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My 68th Motown transcription is Reggie McBride's bass line on 'Smile again' by Stevie Wonder.

I now aspire to Lickey Hills.

Bass > pedal (via 1/4" guitar lead) / pedal > input on TC amp (1/4" guitar lead) / Tc Amp > cab (via Speakon). If the TC amp has an effects loop you can take a 1/4" cable out of the amp to the pedal and then the output of the pedal (1/4" lead again) to the return of the FX loop. 'Sometimes' one sounds/works better than the other.

Is a single truss-rod relevant?

Yes. The bass is plugged into the Zoom, which is plugged into the TC, both with standard mono 1/4" jack leads. The TC is connected to the Markbass cab using a standard SpeakOn speaker cable. Does that help..?

On the one hand you could get an Aria replica one made, but on the other how do you know it was an Aria?

Time for an update given it's been over five years. Mostly I have been focussing on guitar but... Moon MBC5TN There were two guys I found on YT playing these basses. One called Terry Romanio, based in Australia, who was playing one of these on a Chaka track. And other guy Igor Odaryuk playing one with modified electronics and a delicious amount of chewy midrange. This japanese import was intended to be a better value alternative to the Warwick Thumb 5 but it's more like cross between a Smith and a Warwick. Featuring a through body neck of wenge and bubinga with mahogany wings and pomelle bubinga facings, it has the Smith high end smoothness but the Warwick growl in the mids although the action has to be lowered to get that. The lows are boomy and a little unfocussed so pairing it with a class D amp is a good match or maybe replacing the Barts with some tighter sounding pickups could work. It's also a bit on the heavy side and the nut is fairly broad at 48mm. The electronics include twin pickup volumes, a passive/active switch and a three band eq which seems little clumsy so they've been replaced by an East Pro circuit. The truss rod is proved to be a little sensitive to tweaking, a little movement creates a lot of curve but after a fret dress it plays like butter. Really nice bass and great value second hand, at the time of writing I could pick two more up in China for about 1300-1400 quid each. Good bits: Smooth, bell like high end that you might find on a Smith bass Mid range warwick growl when the action is lowered. Deep deep bass Comfortable body ergonomics Dual truss rods Neck through construction Astounding value for money if you can bag one in the right location Not so good bits: It feels closer to 5kg than 4. Compared to my Spector NS5CR, the low end is a little unfocused Electronics are a little illogical. Nut is a on the wide side (48mm) Musicman Stingray Classic 5 I never set out to buy one and I was never really interested in owning one. This was a complete impulse buy, in mint condition, due to it's ridiculous asking price from some rich kid who aspiring to be a professional musician and didn't care about the money he lost. I was planning to sell it on in the UK to cover my airfare but I played it back to back with my '78 stingray and it was close enough (and impressively so despite differences in neck profile) that I had second thoughts. Then when the graphite neck thing started, I wondered whether there might be a chance of having the 5 string OG Cutlass bass I'd always wanted but could never have...watch this space. Good bits: Rich, deep character with some midrange growl thanks to the ash body. Beautiful 3A flamed neck Genuinely gets close to the sound of a preEB bass - fatter sounding than the standard SR5's I've played. Not so good bits: Nut width and neck profile is way too chunky, was it really necessary? It weighs over 4kg Vigier Passion III 5 string There was a guy on YT called Alex Bankovic who used a Passion III on some of this play alongs and I couldn't get that B string out of my head. This particular bass popped up on Ebay and I snagged it for a song, although it later turned out to have some cracking around the control socket which was repaired solidly but the refinishing is a little clumsy. The bass was also sold as "low action" but after I set it up properly, it turned out to have exactly the same built in relief as the others I've played. Still, the neck is ridiculously fast to play - the nut width is 42mm, the same as a stratocaster and the body is comfortable and light. Apart from the built in relief it's a very very good bass to play. So I will be getting the phenolic fingerboard replaced with PEEK at some point because it's very clearly lacking in thickness around the upper frets compared to the lower ones. Whether I add a truss rod at this point remains to be seen, it's mechanically the safest thing to do but its not certain whether it might have an impact on the sound of the bass. This bass has a replacement Lusithand GK RB800 preamp installed which on paper looks like it might be an ideal match for the character of the bass but in practice, the centres of the frequency bands miss the sweet spots of the bass, there isn't any onboard gain trim control so it's a little quieter than the Moon and the treble and attack is piercingly bright so I have it turned down. This one will probably be getting a 4 knob East Pro and a refinish in pearlescent white as I've got artwork for replacement waterslide decals. That's it. No changes on the amp side. I sold the Source Audio C4 as it was too complicated and had too many compromises (like a MIDI DIN socket) so I'll probably be sticking with Future Impact. Also up for sale are the Cooper Fx Moment Machine sequencer pedal, Alexander Colour Theory sequencer pedal, newly acquired Boss SY200 (after 4 weeks of ownership), EBS Microbass II pedal. I also see that a company called Polyend have released a pedal based sequencer so I'm aiming to get one of those in the next 12 months.

So I connect direct to my tc bh250?

What a fantastic instrument! Is that a slap relief cut out under the G, and and A strings? What surgery is it having?

My username started out as a stage name. I was once described as "the type of scum who would happily eat roadkill", and I decided to own that. My brother pointed out that "Owen Roadkill" didn't really have the edge it should have, so the Jack part was made up to fit. Of course, this is when I was a twentysomething snake-hipped rock god and the lack of irony wasn't a problem. Now I'm older, tubbier and greyer I look more like the actual roadkill itself.

Maybe I'm missing something, but I don't think that you can connect those two together. The Zoom is an Fx, with no amp, and the Markbass is a cab, that needs to be driven by an amp. The connectors on the cab are SpeakOns, used for connecting amps to cabs; the Zoom has no such functionality. You will need an amp of some sort, preferably one with a SpeakOn output connector, to enable use of a simple double-ended SpeakOn lead between amp and cab. The Zoom would be plugged into the input of said amp. Hope this helps, and apologies if I'm wrong.