Stewart

Tonefactor / Mojo Hand 442 Red is favourite for me too, it sounds fabulous, and very easy to control. The Prometheus is phenomenal (there aren't many bandpass filters around, and almost no sample & hold type controls), but it's quite finicky... (hours of fun though ) I've got the EBS BassIQ, but only use it for reverse (aww, rather than wahh...) sweeps - it's a bit 'quacky' for me in 'normal' mode... Digitech BSW is fabulous for 'special FX' - good octave down too, but it wouldn't be my choice for an envelope filter (alone). Boss AW-3 is good if you want or need tap-tempo wah, and some of the 'vowel' filters work quite well, but it just sounds a bit 'dead' to me somehow in the 'standard' modes.

Taser...

What you really need is filtered noise - best bet would be a detuned AM or FM radio feeding a wah or flanger!

Virtually all powered subs won't offer a speaker output. Best not mixing subs anyway - either get another the same or flog it and buy something else.

I'm pretty sure standard precision (rather than Mark Hoppus with Seymour Duncans) pots are usually 500k rather than 250k (but I wouldn't worry about using either...)

There's no lights on the Christmas tree Mother, They're burning Big Louie tonight - Sensational Alex Harvey Band

Just use an attenuator. Here's a 10dB: [url="http://www.studiospares.com/Mic-Accessories/Pro-10Db-Inline-Attenuator/invt/568570"]10dB attenuator[/url], they do 20 30 and even 40 if you need more.

[quote name='OutToPlayJazz' post='643966' date='Nov 2 2009, 10:41 PM']... In the same token, which Jazz pickups do you recommend for high output & huge tone?[/quote] Di Marzio Ultras are fairly huge and loud - though they do have the problem of inequal balance (loud E and G strings) that always ends up getting on my nerves, no worse than most other jazz pickups though. I do like the Fender '62s (I think they're called) as well (same problem with the balance...) I'm going to try Bartolinis next...

There is clearly a synth lead part... My money's on synth bass too

Just get a cheap 2-input (or more) line mixer - you can use the amp send as one input ,the drum machine as another - route the output back into the amp return (Or get a cheap mixer with preamps and just mix before the input...)

Yes - also sometimes called piping

I doubt very much whether the GK Neos would be happy in a small sealed cab (all Neo cabs are substantially ported) I'm with johnzgerman - get rid of it and get something else.

[quote]hi, sorry, i might be completely misunderstanding your post, but did you mean to post a link there? you said here's a source of some goodies but you didnt say where. thanks![/quote] Ah yes, finger/brain trouble... [url="http://smartelectronix.com/"]Smartelectronix[/url]

There is no shortage of great VST stuff - here's a source of some goodies - mostly freeware. In particular, check out Antti's ASynth and Taurus.

Aye - total nonsense those figures. If you multiply the mains current drawn (~10A) by the voltage (~240) and then give them a guesstimated 90% efficient power supply, that's somewhere just over 2kW I reckon. Mind you, the difference in audible output between 2 and 4kW is almost nothing....

[quote]do you know the difference between the twin coil and the single coil in the antiquity range?[/quote] Completely different shape and size - the single coil models fit '51 or Telecaster basses...

They're never going to be completely silent, but nothing else is going to sound quite like single coils... The main thing is to screen the pickup cavities and control cavity, and ensure all the screening and signal screens (earths) meet at the same point - all you need is some copper foil, a few inches of wire and a soldering iron & solder (and someone to do it if you can't). I don't have experience of Kent Armstrong Jazz pickups, but I have the Hot Vintage P in one of mine, and it's almost too dark and heavy. That said, I don't seem to be able to be able to bring myself to replace it.

If you don't mind changing the bridge, one of these will give you a little lateral adjustment (the 'Fender' model - it uses three screws out of the five) - I really like them. [url="http://www.basspartsresource.com/bridge_hipshota4.htm"]Hipshot bridge[/url]

If you've got plenty of cash, this looks like proper stuff: [url="http://www.radialeng.com/re-8ox.htm"]Radial splitter[/url]

I doubt any will - XLRs invariably being used for balanced connections... Just use some of these, perhaps: [url="http://www.studiospares.com/Adaptors-XLR/Neutrik-Adaptor-XLRfe-Stjkm/invt/581020"]XLR adaptor[/url]

I've got one of these - works fine... [url="http://www.behringer.com/EN/Products/DI800.aspx"]Behringer DI800[/url]

All good stuff - but I'll take Big Mama Thornton's Hound Dog over any Elvis rendition any day

The horn (with a crossover) won't halve the impedance like running two woofers in parallel. You're probably 'safest' running the cab sealed (rather than using a port of no-prticular-dimension), but whether or not you get usable low-end... Someone familiar with ISD will no doubt be right along

That'll do OK - though doubling it wouldn't hurt

PA operators usually want you to use their DI because they are (to them) a known quantity. Many heads (not GK) it seems do not have a good DI output. Some are unbalanced, some just noisy - levels are all over the place from unit to unit. They just want a signal they can use at the desk for the entire show. If you want more control , take your own DI - maybe a microphone too. But you'll get a better reaction if you take BSS/Radial... DI boxes and Shure/Audix/AKG... mics.