Leaderboard

It's cut, drilled, filled and painted, although the lacquer needs doing again but shhh 😄, so this is just a mock up but a Precison body, lefty Jazz neck and Ray hardware works. I'll lacquer it again tomorrow and then rebuild time. 🙂

Didn't get round to the hatch magnets yesterday. Instead, I went for something much more scary! Fitting the stoptail. Now this really is a measure 15 times, drill once. This - and the ToM bridge is even worse - has to be right. I used my little drill press to drill the 11mm holes and then also used the drill press chuck to press them in: I still have to drill the earth wire hole and fit the wire, so will be removing the lower bout insert soon (Tip about removing inserts/bushes, assuming they are open ended - get a bolt of the correct size, screw it in until it bottoms on the body wood at the bottom of the hole, use a spanner to carry on screwing and it will lift the insert gently out). In terms of finding the insert hole from the control chamber with my earth-wire drill bit, I have a cunning plan. Just got to remember what on earth that might have been But, challenges aside, it's starting to look like a guitar: Now that I have the stoptail and tuners in place, I can pop a spare 6th and 1st string on and position the bridge to make sure that it is lined up with the fretboard. Then the last really scary bit after checking the measurements, oh, probably 35 times? - drilling for the bridge inserts

This little beauty arrived today!

I've been very busy doing DIY board layouts lately. More like onboard preamps and a bass amp board retrofit than effects per se, but this thread seems the closest in spirit, I think. So: New three band preamp that went into my Marco Bass MV fretless a week or so ago: And the new main preamp board for my 500 watt DIY bass amp build from 2015: Which is waiting on an opamp shootout tomorrow before completion and installation, which I hope to have done by week's end. There's a new daughtercard containing a one band full parametric EQ and a variable high pass filter as well.

Proof of concept...

😉🤣🤣🤣

These crop up only once in a blue moon - so Jumped on it as I’m doing lots of remote recordings for a singer/songwriter who asked if I had a DB... I recorded with my fretless J and it sounded great. But missing a bit of that thud. Was planning on a fretless neck for my 75p, and then before I knew it - offers to buy came in and one person in particular absolutely deserves it (YOB etc) As this was going on - just had a quick look online and found this. ”collection only” bah...In Bristol. “hang on @Cuzzie is in Bristol and we talk regularly” i thought ...asked the question...GO! It’s a 1991 ish Fender Japan PBAC-100fl. Catchy eh? About to be collected by DPD to arrive in the next few days.

Ah yes, one of two working titles for a Pink Floyd album. I believe they chose the other one......

I would assume that they would have told you if you needed IEMs or didn't need to bring an amp. 90% of the bands doing the gigs you describe are using their own back line and vocals only PA systems. You are well set up for that scenario. You are right to be gathering information with the intention to hit the ground running, but don't spend any money until you've spoken to the band and had at least one rehearsal.

For the bridge, now I have the stop-tail in place, I can fit a couple of strings and get the bridge in exactly the right position both for string-to-fretboard-edge distance and, of course, intonation. For the latter, I wind the top E string saddle fully forward and place that at the scale length and then wind the bottom E fully back and ensure that there are a couple of mm adjustment possible behind the 'normal' offset of around 5mm. This way, if I have a cumulative build error of up to 1mm somewhere, it's still going to fully intonate. And then same process - drill on the drill-press, press the inserts in and pop the bridge on the pegs to make sure it all fits as it should: And finally, another mockup Bit of decorating tomorrow, but might be able to either make a start on the fret levelling or maybe sort the control positions

Yes. on the L6 website it states that although all units use the same file format, each has to support all the blocks and features in the patch. You can load them in to HX Native if you have it, then take out the amps and cabs etc. I think it would be pointless though as these are integral to the overall sound. Still, might give a good starting block. I did a few screen shots for Paul earlier so might as well post them here as well. Duff HX.pdf Synth 1 HX.pdf Billy HX.pdf Joe Dart HX.pdf

If you decide to go down the route of getting a separate DI box, you really can't go wrong with one of these - https://www.gear4music.com/Guitar-and-Bass/Behringer-BDI21-V-Tone-Bass-Preamp/6LV Based on the Sansamp Bass Driver, but over £200 cheaper! I bought one to back up my Sansamp and it's fantastic. For £22 it's a no brainer to stick in your gig bag.

Was it supposed to end up with you owning a turnip of your very own somewhere in the countryside?

He is a nice man that Jon Willis and he has shared all his presets. His goal was to see if with one bass and a helix you can recreate a multitude of tones practically on the button. He done alright and has showcased them here. Good example of what spending time with a machine can deliver.

If you are playing a pub, use your backline and forget mic'ing up or Di'ing. It's overkill and completely un needed. Keep it simple and you will end up with a more balanced, clearer set up.I have been down this route where we grew bigger and bigger and we finally realised we were kidding ourselves and had gear for the sake of it. It's not the Albert hall you are playing. It is refreshing to use simple backline after being caught in the mire of trying to be too professional.

With your backline you'll never have the need to DI in pubs or even small venues. You have plenty of power, you'll just need to tweak the amp a little to fit the room. Easy. 👍

Engineers in pub gigs?

Ranking the 100 Best bass players is as credible as ranking the 100 Best colours.

Four jack sockets, three switches, three opamps, two pots and one 9V battery in a box not much bigger than a tv remote. It's a: Hi-Z buffer with switched gain + 18dB/octave fixed frequency HPF + headphone driver + passive headphone monitor mixer with volume limiter, and I don't think all that would fit in the title box. The circuit evolved as I built it, so I have not got an accurate copy yet. If there's any interest, I can sort one out. David

Hey nash I did this very thing and it’s a great option for a p bass. Here’s demo I made... What did I like and what didn’t I like... As you can tell from the demo I used a tone styler in mine and frankly I don’t think it would have been as good a mod without it. For me the only issue was it didn’t sound like a p bass but then again that was the point but the TS10 does some neat tricks to add back in some p bass like mids if you want or need them... The PBird stood out for the unique quality it has in its tone and while I wasn’t ripping things up in a metal trio the versatility of the pick up and the tone styler (it can do balls out and it can do dub with a mid setting which will just work for you once you find the right position) meant I used this bass on a host of gigs and could always find a sound which worked from country to rock. I’ve not tried to describe the sound as the demo will take care of that I hope.

A mockup, of sorts. This paint is still super soft, really will need weeks before i can do anything serious. going to skip the fancy top coat and just get this playing. it looks nice with the black white contrast. I can always get neon strings if i think it's looking weak.

https://m.facebook.com/story.php?story_fbid=10110626467286196&id=2532774

Yes - the intonation is always going to be longer than the scale. Easiest way of seeing it is that when you press the string down to the fret, you are effectively bending it down to the fret in just the same way as we bend strings sideways for pitch change. And it will always go sharp. The amount it goes sharp is affected by the string tension and the action height (ie, the amount you are vertically bending). It's never going to go flat. And therefore the saddle is never going to need to be in a position that is shorter than the scale length. On your Fender BBOT - exactly the same

They just played Always the Sun on R4.

The key to pub gigs for me is travelling light. As others have said you don’t need tonnes of gear. Sounds like you have a decent amp head and cab and that’ll be plenty for most gigs. I hardly ever go thru the PA and I’m a loud player. I use a 500w Markbass head and I’ve never run out of power at a small or medium sized gig. Pubs are often in city centres etc with difficult parking, poor load ins etc so bear that in mind. Keep it simple, travel light and just enjoy yourself.

It's like getting a star for a 5 metre swim, so that five metre is not quite a 5 metre as you need to push yourself off then float before you stop. So you only actually swim 2 metres the most. Go ahead , plenty of emojis please to boost my watts. Thank you

Can't help with the technical bit, but reading through the threads on this site, perhaps remove the tort pickguard?

NAD – whilst working from home and all my big amps are lockedup in our rehearsal space I found myself missing my old B15 for home noodles. For several days I was considering the ampeg b50r over on that Bass Directs website and eventually decided to treat myself. She arrived today and initially dabbles have been met with some surprise. Firstly for 50w she is VERY loud! I need more time with her to get the EQ right, currently lacking a bit of low end, not that I was expecting windows rattling from a 50w 1x12 but im sure theres more in there to be had. So far with my MIM 50’s bass and flats she sounds good, very smooth and ‘balanced’. Ill maybe hook up my VT pedal to her later to see what tones I can coax out. Only issues are the well worn grill cloth (not a biggie) and the standard Rocket Bass problem in that the jewel light doesn’t work. Ill report back after a proper mess and play. Any other b50r users on here?

Early 80’s Jazz.

Studio fun with Tony Hatch and Sid James, 1969 We went back into the studio to start recording the new album; same set-up: John Schroeder, Alan Florence and Pye Studios. It was tentatively titled ‘2ozs Of Plastic (With A Hole In The Middle)’. I had, and still have, no idea whether a record weighs two ounces, but it seemed about right. With our first album under our belts we were more assured in the studio, wallowing in the recording process. There’s nothing quite like total musical freedom and a pocketful of extremely dangerous drugs. The stars of the Pye stable were Tony Hatch and Jackie Trent. They’d had a few hits but mostly they were famous for soap theme tunes. They had written the Crossroads signature-tune, and would later write the ghastly theme from Neighbours. A few years later, McCartney did a version of ‘Crossroads’ and the TV show delightedly used it from then on. I think that speaks volumes about young Paul. Quite often, we followed Tony Hatch into the studio. On one occasion we found a harpsichord still set up. I started picking out a tune on it, Raymond added a bass line, and Plug – Jeffrey was late – played the drums. Schroeder arrived, liked it, and suggested we put it down on tape, which we did. As we finished, Tony Hatch came back. When he saw what was going on, he erupted. His voice boomed over the Tannoy. ‘If you haven’t paid for the hire of an instrument, you should not use it. It’s rude. Get off it, now!’ Morally, he was correct, but, artistically, he was being a little petty-minded, I thought. After all, we’re all musicians here. Sort of. But, I had to concede, I was guilty as charged. An apology was in order. ‘How does “F@ck off” sound?’ I enquired. A bijou argumentette ensued. I got off the harpsichord – the song was in the can, anyway – and he left. The highlight of the album, for me, came during the mixing of ‘Spunk Rock’. We were listening to a playback. I had my head down on my forearms, leaning against the end of the console. A rustling noise made me look up and there, standing at the other end, was Sid James. My first thought was, ‘Wow, this is good acid’, but there was no denying it, it really was the great man. The playback finished, there was a moment of silence, then the great man spoke. ‘Well, that’s music to move your bowels to.’ He followed it with a cluster of gravelly laughs. He sounded exactly like Sid James. We pumped him, shamelessly, for Hancock stories and he graciously obliged. During the course of the conversation, the reason for his presence emerged. He was there to interview us. Sid James was going to interview me. Well, I didn’t see that one coming. He had a record show on South African radio. It was taped in Britain and sent to the evil republic for transmission. I was so starry-eyed, I ignored the implications of condoning the white boot of oppression that for centuries had been a cancer in the body politic of humanity. I ask not for forgiveness, for there is none. In mitigation, there were extraordinarily extenuating circumstances. We all sat around a microphone in the studio and he began the interview, introducing us in turn. After he introduced me, he stopped. ‘Deke,’ he said, ‘that’s a funny name, how did you get it?’ I had taken the name from the character Elvis played in Loving You. It sounded cool, and I thought I’d never get to be a rock’n’roll star with a name like Roger. It was hardly riveting radio. ‘It’s a very long and not very interesting story,’ I replied. ‘Oh,’ he said, flatly, looking daggers at me, ‘well, it’s a very long story for a very short name.’ He continued with the interview but it had gone. I had killed it. Suddenly, he clapped his hands. ‘Let’s start again,’ he said, looking pointedly at me, ‘I think we can do better than that.’ I was suitably chastened. He began the interview again. Once more he introduced us. After he introduced me, he stopped again. ‘Deke,’ he said, ‘that’s a funny name. How did you get it?’ I couldn’t believe it and neither could he. He gave a damn-and-blast-it grimace. ‘It’s short for Deacon,’ I said. ‘My mother wanted a preacher.’ It wasn’t quite the Joke Of The Year, but it made him laugh. I had made Sid James laugh. Further proof that I existed. I can’t remember the rest of the interview. As he left we all shook his hand. ‘Goodbye, Deacon,’ he said to me. ‘Goodbye, Mr James,’ I said. ‘Call me Sid, son,’ he said. It’s all been downhill since then.

The OP asked for first steps. . . . . . . . . . and you lot are trying to advise him on how to run a marathon!!!

plus we have @Silvia Bluejay out front with a tablet controlling the XR18. It makes a big difference if you have a sound man/girl controlling your sound. Most pub cover bands will not have this luxury.

How do I add this to the famous quotes thread?

If you don't have, or can't be bothered to fire up, native then this web based helix preset viewer can sometimes do the trick... https://dbagchee.github.io/helix-preset-viewer/

Updated my board, added in a small stone. I was tempted by a EarthQuaker Grand Orbiter but couldn’t justify the cost for something that I won’t use a lot. I may swap it out for one if I find I use this a lot and not 100% happy with it. so it’s now Polytune > Wilson mini Freaker Wah > Cog Tarkin 66 > EHX Small Stone

Yes yes yes, but do the silks line up?

He's just a really likeable guy with a great personality and he's not a bad bassist.

Something I liked about the Sweeney theme was the mellow version at the end of the show. Joe 90 was the same.