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I have owned/own Fender Professional MK 1 P bass, a Sandberg VM4, a Japanese Squier P (40 mm neck), a Sire V5 and an Indonesia Squier P Bass Bass Special. They are all very good!! And then I bought a cheap Fender Power Jazz Bass Special. The neck on this is Fantastic!! 22 frets, 62 profile jazz neck, P body with bigger cut aways at the horns. PJ so all the tones you need. It's now my go to bass. This will do whatever you need and be a pleasure to play. There was a great one on eBay or Reverb recently for £700 ish.

£2740.40 GBP... Some people have more money than common sense.

It's all about noise, not what you're trying to make me say as it was absolutely not my point. Let me put it another way. You come to this place once in a while, enjoy the noise or even make it yourself, then you go away. It happens to you, as I wrote, once in a while, but the neighbours have to live with this each and every day with other people doing exactly the same as you, so this noise becomes a medical issue for them. This could be avoided if the noise is limited to the place mentioned, by simply using dampening or limiting the PA to what's legal, which is NEVER the case. It's not because it was there first that this is not a nuisance, and your b and c points are pure bullshìt trying to make me say what I didn't. What I'm saying is that if you want to make noise, go on, but respect the neighbourhood without annoying them and if this noise is coming from a pub or a venue, it's their obligation to tame it. Of course, I would never decide to live nearby some known noise makers, being it a pub, a venue, an airport or anything else and then starting to complain as I knew it would be a real nightmare from the start. But some people have not my choice or sometimes discover afterwards that there's a noise maker nearby that was closed for a period, but reopened and then the escalation starts. You know Angles and Saxons were Germanic tribes: Does this make U.K. a German property?

A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld - The Orb

Video shoot, I'm in. I think a would be good at it. Lol Daryl

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!