BigRedX

AFAICS (knob jokes aside) the Ned Callan and the 6-string Shergold are probably the most sensible suggestions so far, and most certainly fit Eastwood's method of working which is to take an instrument that not only is no longer being made, but no-one else is currently making anything similar.

I think what I'm going to do is cut a bit of board slightly smaller than the internal measurements of the XL case and see if I can work out a logical location for everything I need complete with all the relevant plugs. At the moment it's going to be the Helix, Linn Adrenalinn, two Sony wireless receivers, a 9V PSU, maybe a second expression pedal for the Helix, and mains distribution for everything. I can see I'm going to need right angle plugs for almost everything to get it all to fit. Can anyone recommend some good (preferably metal-bodied) right angle DIN plugs that can configured for cable exit in any direction?

AFAICS the other two feet are under the front of the expression pedal to give the Helix a bit of support at that point. And as mrtcat said they much too far from the edges to be any use for fixing the unit to a board. @intime-nick the fixing plates look fantastic. How much are you going to be asking for a set?

Second hand Pedulla Buzz

The cases look great but the sizes seem to be all wrong for what I need. Ideally I need something slightly wider and less deep than the XL version. 44cm is far more depth than I need for just the Helix, but I don't think enough extra to allow me to fit other stuff behind it with all the plugs and cabling. And 74cm isn't quite wide enough to fit the Adrenalinn next to the Helix unless I turn it sideways which I don't think my OCD will allow! How much do I need to leave around the edges in order to be able to lift the pedal board out of the case easily?

IME age is only a problem if you let it be. The vast majority of musicians I have played with (especially in the originals bands) since the mid 90s have been younger than me, and it's never been a problem. I got into the band that became The Terrortones because the other (younger) members thought that my age would give me experience and useful contacts, but since they had all just come out of various music-based college courses it turned out they had just as much useful experience and all their contacts were far more up-to-date and relevant than mine! I'm a competent player who doesn't have any serious career or family commitments. I'm still enthusiastic about music and a prolific producer of musical ideas, and know how to present myself on stage, all of which are far more important than the fact that I'm rapidly approaching my 58th birthday.

@intime-nick Here's a photo of the underside of my Helix: The two feet at the front of the unit (bottom of the photo) centres are both 20mm from their respective sides and 12mm from the front. I know it doesn't look like that but it's a combination the way the sides curve and lens distortion of my camera. The two feet at the back of the unit (top of the photo) centres are both 65mm from their respective sides and 38mm from the back. However the various sockets protrude 8mm from the back panel which may affect the positioning of any screw holes for accessibility. If you need any further measurement, just let me know.

Either a 5-string (34" scale), or a wide-necked Bass VI (30" scale) with 3 pickups, dual outputs and each pickup switchable between each output. Set or through neck construction, angled headstock. Bright sparkle colour finish.

I'd be interested in a set too.

6cm sounds like rather a lot to me. Does anyone do a similar sized case where the effects can be mounted onto a board that is lifted out of the case when in use?

To me it does. A lot of the sonic and functional character of those old instruments comes from the fact that electrics and hardware wasn't the same as the average Fender or Gibson. For instance I have a 60 Burns Sonic Bass. Other than the innovative heelless neck joint there's nothing at all special about the shape of the bass. The character is in the sound which all down to particular pickups fitted and the way they are wired up. You can't do that if you're using off-the shelf parts.

Why? I'm sorry but I don't understand.

While setting up, or after the gig is over wear what you want. When you are on-stage playing you are promoting your band and only your band.

That looks good. Where did you get the case from? How much higher does it make the footswitches compare with the helix not being in the case? Also how have you fixed the Helix into the case?

Unless it is for studio use only I will never buy another synth that doesn't have programmable sound memories.

But are they really resurrecting old designs or are they just sticking standard mass-produced parts onto a body shape that is roughly the same as the original instrument?

I don't think you can go far wrong with what we used to tell dep players: Wear black. No Trainers (unless you are the drummer and the trainers are black without contrasting logos). No band T-shirts. No obvious brand logos.

Remember that although string tension (along with neck stiffness) will affect whether or not you have to adjust the truss rod, the actual feel of the string is determined by tension and compliance. Compliance is how stiff (or not) a string feels and is not wholly dependant on tension, but also on string construction, break angles over the bridge and nut and any other items in the path of the non-speaking part of the string such as string retainers. So a lighter string might still feel "right" is it is sufficiently un-compliant when attached to your bass.

In general the low B is by far the lowest tension string on a Bass. If you look at the tension values for the suggested D'Addario EXL 170s, looking at the 6 string set, the highest tension string is the D, and then the string tensions reduce for the higher or lower strings, with the higher tuned strings decreasing less in tension than the lower ones. Therefore unless you go for something very light (compared to the rest of the set) you can see that the high C is around the same tension (at standard tuning) as the A string and considerably higher tension (39lbs as opposed to 31.5lbs) than the low B. Whether or not this will actually matter will depend on the stiffness of the neck of your chosen bass, but you may need to tighten your truss rod slightly to compensate.

Scale length is an irrelevance unless you have a general preference for a particular scale length irrespective of the number of strings. What is important is the construction of the bass in particular the neck and how it attaches to the body and the strings that you choose. Strings are tricky things. IME what works well on one bass doesn't necessarily work at all on another, and also IME most budget (sub £500) 5 string basses come with terrible low B-strings. Unfortunately the level od construction required to make a decent 5-string bass comes at a price and generally unless you get a second hand bargain you are unlikely to find anything really satisfying under the £500 mark. The cheapest decent 5-string bass I own cost £700 and it was only that price because it was an EOL model that had been reduced from its original £1700. Go to the Gallery and play all the 5-string basses you can get you hands on including those that are outside your current price range and you'll find what suits you and what doesn't. Don't buy something you don't really like just to test it out because that's all you can afford. AFAICS most people who buy a 5-string bass and then give it up do so because the bass wasn't very good in the first place. If you've tried lots you'll get a feel for how much you need to spend to get something you will be happy with, and if you can't afford it now put off your purchase until you can.

Basschat may not use any of my photographs anywhere outside of the basschat forums for any reason.

I don't know how accurate the custom shop stuff is to the original models. Does anyone here own an Eastwood custom shop guitar or bass who would like to comment? However from what I have seen the standard product ranges are essentially what I would term "parts bin" instruments. That is something with roughly the same shape as the original it is copying but all the hardware etc taken from easily available generic production parts. Obviously Eastwood would say that this means their versions are better made and more reliable than some of the quirky original guitars and basses, but IME it is exactly those quirks that give the originals their unique character. Otherwise all you end up with is a standard guitar or bass with an eccentric shape.

Looking at the Mouse, that fingerboard extension is not only fitting the pickup to the end of the fingerboard but also getting it to sense the lowest string, unless the pickup is mounted further along the body anyway. Maybe the mounting the pickup over the strings isn't such a wild idea after all. What are you going to do with the cabling?

A Tokai guitar or bass from any era, that has been made in Japan will certainly be a great instrument. Made anywhere else, expect nothing more then a generic copy built to the average standard for an instrument made in that particular country, but with an unwarranted premium on the price due to the name on headstock.

The Schaller site still won't load, but I managed to find what looks like the current equivalent of the pickup I have on the Thomann Site. Have a look at all the photos to see how the adjustable mounting system works. According to the technical drawings the pickup itself is only 9mm high, but you probably need to add another 1mm for the mounting system. It's designed for the top of the pickup to be flush with the top surface of the fingerboard and so quite close to the strings. I have mine mounted by the bridge and bolted through the top of the guitar (with the neck mounting system removed). The strings are probably only a couple of millimetres above the pickup but I haven't noticed any of the adverse effects on the tuning that having the pickup that close can often produce, so I suspect it's not particular "hot" compared with the average pickup.