Reversebird

I brought a new old stock three colour sunburst USA Precision in 2006 I was the first and only owner but it had been in the shop since 2002. The shop was closing down and I paid £600 for it at time I thought that was a bargain. Compared to other Precisions I'd played it was great. There was something about the feel and quality, the lovely chamfered neck edge great modern tuners, through body stringing and a hard case. The S1 switch didn't do it for me and the pickups were so so. I changed a lot of the bass around to my spec, Badass 3 bridge, Duncan Quarter Pounders, Graphtech nut, 18 volt battery box routed in the back and EMG stacked chrome knob 2 band EQ. Finished off with chrome bridge (yes works with the Badass 3) and pickup covers. It looked like a bog standard 1960's bass but it played and sounded awesome. That's the thing with Fender gear if you like the bass you can always change the bits you don't like to suit you, so many people make aftermarket stuff for them. Personally if Fender haven't dropped their quality then go for a USA one, they do ooze quality, is it worth £1000 I don't know, you could probably build one yourself from new and used parts to your spec (probably higher than factory) for that sort of money ?? When you look at other benchmark manufacturers Gibson have moved their Thunderbirds upto £1500 likewise Musicman are around that price, Hofner £1800 and Rickenbacker are drifting toward £1800 all sort after classic designs so compared to its counterparts at the high end of the market it's still cheap.

I think Fender are trying. Even they realise that although the P and Jazz bass are timeless classics still with a place in modern music that there is an generation out there looking for their own sound and their own image and an older generation looking a classic with a bit more hence the Modern Player Series and concept basses like the Cabronita. Ok so again not really moving to far outside their comfort zone but different enough and with the Modern Series fairly affordable. I haven't read any really bad reviews on the Modern Series. Gibson have new models out too again nothing revolutionary but different. I love playing live and I agree audiences would rather see a band enjoying themselves bringing music to the masses (I've seen plenty of bands that's look like they would rather not be there) than 100% accurate bass sound. My original post was about my dream bass, a bass that suits my needs and style there must be those among you who given the opportunity to have a bass build for you would have an "Ultimate Bass" design??

"The only issue…and I haven’t been able to sort it out, is the slightly dead, dull sounding e-string (plugged in or not). This happens fretted and open, ruling out the nut, and have changed the strings a couple of times now and tried raising/lowering the saddles so who knows. Its mildly annoying rather than a complete disaster so have left it, but next stop is a luthier when I have time… " I read a post either on here or another review site where the owner had the same problem, he changed the nut and bingo it cured it. I was going to change mine to a Graphtech one but at the moment mines seem fine :-/ I appreciate yours seems to be also when fretted ?? There was some rumours about neck issues but I can't seem to find them concurrently on the internet after a lot of looking I think I found one, I nearly swapped my out for a Maple Pawn shop Jaguar neck with the upside down tuners and it still is a possibility in the future.

I take on board what everyone is saying, it's a bit like inventing a water powered car.....it's maybe not in everyone's interest. I read lots of posts on here from beginners asking advice about buying a new bass or their first bass usually it has to suit a couple of different styles and different sounds etc.....and maybe something like this would help to solve the problem providing it could be brought in on a sensible budget, which is not impossible. Building guitars and basses has become a very cheap industry, electronics that say twenty years ago you would have paid a small fortune for in your instrument are now available in some of the cheapest guitars out there. Buying guitars from top makers has become very expensive. Most of these designs are over 40 years old. For example I have an active Epiphone Tobias Deluxe in my bass collection) which retail new about £175. I brought it secondhand in mint condition for £90. It is an amazing bass, great controllable sound, light weight, nice neck, beautiful walnut colour all for £175 how do Epiphone do it?? Take their profit margin on the bass build, the shops profit margin and the shipping costs means they are building these for less than £100 ???? Anyway I digress, but it is possible to build my bass a cost for "Everyman". Back to my Ultimate bass I have just read the articles on the Enfield Guitar site and I think I may have been beaten to the winning post. These guys are making some incredible advances in pickup technology and electronics for bass. Have a look at their website it will blow you away technically, is this the future of bass sounds, how long before this technology becomes the "norm" ???? This makes some systems seem very old hat now.

Discreet Isn't that why some people have more than one bass because if you play different music you need different sounds. Obviously there are collectors who like different styles of bass different necks, colours (lol) etc but some of these are never played they are just an investment. I was looking for a working mans bass, a bass that is everything sound wise to suit every taste, mass produced and available to every pocket not just one off custom job, so I don't know either.

Hi all Loving the comments as I said this would be the bass I would ask Fender to build if I was ever asked by Fender if I wanted a signature model....which is very unlikely to happen lol Couple of points: A modelling guitar isn't the way to go for me I want real sounds from the pickups. I looked at the Marcus Miller Jazz and there is plenty of room for micro switches and mini pots on the scratch plate. Electronics don't really add a massive amount of weight :-)) Fender wouldn't build this as you say, even most of their own Artist basses haven't really pushed the bass guitar forward, Mike Dirnt and Marcus Miller being the exception for me. Liking the Enfield basses, I think they may be able to build the electronics to my spec and they they are in Kent my home county. Thanks

Been thinking for a few years now about my ultimate bass. With sooo many artist basses around I wondered what I would build if Fender ever approached me to build a signature bass. So I had a think and wrote to Fender with my ideas, the reply is at the bottom from those very nice people at Fender UK. Dear Fender Leo Fender was a great innovator of guitars, especially basses and over the 65 years of Precision bass there have been a few changes but everybody is still looking for the holy grail of basses. A bass that does everything and is the bass for every man (women). I also love Jim Burns innovations, a man I really admire for his thinking outside the box in the early years of the guitar and bass. I would like to see if it was possible to build a bass that uses Leo's great bodies and Jim's electrical genius. I have been playing bass for around 25 years now and I have tried every bass going from big makers to small, expensive basses to some modern cheap basses. My problem is I haven't found a bass that well "covers all the bases" excuse the pun. I think these following basses are the basis for all others body shape wise and pickup arrangement wise. Fender Precision one split single coils middle passive Fender Jazz two single coils bridge and middle passive Musicman Stingray humbucker bridge active Gibson SG two humbuckers neck and bridge passive Gibson Thunderbird two humbuckers bridge and middle passive Rickenbacker 4000 series two single coils neck and bridge passive Burns Bison three single coils neck bridge middle Hofner Violin bass two humbuckers bridge and neck passive Ibanez/yamaha/warwick etc two soap bar humbuckers bridge and middle active I want a bass that does all of the above, I play in covers bands so although I get by one bass does not suit all (yes you can use pedals etc) I like really powerful passive pickups like the Seymour Duncan Quarterpounders in a Precision, the tone knob actually works but I love the boost and cut you get across the musical spectrum from an active bass like the three EQ Musicman Stingray. Is it possible to have a bass with: Three passive "super hot" soap bar humbuckers, bridge, middle and neck. Controlled Passively with three stacked volume and tone pots for total control over volume and tone and space saving. Each pickup having a micro coil tap switch so you can get the single coil sound as well. The middle pickup as well as having the coil tap has a second micro switch to allow the pickup to be split top and bottom like a Precision ( Burns did it on some of their basses but it was bridge and middle pickup split top and bottom) 6 way rotary tone control like the Gibson SG bass and Aria SB 1000 for even more Tone choices when in passive mode. I think it might also require two three way pickup selectors unless it's possible to wire a another 6 way rotary switch so you can get front / front and middle/ middle/ middle and bridge/ bridge/ bridge and front I was also thinking maybe 6 dip switches on the upper horn like a Fender Jaguar might work for this task. Forgot I also need all three pickups on at the same time. On top of all that an active switch that allows a three band EQ to be used so you can create the Musicman and modern bass sounds. Could be stacked into two knobs. Treble and Bass on one and mids with a frequency sweep on the second or just three knobs bass mid treble but I do like the mid frequency sweep option. The coil taps and Precision mode would still have to work in active mode although the 6 way rotary switch would be a bit overkill I think. The active switch would have an led light to confirm its in active mode. Not sure whether is needs to be 9 or 18 volt because I wanted to use "hot" pickups for when the bass is in passive mode 18 volts might give a bit more headroom. To achieve all of this it may require an active and separate passive circuit with two output jack sockets one passive and one active. All of this would be shoehorned into a Jazz bass style body as this shape is the most popular throughout the world or at least something similar, probably with scratch plate the size of a Marcus Miller to house all the electrics. The neck would be that "not quiet a Precision not quiet a Jazz neck" that everyone seems to like. I call it the "Everyman Bass" I am sure nobody has ever produced a bass that really could sound like a dozen other basses without the compromise of being active or passive, certainly not on a mass production scale. Maybe you might know of a bass but I don't and that's even if it's possible to build electronically The reply: Thanks for getting in touch! Sounds like you've got an interesting project on your hands. I'd recommend going to talk to one of our Custom Shop dealers if you'd like to get something along these lines speced up or just to find out if it's even possible. My knowledge of the electronics of a bass is somewhat limited. If you'd like to find your nearest Custom Shop dealer follow this link. Kind Regards Josh Franklin Sales Administrator Fender Great Britain & Ireland

I've got a very rare Tanglewood Resonator bass circa 2002 I think they were only sold for less than a year and I have never seen another one. The body is wood not metal like the Ozaks and quite a nice thickness and size and apart from the resonator it has an additional pickup near the neck. I put Ernie Ball Earthwound strings on it and it sounds very nice. The resonator gives it something different to a normal acoustic bass thud BUT it doesn't really make it any louder than a over large bodied acoustic bass. Plugged in you have a volume pot for the humbucking pickup and volume pot for the piezo that sits under the resonator bridge. Third pot is so you can blend the two. The resonator sounds awful pugged in really really nasty tinny thin unusable sound. The Humbucker sounds really sweet adding to the warmth and depth of the acoustic unamplified body. Blended together doesn't work either because the resonator part just over powers everything even with the volume low. As previously mentioned above Acoustics are great basses to have around the house for the occasional pickup and practice, maybe could be used with an amp or DI on stage? One thing is for certain is this Resonator bass turns heads. Good luck with your search but I think an acoustic and small amp is the only way forward. (The larger Pignose 30 watt runs rechargeable batteries and is suitable for bass) Paul

Cheers lads, as soon as it's finished I'll pop some rebuild pics on. Theyellowcar just PM'd you.

Fender Mike Dirnt Precision Bass review 10 years on Just picked up a mk1 Mike Dirnt Precision in black with a Fender hard case for £275, absolute bargain as the guy who had it from new had retired from playing bass. I like Mike Dirnt and Green Day but I brought because 1: it's a cheap "GENIUNE" Fender Precision and 2: I like the shape of the 51 - 57 Precisions. I read loads of stuff on the net about how heavy the bass was, the chunky neck, the loud pickups that were either too twangy for soul or reggae or too bassy for slapping, not helped by a tone control that didn't work that well. Over the years I have played many Precisions and so have countless Professional musicians, this bass has been used through every decade of music from Blues to Metal, Country to Indie Pop / Punk. During the sixties this bass was used on numerous records that came out of that decade. So it's a good versatile bass with a huge fan base even today. So......why the mixed reviews??? If you know this bass it has never had great tone control, different body woods, different necks, different pickups all can make one Precision bass sound slightly different to another but at the end of the day barring adding active electronics it is always going to be tonally challenged. I understand that and because of its simplicity I quite like it. As I said I didn't buy my one because of any particular sound I was after, most of my sound can be obtained through the Ashdown Klystron 500 amp I use and the couple of pedals I have on the floor. The one thing about a Fender Precision is people make loads of aftermarket gear for this bass and that really interests me, I love customising my basses, you should see my Gibson reissue Non Reverse Thunderbird, but that's another story. So I decided to try and correct some of the issues and have some fun changing bits around to suit my style. Set up first: It had 110 gauge strings on it and for me an extremely high action, I had read that some of these necks were a bit dodgy in the quality control department from the factory, some being warped from new or twisted. I found adjusting the trust rod and then retuning kept putting a back bow in the neck that was still too much and still left a high action. I assumed I had neck problems too, especially when the truss rod seemed to run out of adjustment. For what is supposed to be a chunky neck it has a lot of flex. After some internet research it was suggested putting a small amount of pressure on the neck which can release some of the neck tension while adjusting the screw and allow for further adjustment. This seemed to work but it's a work in progress as I write. The action is now considerably lower and probably very close to where I want it, just a bit of tweaking left to do. I also fitted my preference of strings a set of Rotosound Nexus Black Coated 105 gauge. In one review someone wrote that the A string angle over the nut was very shallow, I'd agree it isn't great but not unusable even so I brought two Hipshot string trees one for E and A one for D and G another problem sorted. Intonation next, absolutely no problem, the Badass bridge allows for bags of adjustment a really nice bridge to work with. Another internet reviewer said he swapped the Badass out for a standard Fender "bent bit of tin" bridge because it sounded better??? Every man to their own. Strap locks next because this is a heavy bass NOT as heavy as a Matsumoko Aria SB but it isn't a light weight either. Don't let this put you off though use a wide padded, good quality strap and remember with the weight comes sustain, bags of it. Mines the first year they were released 2004 and the single ply white pickguard has started to warp and bow a little. So I decided to change it from white to black, a genuine Fender one from the USA, so it's now black on black. Another problem sorted. Tuners seem to be fine and at the moment I can see no reason for swapping them out for Schaller units. Again the nut seems pretty good although I did toy with the idea of swapping it out for Graphtec one as another internet reviewer said his broke after two years of use. He seemed pretty annoyed that it would be at his cost to replace, I don't get this as to me it's another consumable and as such are very cheap it's not like the neck broke. I bet he's had the same strings on it for years too. I digress, sound next. I liked the sound of the '59 pickups that come as standard with the Mike Dirnt, personally I found that yes if turned up the tone knob it got quiet trebly, I assume this is because Mike likes it that way, it is his signature bass remember. On the other hand wind the tone back a touch and beefiness of a double bass comes back. Changing the pots out wouldn't really add any bass as this has CTS 250k volume and tone pots. You could change the cap to a 0.068 or a 0.1 but sometimes that gets a too muddy. If it's slapping you want 500k pots would help and a 0.033 cap but I could see it getting very very twangy. I found in the past Seymour Duncan Quarter Pounders have a lot of poke and a lot of variable tone in them that is really noticeable when you adjust the tone knob. I was going to buy another set of them. Then I read a lot of amazing and very satisfied reviews from all walks of life about the Bill Lawrence P46 Precision pickup. Most agreeing these are the "best Precision pickups out there" and at about a tenner cheaper than the Duncan's and hand made in USA by a true pickup guru, I was hooked and ordered a set about £51 including postage,from the USA. Awaiting delivery now. As I'm using the standard pickups at the moment I thought I adjust them to my style as they were rather low, yes the action was high and the pickups low, I don't think the original owner would have got the best out of this bass sound wise, anyway out with the screwdriver, loosened the screw and the pickups stayed where they were. Yup the sponge had gone flat and lifeless after 10 years. No worries just put springs under the screws.....nope that don't work because the pickup covers where the screws go through are not attached to the pickup so yes you can raise the cover but the pickup stays where it is at the bottom of the cavity. In the end I found some slightly larger springs which I placed under the pickup body they stay there because of the magnetism of the pickup, one at each end of each pickup put the cover on and bingo actual adjustable pickups. When the Bill Lawrence pickup arrive I'm going to copper line the cavities. On one review of the Bill Lawrence P46 it was suggested a 0.1 cap be used. I prefer a standard 0.047 cap so what to do?? I found a guy on eBay in the USA who makes a Variatone wiring loom. It consists of a stacked CTS volume and tone pot 500/250k with a standard 0.047 cap. That takes up one hole of your control panel. The next hole is filled with a 6 way Variatone switch. The positions are : 1: Off ( it uses the cap on your stacked volume / tone pot) 2: 0.01 3: 0.022 4: 0.033 5: 0.068 6: 0.1 The guy who makes them will customise the switch to your preference of caps but these suit me for bass. The loom is already made up and has a Switchcraft jack socket on the end! Just bolt it in, connect your pickup, simple. This gives me some useable, some not so useable options tonally and apart from the stacked pot looks like a standard P bass set of controls. I'm going to change the stacked tone pot cap for a Paper in Oil one as I like the smooth warm woody sound they give, the rest are all quality ceramic USA items on the Variatone switch same as most other basses on the market these days. So there you have it, my slightly less Mike Dirnt and more me Fender Precision bass. Don't overlook this bass if you like the shape, if the sounds not your cup of tea it can be changed, even just changing the cap, pots or the strings to flats makes a big difference. Also use reviews as guide, people's opinions are their own opinions and generally no two are ever alike. Finally a P bass is a P bass, it's iconic, reliable and cool, but it is a P bass and without a some effort it's never going to all things to all men although over years it's come pretty close and over that time, it's now getting on for 65 years old, it has lost none of its appeal.

Yes I think these were end of stock but from other posts I've seen the Pelham Blue ones suffered the worse in paint finish issues and rumour has it Gibson called production to an end early in the run. Although the Non Reverse was fairly balanced, I tried it with strap on the back of the neck heal like the Reverse Thunderbirds and it sits a bit better for me so I added another strap lock with it's felt. Anyone know how I post photos, you can then see the quality issues and my rather handsome bass. cheers

My guitarist uses a Decimetre pedal, kills everything (background hum and hiss) and doesn't really have much effect of your sound. I use a Boss (cause I'm poor) and it cuts out any unwanted noise for me but I don't use really noisy pedals and I use a really good power noiseless power supply, Diago.

[quote name='Kiwi' timestamp='1398238768' post='2431854'] I looked at their review of the Trace dual comp with a little bemusement - it has been the best sounding compressor to my ears and yet it got a luke warm response on the review site. Prior to that I've tended to stay faithful to the natural fenderish compression that comes out of valves - ie more compression on the highs, less on the mids and lows. Maybe I'm looking for something different to the reviewer on that site but I'm curious about the Markbass unit now. [/quote] The Dual Compressor on my SMX Trace Elliot combo always sounded good to me too, but if you like the Trace Compressor then the Ashdown one is basically the same as it's made by ex Trace employees

When I was looking for Compressor I used Ovnilabs quite a lot and when you consider 90% of the Compressors out there are just rehashes of old seventies items I was surprised to find there are only a couple of Compressors for bass that seem to worth buying. MXR £160 Markbass £180 Wirlwind £220 I suppose you get what you pay for.

Hi I tried a Tech 21 VT and couldn't find "that" sound. I wanted distortion but a warm valve type distortion that gives a nice dirty bite but doesn't scream thrash metal. I found that sound and the thrash metal in the Nate Mendel. For other sounds more bass / more treble / lead / cutting above guitarists and drummers I use an Aphex bass exciter but a reckon a decent graphic would do the same job. YouTube is a pretty good place to check most of these pedals out but again they don't always sound the same in live situations. I think I said earlier it's taken a long time for me to find my sound in a pedal and I''m not a massive pedal fan, it just one more thing to go wrong playing live but playing in covers bands one sound does not suit all in my opinion. Peace Reversebird

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Never used to use pedals in the early days but as times gone by and now playing with a covers band one sound does not suit all. Ashdown Nate Mendel Dual Overdrive/Distortion Ashdown Chorus Boss Noise Gate Korg Pitchblack Tuner Aphex Bass Exciter Diago Power Supply Behringer DI box (like the Sans Amp) just in case I loose my amp while gigging I can still get a decent sound through the PA Compressor is on my Ashdown Klystron or Trace Elliot SMX along with the graphic EQ. To me the above is just enough to get the sound I require to play live and it all fits in a small pedal board.

Alternatively, have a look at some 80's Ibanez and Aria. Some great instruments there with the kudos and mojo of an oldie. Aria SB600, Ibanez ATK, Westone Thunder 2/3, Status (Groove), Washburn (Jap models), Yamaha BB, Musicman Sterling Rays, There are so many really decent basses out there these days for not a lot of money, just got to decide on your sound, image and what music you think you will be playing. Overall you can't go wrong with a Jazz Bass (Squier, Mex, China) Reversebird

Hi all I had a Krama headless and a Tanglewood Warrior 3 repainted by two different car paint shops. Both the basses were stripped to bare wood and both paint shops had problems getting the paint to settle without sinking. One even baked it for me, that was the Krama I think. Eventually both basses came out looking the dogs nuts, the Krama in Volkeswagen pearl black and Tanglewood in metallic Pearl white. I think I paid £30 for the Tanglewood the guy said it was too cheap for the work involved :-)) I paid £100 for the Krama but I had the ali neck masked so,you could see the the metal and the wood inserts were painted the same colour as the body. I think if it's a bass you love and want to keep then spend the money on having it done properly and the choice of colours is amazing even if you have a colour in mind have a look a the colour charts you might find something ultra original and totally you. Peace Reversebird

The bass finally arrived from Thomann, free delivery. On opening the beautifully "made in Canada" case I saw what was a stunning looking bass guitar in Pelham Blue. I didn't bother with the setting up as the Hipshot bridge turned up from the States as well and I was always going to fit new strings, Rotosound Nexus. Fitted the bridge then the new strings and then 15 minutes later totally set up to my liking. Still hadn't heard the bass and didn't even bother to try. Next took out the complete the wiring loom with Gibson branded CTS pots with no rating codes but rated on my voltmeter at 250k for the two volumes and 500k for the tone and made a brand new loom with CTS 500k pots on all three knobs and 0.47 paper in oil cap. I had to reuse the original switch craft jack socket as the switch craft one I had brought was slightly shorter, but I used the black nut and washer I had ordered just because it looks a bit more in tune with the knobs, which I moved to the original sixties position of three in a line and the jack socket below. Finally tried it through my Vox amplug and it sounded awesome. Gripes....now as I said Thomann were discounting these from approx MRP £1200 to £650 with free delivery and to be honest if I'd paid full price I'd be VERY unhappy. The quality of the finish is very so so!!! The control cavity cover didn't fit properly and when I removed it to check why it chipped a small amount of paint off. There are also marks above the cavity compartment in the wood that should have been sanded out but have been left and painted over!!!!! This is terrible quality control for a £1200 high end limited edition bass and why not fit felt pads under the strap buttons, it's the attention to detail that matters. I have never had a Squier bass that bad let alone a top end Fender, Musicman or Rickenbacker with such bad quality paint, finish and fittings issues. I brought this bass to play not as a show piece so there was always the possibility it would become road worn eventually but not before I got it to the road !! To me £650 for a "real" USA made Gibson bass is still a steal, but Gibson really need to get their act together over the quality of their products. Generally Epiphone's quality has been very good although a Silver Burst Limited Edition Reverse Thunderbird I looked at in GAK Brighton had some paint issues similar to my Non Reverse. Overall I'm happy with my purchase, would I buy another Gibson product ??? Maybe but after the issues with this one I would want to buy it face to face rather than over the internet, obviously I could have returned it to Thomann but as said above I still think I got a bargain.

I was looking at buying the new Epiphone Thunderbird bass with the thru neck after trying one out in GAK in Brighton. Beautifully made, next to no neck dive unlike the bolt on version and a great sound from the Gibson pickups. While I was trawling round the net looking for the best price I came across a brand new Gibson Non Reverse Thunderbird Pelham Blue for £650 with free delivery from Thomann in Germany. When you consider I was going to spend £379 on the Epi and another £60 for a case I thought another £200 for a Gibson bass has to be a good deal. After reading some posts on here and from previous experience I intend to do some upgrades straight away. 1: Hipshot bridge, like marmite you either love or hate the 3 point 2: 500k pots with a paper in oil cap (just because I have one lying around) from an earlier post Gibson are using 300k pots on Humbuckers!!!! No wonder they're muddy. 3: move the tone back to the original position 4: strap locks Schaller of course 5: Hipshot clover leaf tuners (cause I like the look) So realistically spending another £150 should get me the Gibson bass I always wanted and ready for the hard road of pub gigging for £800 all in. I still think that's a bargain for a bass that's becoming very hard to find and Gibson have stopped the production. Eventually I may buy all the hard wear in chrome and covert the pickup covers too but for now black is the new chrome.

Just brought the Ashdown Nate Mendel Dual band Bass Distortion/overdrive pedal. I watched the Ashdown advertising video he made and thought that sounds exactly what I'm looking for but as per usual pedals never sound like the videos when you get them home. This one does!!!!! Watch the Ashdown video and if you like the sound you can definitely get in this pedal. I can dial in the sounds from the video really easily from a little bit of grit on channel 1 (+30db) to massive distortion on channel 2 (+60db) and if that's not enough for some people you can add a further + 10db on a micro toggle switch. As with all Ashdown pedals it's built like a tank. I also have the James Lomenzo which is nice too but the Nate Mendel just reminds me of all those 1970's Punk tunes from The Jam and The Clash sort of warm driven valves and grind but as I stated you can achieve the Foo Fighters out and out grunge too. I got mine from GAK in Brighton for £83 which they price matched against Absolute Sounds in Bournemouth. This is staying on my pedal board along with my Ashdown Chorus, Aphex Bass Exciter and Pitch Black Tuner.

Thomann have dropped the price on these to £650 brand new free delivery. Only Pelham Blue but that's amazingly cheap for new Gibson.