Johnny Wishbone

Two modded Bass Crybaby's running one into the other, with a board over the treadles so he can operate both pedals at the same time. Turn the Q control all the way up on one and all the way down on the other, patch them together and away you go. As each pedal is affecting a different frequency range, when you move them at the same time you get that weird "bleurgh" sound rather than the traditional "wah". There's some serious overdrive on there too. Great effect if you can afford two 105Q's!

PM'ing you now, Michael

[quote name='Hamster' post='167397' date='Apr 1 2008, 06:18 AM']Cheap cheerful and it works very well once you clip the C4 capacitor off the back of the PCB - it solves the common volume drop. Hamster[/quote] I have a TR-2, modded as per the above. Works fine, and can usually be picked up on the cheap, second hand. Combine the tremolo with delay and slowly rock your wah back and forth through its full range for a really cool sound!

Thanks guys. The warwick.de site in particular is very useful.

[quote name='metaltime' post='164700' date='Mar 27 2008, 06:50 PM']i thoght if it had bass and treble controls it would have to be active. confused[/quote] Me too, but apparently not. I thought they may be separate tone controls for each pickup, but in use they definitely sound like bass & treble controls.

Nice one guys. I figured daisychaining would still be in parallel (and therefore 4 ohms) but you know how when someone tells you otherwise you start questioning yourself? Or is that just me?

OK, so after scouring the net for ages I've finally managed to lay my hands on a used Warwick Fortress One. I've played a Fortress One for years but tend to break strings fairly often (I'm a very aggressive player!) so got this new one as a backup. Aesthetically the one I've just bought is identical to my old one (bar the colour), but the wiring is different: My '99 one, which I've had from new, is entirely passive with volume, bass, treble and pickup pan controls and no battery compartment, but the new one has an active preamp which can be disengaged by pulling the volume pot up. I prefer passive basses, so I was happy just disengaging the preamp on the new Fortress (a '95 model) but upon reading the manual I've discovered that switching it to passive also disables the other three pots, which is a problem as I use them to get the right sound out of the old one! Obviously, I want both basses to sound the same. I could just set the controls on the active one the same as the passive (bar a tweak here and there, obviously) and use the input pad on my amp head, but there's always the chance I'll forget in the heat of a gig! The Warwick manual states that all Fortress Ones come with an active preamp, and there's no mention of them ever being made with passive controls, so I'm a little confused. Have I unwittingly got hold of a one-off passive Fortress? Or is it a feature of that particular year's model that Warwick have glossed over in the manual? Over to you.......

Guys, I'd appreciate your help with this one if you'd be so kind as to indulge me: I use a 1x15 cab and a 4x10 cab (both 8 ohms) and until now have always run one speaker output from my GK 700RB-II to each cabinet, giving a total load of 4 ohms (as I understand it, anyway). If I were to daisychain the cabs rather than running each from a separate output, would this still produce the same load overall, or is it different? My mate thinks daisychaining the cabs this way will produce a total load of 16 ohms. The amp only has power ratings for 4 & 8 ohms, so I don't want to risk damaging it with too high a load. I ask as I've just replaced my sh*tty old speaker cables with brand new ones (courtesy of OBBM of course) and they're too short to reach the bottom cab in the stack. It will reach from cab to cab though, so I could daisychain them with these cables. I should point out that this is enirely my own fault - I assumed my old leads were 1 metre in length so ordered two new ones on that basis. It turns out they were actually 1.5 metres (I know, I know, I should have measured!). Basically, should I put this down to experience and order a longer lead, or am I OK daisychaining?

[url="http://www.nightingale-audio.co.uk/"]www.nightingale-audio.co.uk[/url]

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[quote name='wotnwhy' post='127217' date='Jan 24 2008, 07:30 PM']I Shot the Sherrif. it's fantastic on every single possible level. words can't describe. it speaks for itself.[/quote] A big +1 on that. Especially the breakdown bit at the end!

[quote name='KevB' post='122712' date='Jan 18 2008, 10:35 AM']Think that's on 'Black Country Woman' from PG. Never been quite sure what that noise early on in SIBLY is, might be a pedal squeak but it sounds like a human voice too...[/quote] According to Andy Johns (the engineer) it's the bass drum pedal. Wasn't there an accident with the master tape when they were mixing Led Zep III? I think I read that the first few inches of the tape got crinkled up somehow, and they had to iron it flat to get it through the tape heads, resulting in that weird hissing sound at the beginning of "Immigrant Song".

In "Polly" off Nevermind, Kurt Cobain starts the verse a bar too early coming back in from the bass break. He sings "Polly said" before he realises, then stops and comes back in at the right place. Eddie Vedder gets his words muddled in Pearl Jam's "State of Love and Trust". The lyrics are "...and the barrel shakes, trigger waits, aimed right at my head", but on the recording he actually sings "....and the barrel waits, trigger shakes.......". I'm sure he does the same kind of thing in a few other songs as well, but I can't remember any off the top of my head. Jimmy Page hits about half a dozen bum notes in the solo to "Heartbreaker".

Bought a Little Big Muff from Dave last week. Well packed and received promptly in mint condition. Clear comms and a pleasure to do business with.

[attachment=4733:460px_Ju..._cropped.jpg][attachment=4732:Robert_Trujillo_02.jpg][attachment=4734:77 546853.jpg]

Had mine for a couple of months now and it could well be the best £40 (bought it used) I've ever spent. I liken the difference in sound to that between a CD track and an mp3, if you see what I mean? You don't think there's any real difference but when you switch it off you realise how much it's adding to your sound. The Xciter widens the range of tones adding a lovely, punchy low end and nice, sparkling highs. I've had punters and other bassists complimenting my tone at most every gig since I bought it, and sound engineers seem to love the signal from the DI. I seem to be able to hear myself better onstage too. If I lost/broke it, I'd buy another one tomorrow.

[quote name='Russ' post='79233' date='Oct 25 2007, 08:44 AM']I know he has one of his Jazzes strung up in BEAD tuning, so that might be what you have to do...[/quote] +1.

Linda Perry. She's written songs for a lot of successful pop artists.

I'd just give 'em a copy of Bloodsugarsexmagik and have done with it!

H-Blockz - The Power (Snap) Johnny Cash - Hurt (Nine Inch Nails) Lemonheads - Mrs Robinson (Simon & Garfunkel) Lemonheads - Different Drum (Linda Ronstadt) Tricky - Black Steel In The Hour Of Chaos (Public Enemy) Quicksand - How Soon Is Now? (The Smiths) Rage Against The Machine - How I Could Just Kill A Man (Cypress Hill) The Specials - Monkey Man (Toots & The Maytals) Tool - No Quarter (Led Zeppelin) Only just, mind.