warwickhunt

This is where I think he's being clever; take the guilty plea for a few crimes, in a short time frame and not get it to open court where other misdemeanours could be dragged up.

Sadly a judge will have to go by the guidelines and it is likely that all of his past, spent convictions won't be taken into account because of the timeline. TBH that is probably why he is being taken to court for such a small time frame; were they to actually act upon some of his actions documented on here, then he'd be in the realms of committing crimes whilst still serving his 2 year suspended! His solicitor has likely come to an agreement that they'll not contest the action if he is only tried for a small number of cases in a recent time frame!

With that neck in 1995, a one off / custom order makes sense, especially with it being a broadneck 5 string.

That's a repaired neck break! Though I'm puzzled as to why you are saying it is a 90's bass. By 1990 Warwick necks were Maple with Wenge stringers; that neck is predominantly Wenge and likely an 80's bass. 'If' done correctly and by someone who knows what they are doing, a break can be repaired as strong as new. However... the fact you can see it a mile away makes me wonder how competent the repairer was. Unless it was significantly cheaper than other examples I'd just wait for another to come along. Saying that, if this was repaired in the late 80's and looked like that when repaired, then it is 35 years with that repair so could be fine.

I'll agree that through IE/headphones there are are lot of amp SIMs that just sound too anaemic or polite. Adding cab SIMs via my recent acquisition of an HX Stomp helps but some the classic bass cab SIMs are truly awful. Simply scrolling without reading what a cab is, has revealed that some choices such as 1x12 'guitar' cabs sound as good as anything that is marked 'bass' and has improved the IE sound. The MS60 does have a couple of cab tweaks which can really help.

Do you have any preconceptions about each amp SIMs tone or that you simply didn't like ANY of the amp tones it has? I only ask as I scrolled through the amp sounds and I was underwhelmed that I 'really' disliked the classic SVT sounds etc BUT I stopped listening with my eyes and happened upon a couple of amp SIMs that I thought were good and with a bit of tweaking (inc some cab tones) they were very useable; in particular the SWR SIM. I would never have delved into an SWR tone if choosing from any amp available but when I switched off my preconceptions I could really get it to work for me.

RCF310 (used price £150ish). We use(d) one as our single FOH PA for our Duo until I upgraded to QSCK10 for use in other band scenarios at which point the RCF310 became the floor monitor. However, the QSCK10 has such a broad spread of sound that we can get away without the monitor and just get some bleed from the side of the single QSCK10. So what I'm saying is... the RCF310 makes a great monitor but it could also double up as a sole FOH speaker.

It's all about technique and posture... and if all else fails, having a couple of mates around!

Your pics make my 12 string look 'normal' sized! LOL

A busy day for me on Sunday; set off from the North East 07:00 to get to Newark for a 12:00 festival gig, then across to Preston for an evening gig... then back home for maybe 01:00 on Monday.

TC Spark does not have to be full on 'drive', it can do very subtle (I have one). I had the MXR and Ampeg Scrambler and I couldn't quite dial them back far enough... on the least setting they were 'almost' too much. As you are on a budget, the TC works BUT you could also look at a Boss MS60B; it has lots of options in one pedal. You could have the aforementioned compressor and/or a bit of OD and/or an amp sim to warm up your signal + you get a tuner and all the other effects for free. All to be had used for about £60.

Sadly I'm not sure I can justify £500+ for that pedal when I own gear that does 90% of what it does... if I can get the other 10% for £150.

Can you add effects to either of those paths? Also does the HX inc drives that will just add a bit of grit to top end as opposed to full blown OD? Off to research.

I wasn't aware the stomp or GT1000 could operate like that! So you can go in and then split the path to have one HPF and the other LPF, applying OD/grit to one channel before sending them to independent outputs?

12 string bass in da house so it is time to experiment! This set up us 'purely' to create the sounds needed for a Cheap Trick tribute but in the most manageable means possible. I'd like to add a bit of grit to the top end, whilst retaining punch/clarity on the bottom end. Utilising what I have (*), I'm thinking all I need is to split the signal in 2 and effect 1 of these to add a bit of grit which I can mix with a clean tone in my amp for live work, where the PA is going to have to mic my cabs. (*) I'm aware that the Tech 21 XB essentially does what I need but I'm not sure the outlay of £500+ is justified if I already own 90% of what I need. I originally had 2 lines of thought. > DI out to amp front input (full range clean signal... the sound of the 12 string) a) Bass > preamp [ > effects out > Broughton (as HPF) > Zoom (OD effect to add a bit of grit) > amp rear input (attenuated) a) gives me full range 12 string to amp front + high passed overdriven (not excessive) top end which is mixed via the rear attenuated input. Positives = only the top end as set by the HPF is effected with the Zoom. Negatives = The full range signal inc all of the top end goes through the front end of the amp. > DI out > Broughton (as LPF) > amp front input b) Bass > preamp [ > effects out > Zoom (bit of grit) > amp rear input (attenuated) b) gives me low passed signal to amp front + full range overdriven (not excessive) which is mixed via the rear attenuated input. Positives = only the bottom end, as set by the Broughton goes to the front of the amp. Negatives = The full range signal inc all of the bottom end goes through the Zoom and is overdriven before blending with the front end sound. Typing this out has made me realise that as I turn up beyond bedroom settings, version a) was going to make more sense... however! Typing this has also made me realise I likely need to get an active crossover pedal and split the signal before sending to any other pedal/input. The Rolls SX-21 seems to fit my criteria... any other options suggestions? I also 'likely' would like to have a means to DI the 2 signals to a PA if mic'ing the cab(s) wasn't feasible... I see me going back to the drawing board! LOL

TBH when viewed from the rear I assumed the neck must extend to the bottom of the bass to make mounting everything easier but it is in fact, a set neck.

Waterstone TP12 (neck-thru) 32" scale, passive.

Thought I'd update this thread with my outcome! I eventually bought a Hagstrom 8 string to get me by and did recordings and gigs with it (see video). However this week I've eventually tracked down and bought a 12er, so it will be brought into service asap! 8 string. 12 string

B&Q £7.89

Sennheiser IE100. I've likely sacrificed a bit of tone (possibly) but tbh they fit, I get a good seal (with standard buds) and as a result they trump the KZs but are double the price... but still only £80!

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