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Those heavy old things? GR Bass AT212, 11.5kg.

I'd suggest a bipolar electrolytic capacitor, 100uF, between the volume control wiper (centre terminal) and the jack socket. https://www.ebay.co.uk/itm/135605376775?_trksid=p2332490.c101875.m1851&itmprp=cksum%3A135605376775cef0a91da54e454782348804eec8ffed|enc%3AAQAKAAABAGqm9FAFUYsD%2Bg2P7amRF5PbrMKBN936TfFmdyEufDvNNKlouoyOXUVGTPycutqBFaPaOz%2BQqnhN8qhZ%2BG5l%2BL7DDJt8BGa%2FL%2FwS2wEfKZPNxF6YW3%2BOx%2F7ihlnjbvlvBdhOpkkf4UKXyGM%2BbVkoLJB52mgrxZb48efu8b%2FhufVM8MgbVsMtNLBULIZNQOKjZc5QWzm1qqCJ6%2FxIL4Bf7IPNWqZCHUiTIXx8mqkMApNuDghAJGD4Cl0x4rpQFzfYOmJWkS7uv9s19vuRnPSWKX6%2F7kol5CacR7y0rSDod%2F1DYURL1WsxQVrGELLor6eq4lvgL5Ifzlg%2Bthp6HhqDbZA%3D|ampid%3APL_CLK|clp%3A2332490&itmmeta=01K5V1RHF038YS2JAVXMHRP6AW&var=434962815180 - the 100uF and axial (one lead each end) would probably be easier to fit than radial (both leads at one end). Depends how urgent this is. If you've got a little time, it's going to be worth getting the sticky foam off the component side of the preamp circuit board. There's going to be a capacitor connected to the orange wire just by the red wire in the upper connection block on that diagram, and that's most likely the guilty party. It may well be a case of replacing the entire board though. I think there's another work round, which is to briefly switch to passive when switching a pedal, although that's not ideal either.

Those are for speaker crossovers, so no they're not the right ones. If you rip off the charcoal padding on the blue PCB in the circuit diagram you should see a physically much smaller capacitor, and with luck there will be the rated capacitance written on it. On the circuit diagram above, it is not shown, but would be on the blue thing in the centre, on the other side of the board.

Mooovin' and Groovin' - Redds and the Boys

I've completely given up trying to get synth/filter sounds out of the bass. Even if I had devices capable of the sounds the extra amount of practice I'd need to put in in order to trigger them reliably in a repeatable fashion simply isn't worth it, when I can either play it myself on a keyboard where it will sound right every time, or hand it off to our synth player or to the backing track, who can play it even better than I can. I'm lucky in that I now play Bass VI, so if I really want a synth sounding bass I can give it to an instrument better suited to it, and play something in the guitar register instead. If I was in a band with a more traditional line-up I'd probably bring a keyboard synth for any songs that absolutely had to have synth bass parts. IMO getting the sounds right for a song is as important at rehearsal as finding the right notes to play. My band spend at least as much time in the practice room fine tuning our synth and effects sounds and the balance between the different ones we use as we do working out what to play on a song. Both are equally important, and it is essential that the sound changes are right and properly balanced and the rest of the band need to appreciate that. I find that I can get close to the right sounds on my own at home, but I know that everything will need adjusting once the rest of the band is playing and we factor that in when getting a new song ready for performing to an audience.

I would. But then, I'm subject to occasional rash & impulsive decisions!

Just checking I've understood this... Would something like this be what I need? https://ebay.us/m/EnJIZt And where in the circuit would it go? Between volume and output jack? Or immediately after preamp?

That one is off the rails!

Black is the best colour IMO. Goes with the headstock well, and easily made a bit stealth with the addition of a black guard once the original has been binned. IIRC the colours available were teal, black, white and a kind of burgundy red, all textured.

Yeah, I think you are probably right. The main issue I have with programmable presets is I tend to completely leave them alone when playing live or even when rehearsing - as having 7 other people in the band stand around while I kneel down and click through menus to try and adjust parameters and hit save etc. seems risky or at least just a bit of a faff. But that is something I could get more confident with if I actually edited the presets more in a band setting. Also, I find multi-fx are still a bit lacking with stuff like synth and envelope filters - once I add them, I need a power brick, and a pedalboard, and the multi-fx to change EQ presets, it all seems to get a bit big and complicated and looses a bit of the spontaneity individual pedals on or adjusting dials. But yeah, multi-fx is probably the most sensible and cost effective option.

It is expensive, but given what you want to do, I think the Source Audio is by far the best option. It's a great pedal, very accurate, it's pretty small, and unlike a multi effect which will be larger and give you the temptation of loads of sounds you don't need, it just gives you exactly what you need, in troves. If you want to save some money, you could find a 2nd hand Source Audio SA-170, which is the first version of the EQ pedal. Not quite as feature rich, but will still do what you need.

I like the look of the 2 channel Markbass LMK 58R https://www.markbass.it/product/lmk-58r/ ... the main drawback is the £700 price tag so I'll keep an eye out for cheaper alternatives.

Black Cow - Steely Dan

Their UK suppliers never seem to last long, every now and then someone like Andertons will get a few bits and pieces in but when those are gone that seems to be it. I was very interested in trying an ASAT bass a few years ago and couldn't find one, new or used, being advertised anywhere in the UK. I always assumed the US made stuff was fairy low production numbers so most of it stays in the States. It'll be a shame if they do go, a lot of their stuff, both bass and skinny strings, guitars are an interesting twist on Leo's original designs. I'd be sorry to see some of those designs go.

We all have different sounds in our heads. How do you go about getting the sound you want? At home, in different venues, maybe when faced with an unfamiliar amp. Looking for your thoughts on how to go about achieving different sounds, especiallyfor amp only setups.

Like Eating Glass - Bloc Party

Seconded!

Have to agree with @Wolverinebass and @Phil Starr : my two Monzas seem perfectly stable stacked and the corners do interlock. However, we all have different standards for these things and perhaps a heavy head makes the OEM setup feel more precarious. I have had issues with the rubber feet on my BF Two10, I think caused by over enthusiastic helpers dragging it out of the van at a gig. Basically one foot was torn out of the wood and another bent at an angle. I had to remove the remaining feet to play the gig. Fortunately I had my isolator pad with me so there was no damage to the tolex as a result. The mounting holes needed a little filler repair in order to replace the feet. Not the end of the world but it would be better to have them mounted into captive nuts IMO. I understand why manufacturers don’t do this, as it would add cost and time to the build. Interlocking corners seem to be a good low cost solution.

I don’t use rounds so I don’t know how they feel , but looking at the gauges maybe the labella 760FL (light) which are 43-104 , I’ve got them on a few precision’s and they are a nice sound and tension, below that is the 760FX 39-96 (extra light), the LTF’s are my personal preferred choice, similar tension to TI’s but not as bright

Nope, the TRCs on her Rickies (and they're real ones) really do say Rickenbecky.

She was indeed, and she is their current bassist. I've known Becky for many years, in fact she actually depped for me waaaay back in the dim distant. Since then I've watched her career rocket off through the roof, and it's all down to her hard work and determination. She's a great example to us all, regardless of gender.