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Outstanding! Daryl

I think of myself as a guy that seems to be able to play rock and roll bass guitar. Daryl

Title is confusing me as I'm not seeing anything missing. If it's just the TR cover speak to Brian, earlpillanz, on eBay. When I dropped off the scratchplates from my Peavey collection I included control cavity covers and a TR cover. Templates were made but the TR cover never made the inventory, Brian wasn't sure he had the curve right and didn't want Americans moaning "it doesn't fit". If you loose your senses, replacement screws can be bought from "Fretsonthenet", Dave carries all of them; does pickup rings too.

Back at the White Hart in Melton. I do like the sound there. It was very quiet when we started setting up, but livened up ok. Perhaps a little too lively from the young teachers celebrating the birthday of one of them - only two full glasses dropped and smashed. They moved on after our first break. We normally play here on a Sunday to a nice relaxed atmosphere, but it made an enjoyable change to be a bit more "in your face". I got a nice balance on the Big Muff with enough fuzz to be able to tell it was on too. GT-6B before it, Rumble after it. The Stingish bass (Sterling Sub5 with Retrovibe Stinger preamp) is a definite keeper - a load more compliments on my sound and it's so comfortable to play too. What wasn't comfortable was accidentally stabbing the tip of my fretting index finger on the sharp pointer of a temperature gauge only 24 hours before the gig. It was a lot sharper than it had reason to be, went in at least a mm, and spilt a fair bit of blood. Paracetamol numbed it to start with, but adrenaline is the best painkiller.

That's a slick little design you've got! I just had a look over the manual you posted, I like the look of it a lot. So personally, I have two use-cases for DI's, when I'm performing, and when I'm running the desk. There's no overlap for me, I'm not in a band where I have to run out to mix the show while I'm playing it. When I'm performing, right now my DI boxes go at the end of the chain, kicking the parallel to any amps I might be running, with the XLR's going straight to FOH after all of my effects which are relatively simple, mainly heavy drive, amp sim, sometimes pitch effects. That'll change when I finally make the switch to an Anagram, where I'll be splitting the outputs internal to the pedal, using the XLR outs to go to FOH with amp sims, and the 1/4" outs to go to amps, before any amp sim on the pedal. When I'm on the desk mixing a show, DI's are right before the amps as well, and I leave it to the performer to put whatever they want in front of them. For me, the name of the game is reliability. I need to know that when I bring that fader up, I'm getting sound, and it sounds like the player. If I need to tweak things, I usually have some form of EQ on the desk, whether it's a basic analogue channel strip or a full graphic EQ on a digital desk. That said, giving the player a little control over their DI tone with that shaping knob is a great idea, letting them adjust what they're getting out of the monitors a little without trashing what I'm getting at the desk. If I could add my two cents to your current design? As a player who'd mount this to my board, I'd love to see all the inputs and outputs on one side of the pedal. That's just a personal preference, I like having my 'final stage' on the pedalboard to be like that. As an engineer who'd throw this in my pelican for a gig, I'd love to see the controls be turned into something low profile. Trim pots accessible through the enclosure, etc. This is an organisational thing. Engineers often carry DI's in their pelican cases (I've got three of the most basic, passive DI's I could find in mine as my emergency DI's.) and it's already tight for space in there. Having the enclosure as low-profile as possible, with as few things sticking out as possible would make it that much more tempting to have these as my go-to DI's instead. Hope this all helps!

And what f***ing comedy they are 😆

I'm an entertainer.

Marine boy theme. Howlin’ Wilson

This is my 1978 T40, it was in a bit of a mess when I got it, not so much now I'm finished.

The dictionary definition is: ‘noun One, such as a painter, sculptor, or writer, who is able by virtue of imagination and talent or skill to create works of aesthetic value, especially in the fine arts. A person whose work shows exceptional creative ability or skill. "You are an artist in the kitchen." One, such as an actor or singer, who works in the performing arts. One who is adept at an activity, especially one involving trickery or deceit. "a con artist." One who practices some mechanic art or craft; an artisan. Similar: artisan. One who professes and practices an art in which science and taste preside over the manual execution. One who shows trained skill or rare taste in any manual art or occupation. An artful person; a schemer. Similar: schemer. A person who creates art.’ I don't see anything pretentious in calling yourself an artist. If you do create art then you're an artist. Does playing ‘Sex on Fire’ down the Dog and Duck on a Saturday evening make you an artist? Probably not, but if you're writing lyrics and composing your original music, then yes.

I have the classic issue of my bass isn't cutting through the mix very well at gigs. I have no backline so I rely on my PA completely. The problem I have is that I really like the 2 pickup mid-mid scoop type sound and while it sounds great in isolation, it's gets lost in the mix. I also know that I should be pushing the mids to cut through and while I don't like the isolated sound, I'm sure it will cut through the band mix better. So my question is which frequencies should I be cutting/pushing on my mixing desk(Behringer XR18). For reference my pa speaker set up is 2x18 in bins and 2x12 tops. Thanks in advance.

Thank heavens, as otherwise there would be none that could be guaranteed to be independent.

That's exactly what I was about to say. A new bass should be pretty much immaculate, not chipped and scratched. They should have refined the body before letting it out of their workshop.

Yep. Reading ur post reminded me, back in the day you switched it on at sound chk then it would be left on standby until show time which cld be hrs later.. they always sounded better toasty hot.

Interesting! I guess that, plus the positioning further from the neck, is what makes the sound less like a Gibson mudbucker. The name “Bi-Sonic” is misleading then. I may have gone too far towards the mudbucker tone with the humbucking P-127 then. However, I have the ‘60s British Invasion bass tone in my head and a lot of that was achieved with Gibson humbuckers.

Interested to know how you hook everything up? Is your bass straight in to the passive DI or do you have a pedalboard inbetween? I've been working on something for just this sort of situation and it woud be really helpful to understand how you link everything together and what lets you down. Cheers Chris

Reasonable price for 4 string as I doubt many will have been poorly cared for?

Hope I'm not hijacking this thread, but I'd be really interested to hear what you guys would need from a DI box? The reason I ask is that as well as being a mediocre bass player I'm a mediocre electronics designer and have come up with a "pedal" that gives you some degree of volume and tone control as well as being 9V/battery/phantom powered. I have a couple of these with gigging bass players but I'd be really intrested to hear if it's something people would find generally useful. I have nothing to sell, but I'd love feedback if it's something you potentially would find useful. I'll attach my "user manual" in case you're interested. Cheers! Chris Embarrassingly Direct.docx

Nope - I can't say I've ever hated a bass.

Marine 475 - King Crimson

I know it’s not popular on here, but ‘Later with Jools Holland’ has been championing plenty of music, with 65 series over the last 30+ years. It’s been viewed not only here but in much of Europe, USA, Canada and beyond too.

I got a Zoom B3n about a year ago, and it has lots of fun effects and presets. I haven't found a combination of settings to make a good synth sound yet. The pre-set patch doesn't sound great! Can anyone suggest what settings to use for a good synth sound?

i will say the japanese ones are alright yeah the construction is nice as always from MIJ it's just the electronics and general body designs that do my nut in, moreso meant the korean models with my original comment but it's just a bias against all tunes really, have nightmares about them