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Looking for a luither to regret my 78jazz.. Any recommendations near Milton Keynes 1-1.5 hrs driving distance?

No Pain No Grain - Betty Wright

Agreed, I also put the C4 on the front. Even tho it's digital, it reacts to a direct signal better, like an old fuzz would. I also love that you can set it to true bypass or buffered, based on your needs and pedal position!

Bought a bass from Brian and he was kind enough to hold it until I was in his neck of the woods to collect it. He even facilitated an early morning collection so I could meet another Basschatter later that morning to drop something off. Very smooth process and a pleasure to deal with. Thanks again!

Not sure I understand what you've written. It seems there may be some missing words. If you compare the spec's of many of the class D amp heads from the usual suspects, they do produce approximately the outputs I mention. There may be small variations, but for real-world, practical applications, the generalisation will suffice. Not all of us wish or need to delve that deeply into specifications, etc. We just want to know what will work for us.

This blocked/bound reverse P-bass neck is a pretty good fit for Fender pockets. Granted it's A. a P-bass neck and B. came from Ali-Ex but if you shift your focus from eBay the right neck can be had. Tip for dealing with Ali-Ex is pick a real seller, if all they sell is necks then that's your seller. If they're using the same stock photos as other sellers then move on. When you've picked a seller, message them. Tell them exactly what you want, number of frets/ nut width/ heel shape/ finish. Provide them with sizes, trace the pocket and the scratchplate area. Give them the pocket depth. More info you provide the better chance the seller can deliver your needs. I'd have recommended Wang Guitars but my last dealings were 7 or 8 years ago.

I'd be surprised if it was any single pedal or effect. It sounds to me as if there's some flange, a touch of wah/envelope filter plus quite a lot of compression. Easy enough to dial up in a studio environment, but you'll need to experiment to get the same effect live.

Just bought an amp from Jon. Smooth transaction and a pleasure to deal with. Highly recommended. Thanks again.

I use silkless strings, one less thing to worry about (if I was worried about it - which I'm not). They're not going to line up by you doing anything specific - if it happens, it happens and it's just luck. Strings stretch over time (especially when they're new), and they all stretch differently. As long as you have enough wraps on the post (and on a typical Fender/Squier 4 string headstock, as many wraps around the A that you can manage) then it'll be fine.

This is a fun little board I put together yesterday. The Ultra Wah is a somewhat rare Behringer pedal aimed at guitar rather than real musicians like us. So I've put it in the loop of the Orthros usually reserved for drives with no clean blend. It's a lovely snappy fresh wah and mixed with the clean tone works very well. Similarly the Lizard Queen is too thin for the fundamental nature of our instrument but fizzes and snarls wonderfully on top of the clean. The interesting thing I came across was the placement of the C4. Originally at the end of the chain it seemed to lose much of its effect. So I switched it to the start and it's great.

Having had another listen it could possibly be a Korg VCF pedal which has a combination of an envelope follower and a manual pedal for controlling the cut-off frequencies. It's a long time since I last used mine but it produced a similar flanging effect with the right settings and playing plus pedal technique. However, I think it is stillest likely to be a Bass Balls. Again with the right settings and a compressor it could be set so it only re-triggered when you really dig into a note.

Really interested in your experience. Declaration here: @stevie is a friend and we've shared ideas on the home build designs we've published on Bass Chat. Two or thre years ago at the SouthWest Bass Bash I took along a pair of new designs of my own for people to have a look at. I'd been following a discussion here on amplifying double bass and I thought one of them in particular would work well for DB. I ran live sound for a couple of years a very long time ago so I know all about the problems. Well I grabbed a DB player and got him to try my 8" design which did work well reinforcing the sound without overwhelming it and making it sound like a double bass. I was fgeeling pretty pleased with myself but we also had a prototype Monza there. Effectively the 10" version of the Monaco. I knew about the highly damped bass response and all the care that had gone into the crossover design and horn and driver selection and been there when some of the frequency plots had been made so I suggested we try that with the DB. It blew my little 8 out of the water, absolutely gorgeous. I know the response of the BB3 too, it isn't as flat as the LFSys and the drive units aren't as sophisticated. Keeping any resonances controlled and reducing them by 3db will give you 3db extra headroom. I'm not saying how much the difference will be in practice but I'm not surprised from the measurements that you've found it works that way. Equally the magnet systems in the Faital drivers Stevie uses are unusually powerful and keep the cone movement well damped reducing the bloom you get in a lot of commercial bass cabs which contributes to bass feedback. The price difference is irrelevant to the performance. The Monaco uses better components than the Barefaced and is a bit of a secret bargain if FRFR is what you want.

I've thought about that too but not only the horns are cut off, the upper- and end part of the centre piece (below the armrest) is also partly cut off, that makes it difficult... i think you can only use is when the body is fully covered with lacquer.. so i think its easier to build an entire new body....

See you've got a wanted ad up for Zoom B2 Four @AlexDelores I suspect most of us only make use of a fraction of the capability of our multis, and having something you'll be able to get more out of sooner makes a lot of sense. Given you're already up to speed on the B3, your familiarity with Zoom pedals should be a big jumping off point for the B2-4, which is two generations of Zoom multifx on from the highly regarded B3, and will hopefully deliver a few useful additional features for you. Fwiw - I also fall into the PC editing camp as I find it much easier to cut and paste and tweak patches that way and definitely don't have time during gigs to be adjusting pedal parameters, given that I'm on desk duties for my sins! It was part of the reason for not migrating to the latest gen of Zoom pedals as their latest software is Apple/iOS only and the super easy to use Tonelib editing software for Zoom pedals only goes as far as the previous B1-4 model. GLWT new pedal! PS I've actually held onto the first multifx I ever bought, way back in '96 for sentimental reasons: my old Zoom 2020 😊

I wonder if giving it a picture of a 1-string bass would freak it out?