise etc ? (not really tested that thoroghly but first impressions) Possibly better for guitar and the parameters you can alter are limited - the 'Tweak' Knob is not active for all effects and even where it is I don't get the same sense of control I get on other pedals (analogue) or rack units (digital). This pedal is digital btw. But the Rotary Speaker, UniVibe and Tremelo effects seems good. So undecided whether to keep or move it on. Colour is very nice :-)

[sup][font=arial, helvetica, sans-serif][size=4]In general you can take all the 'Grounds' to a strip on the stripboard then connect that strip to the chassis (assuming it's metallic of course) by a wire or braid.[/size][/font][/sup]

[quote name='iiipopes' timestamp='1390920397' post='2351300'] Some of that is normal. Without touching the strings, the only grounding (earthing) is back through the amp. The strings, as well as single coil pickups, are perfect antennae for electrostatic noise, such as off of fluorescent lights, in addition to 50Hz (UK& Euro) or 60Hz (USA - Can) hum. What I would be more concerned about is if the bass did not quiet down when a player did touch the strings. That would indicate an open circuit to ground/earth, which is potentially more dangerous. The usual remedies are humbucking pickups, good shielding, good cabling, and mains conditioning. Also, check the entire signal path to make sure there are no ground/earth loops. Finally, if all else fails, EMG actives are internally grounded/earthed. [/quote] But the 'Earth' path back through the amp is usually the only earth path anyway unless the player toushing the strings is touching ( or close enough such that capacative coupling is significant ) something else earthed - mic casing / rack chassis etc. Basically the player not touching something 'earthed' acts as an antennae for noise and connecting to 'earth' potential via the strings / bridge stops this. On EMGs - low impedance actives not the Hi-Z Select types - they have a much lower impedance than 'normal' pickups and are thus less susceptible to noise. They are not regarded as requiring earthing by the manufacturer. It does mean that they have relatively low output levels hence need for on board amplification. Anyway - I think this stuff has already been pretty well covered on this site as BOD2 links to....

Am I correct in thinking MM necks are one piece ? Are they Quartersawn or Plainsawn ? Anecdotally some do seem to 'move' a lot more than others. On a related note my OLP MM2 neck ( one piece maple ) shifts noticeably whilst I have some laminated necks on Westones and Fenix basses which just seem not to move and they're stored in exactly the same way.

Assuming you don't need to be 'industry standard' ProTools(£££££) compatible then : Reaper is pretty much the thing to goto. Uncrippled Demo to try then very VERY cheap licence with long free upgrade period. Good Honest Software. It doesn't come packaged with Sample Libraries / Synths etc but to me ( admittedly abit 'old school') that's like complaining that you're DDA desk doesn't come with a DX7 !!! ) Reaper routing seems to be the best of what I can see.

Yeah - let's get back to dynamics in music. If you have a CD player with an Output level bargraph ( or use the graph type displays on PC Media Players etc ) then look at a typical CD release from, say, early 90s - the meter levels probaly actually go up and down significantly (If I'm wrong then try another CD - from Memory I'd suggest Echo and the Bunnymen : Crocodiles from 198?). Fast forward to 2000+ and they'l probably just wiggle about in the top 6dB. Makes stuff tiring to listen to and unexciting. Give us back our Dynamics !!!

[quote name='bremen' timestamp='1392825430' post='2373164'] William Orbit: [url="http://www.bbc.co.uk/programmes/b00nhmnf"]http://www.bbc.co.uk...rammes/b00nhmnf[/url] he deplores the loudness war, but the Madonna records he's been involved with have been some of the loudest CDs I've ever heard. [/quote] Yeah - but it doesn't mean he necessarily had the final say in the Mastering which is where the 'Loudness War' takes place. The Master Tapes ( Tapes ? - Okay 24 / 96 Masters:-) can be as full of dynamics together with creative compression as required yet still be deadened at the mastering stage by the OTT demands of a label exec :-(

[quote name='BigRedX' timestamp='1392069609' post='2364422'] The fact that broadcast compression for TV and radio makes over-compressed CDs sound weedy has been known for many years. It's well documented in the book "Perfecting Sound Forever". I'll believe that the loudness wars are over when I start hearing lots of mainstream CDs with plenty of dynamic range in them on a consistent basis. Even if all it does is to bring back mastering for the appropriate medium where the promo copies have less compression on them than the retail versions it will be a start. [/quote] +1 Who is the author / publisher of the book referenced ? I recommend a read of "Mastering Audio" author: Bob Katz ; Publisher : Focal Press : ISBN978-0-240-80837-6