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Ended. £2,210 quid plus 24%

So just to be clear -- you think it's ok to move in to a house close to an establishment that you know full well to be a source of noise, and then complain about it despite the fact that a} it was there first, b} you knew it was there, and c} you chose to live near it?

An Eagles tribute show at The Fire Station in Sunderland, a relatively new 550-cap venue. I reckon it's probably one of the best in the country. The hall is beautiful... acoustic perfection. The PA is premiere league. The staff are lovely, and absolutely on it. It even has parking! Used my MIA Standard Jazz, with the G&L L2000 on standby. Rig was, of course the Handbox R-400 (with its lovely on-board DI) and TKS S212.

Candy Apple red, or put a fancy wood veneer on. Check if a clear poly over tru oil is even possible, most laquers don't take to oil base coats, and Gunstock oil doesn't really need a top coat.

Good Darts!.. I'd gone Penny Washer, M5 Bolt, Nylock Nut! Watching with interest.

Yeah, I used to own the 1210. And everything above is kinda the point of my question… all the guitar reviews say “it’s as good as the original, despite the changes”, but there’s no bass comparisons out there at all. Which is odd, given how long it’s been out. I’m just interested in the experiences of anyone that has the reissue and has compared it to other chorus pedals.

I should mention that @Chienmortbb very kindly threw in the Roland midi pickup and its associated internal gubbins gratis, but after an afternoon of reading spec-sheets and sketching ideas, I decided that this wasn't something I wanted for this bass. It would have complicated the project – particularly the wiring – massively, and given that I don't have the accompanying floor unit (and no plans to acquire one) it didn't seem worth the hassle. I'll put it up in the recycling forum when I get a moment to properly inventory what bits are there, because I'm sure it's of use to someone. Having ruled that out, I started going through the steps I'd need to take to restore it to stock condition. I decided, after a fair while spend staring and mumbling to myself, that the hole in the side called for drastic measures. If I was to make this bass look decent and return it to its original configuration (with the strap button on either side of the bridge) I needed to plug the hole, but the current routing (if you can call it that) was so raggedy that squaring it off well enough to glue in a plug would be near impossible. Therefore, I grabbed my chisels and a sharp tenon saw and cut out the whole section. No way out but through! After tidying this new gouge, I cut a piece of wood from some scrap timber I had in my heap of scrap timber (everyone should have a good heap). This was planed and finessed into shape. I used rasps and sharp little chisels to cut the recess for the control cover. Then slathered the whole thing in titebond and left it overnight. Once the glue had set up, I carved away the excess with rasps and files. I'll fill in the remaining little gaps with epoxy once I've sorted out the other things.

Great job, congratulations!

I have not, but then again I don't know the Scott you are referencing either. Care to enlighten me? Mark

The original was powered by an internal PSU. The signal chain had a compander (like dbx, Dolby, or Telcom). Therefore the noise level was super low: signal goes to compressor, then it is processed (analog) and finally expanded to outputs (full delay, and half of it to make it sound like a stereo unit). By the way, this pedal was also available in rack format as 1210. (tce had many interesting units at that time like 1140, 1144, 2240, 1220, 1280, 1380, 2290, programmable Phaser XII and XII B/K, dual parametric pedal...)

Yeah that mod is definitely on my list of priorities. I also need to do it with my other headless bass, as that can be really hard to turn sometimes.

For me it’s the insistence of the use of equipment/a set up that the bands may not use. It’s their performance, they should be as comfortable as possible so as to put on their best show. Now controlled stage volume, well I get that, but I can’t see why it wouldn’t be possible to DI from an amp set very low on volume and then have monitor feed. Given it would be there as a DI it wouldn’t even need to be pointing in the direction of stage mics.

Had a play with a B2 a while back Well worth replacing the 3 plastic washers on the tuner screws with a F4-10M Thrust Bearing (4 for about £5) for smoother tuning.

Actually, I was only half joking. Mainly yellow, with another colour in there somewhere, perhaps spots. I really love brightly coloured basses, and some of the colours Ernie Ball comes up with for his instruments are great.

Funkin up the Pantiles in Tunbridge Wells last night with my best mates in The Audacity. Full line-up with 2 singers and 3-piece horn section in front of a very enthusiastic crowd of diners, drinkers and dancers. Wonderful stuff!

Yes, no problem - assuming the replacement will fit, as not all 15" speakers are the same size. It's worth measuring up first.

Following. 😊

He made me a 35" 5 string neck in the late 80s, early 90s which pretty esoteric at the time. It has been through a couple of bodies but is still lush.

So this is going to be my first post in the build diaries forum that's actually describing an ongoing project. A few weeks ago, I gave in to impulse and decided to buy @Chienmortbb's headless Hohner "The Jack". I'd been circling this project bass for a while because I was on the hunt for some decent (but not astronomically expensive) headless bass hardware. I didn't like the idea of cannibalizing a bass that looked more-or-less salvagable, but I figured I'd keep an eye on it just in case he decided to split it up for parts. The longer I stared at it, and at the complex thru-neck multi-laminate-body design that I'd been working on, the more I realized that a cheap, lightweight and compact bass was something I needed/wanted far more than the custom bass I'd designed. That was a bass that would probably take me several months and end up costing the best part of grand to make. So I contacted Chienmort and said I'd take the Hohner off his hands. It arrived the week before last, packed with great care and attention, and I was able to take stock of what needed to be done. For anyone who hasn't had a quick look at the original listing, the story of this bass is that it was retrofitted with a Roland midi pickup system by a previous owner. This meant it had three extra holes drilled into the control cavity for switches, a recess cut into the front to fit the pickup under the strings (which the previous owner appears to have done with his teeth) and a massive square-ish hole Boo-Radleyed into the side to accomodate the 13-pin output connector. Whatever I did, I knew that I was going to need to refinish the bass. So the first order of business was to strip off the finish – or as much of the finish as needed stripping away. I tried to use chemical stripper again, and met with exactly the same results as last time I tried to use it on a guitar, which is a whole lot of bugger all. Each application only penetrated into the top few microns of paint, and I probably would have made just as much progress with just a metal scraper on its own. I gave up and switched to an orbital sander, which went much better. My aim was not to go down to the bare wood (solid-colour instruments are always solid colour for a reason) but just to sand until the scratched top layer was gone. With that done, I was ready to start patching up the damage.

What a great story! Thank you for sharing, and for returning an instrument back to life.