BassThing

Some remodelling has gone on with my board. The gaps between the 3 planks didn't really hold the pedals well so I added a fourth plank. I also trimmed 6" off the width when I realised I don't really need the LMB-3 and the ACP-1 together. I also made it a two tier board to make it easier to access the top pedals with my size 8s. Still need to work out the nest way to fix the S8 underneath.

I have one of these on my GAS list, nice to see someone who actually owns it and loves it.

'78 on the left, '86 on the right. You can just see the beautiful birds eye neck on the '86. There's a difference in the tones between the two, the' 86 being a lot brighter whilst the '78 is more "classic" tone. I tried to compare the pre-amps but the '78 one is potted so no idea if the circuit schematic and values are the same as the '86.

Usually when I see the Donner and Mooer equivalents, if they have the same control, I've assumed they are just rebranded items. There is also the Mooer Ensemble Queen for bass if you're worried about any tone loss on the "guitar version". Youtube is your friend for this, plenty of reviews and comparison videos to get your teeth (or ears) into. Edit: And after reading the whole thread I see you already knew about the bass version and looked at youtube... 🙈

I bought one of these for my guitar board. Very very good, especially at the price you can get it for. Never thought to try it on bass.

There used to be a very general rule of thumb - Filters>Gain>EQ>Modulation>Delays>Reverb. It was only a starting point and had a few quirks when people described it e.g. a phaser would often be classed as a filter rather than modulation. However, as you play around with pedal order you find you can get different effects so a phaser might sound good after your gain stages (e.g. distortion/od) As an alternative to Jonse's order of Tuner - compressor - boost - distortion - chorus - flanger - amp, you could also try Tuner - compressor - distortion - boost - chorus - flanger - amp. the former would make your dirt dirty when kicking boost, the latter just making everything a bit louder. Experimentation is the name of the game. Rule 1: There are no rules.

Many many years ago my first ever pedal was a Ross Distortion. I was just getting into electronics as a teenager and read all this stuff about TL071s being better than the LM741 so swapped out the 741 in my pedal. It didn't take long before it was swapped back in again and I started learning more about things like slew rate etc.

I still have the first guitar I bought back in 1986. I can't remember the make (it was on the headstock which was painted white and I stripped all the paint off coz it looked naff), but it's one of those cheap 80's brands (not Marlin, Encore, or Honer). It's a Strat copy that recently had some Irongear Vintage pickups put in to replace the HSS combo I'd "upgraded" it to in my youth. It may be plywood, but it now sounds great. Also have an Epiphone Les Paul with lovely maple top and, Gibson pickups a white Gretsch 5120 awaiting fitment of some Filtertrons and an Ibanez 7 string that doesn't come out enough.

As already mentioned it turns off the sweep. The Rate knob will now have no effect, but Colour and Range still work. Colour will add more feedback and resonance as normal, Range will manually change the notch positions of the filter (a flanger works by sweeping a comb filter up and down the audio spectrum). "Range" is the same knob as "Manual "on Boss flangers, both of which adjust the base delay time around which the effect is normally varied by the sweep.

"this pedal is really good, it's got true bypass"

It always makes laugh every time I hear a product proudly proclaim they use "aircraft grade aluminium" - a totally meaningless phrase. Trouble is I then lose interest in the rest of what they have to say as I know they are just banding around buzzwords.

Yeaaah. Yeeaah.

I tried the OD3 (not ODB3) that I have for my guitar as it is a great overdrive for that and I'm always chopping and changing pedals I have around my boards just to try things out. Turns out it did a good job of subtle grind without losing any bottom end, it's one of those o/ds that the cork sniffers say is "transparent". Caveat - I play at "home" levels and don't gig so at louder volumes, YMMV.

Here's my pedal board. It's made from the iconic Ikea shelving. I've managed to build 3 boards altogether from one twin-pack and still have bits left over to make a 4th! The board is being rejigged to fit the Mooer S8 PSU, a great PSU with 18v for the MXR, 3 fully isolated 9v supplies and the other 4 with shared ground. The HM-3 is run in parallel in the loop of the LS-3, an idea given to me by Ian "Robber" Reynolds although I think he said he used an HM-2 but I got muddled up when buying the pedal off Fleabay. I sometimes swap out the HM-3 for an OD-3 which gives a very very nice drive tone. It is, as the cork sniffers would say, a "transparent" pedal. The compressor is the 2nd/3rd pedal I ever bough back in the late 80's!

Now you're really making me feel old, just dug my copy out and it's the first edition... 😊 The Bad Circuits were indeed fun trying to work out why they were bad.

Is that Art of Electronics by Horowitz and Hill? Geez that takes me back a long time!That was our bible on my Electronics degree course back in the late eighties lol. My whole degree was based around me wanting to go and work for Marshall and design amps (it never happened ). I still have that book somewhere and derived many circuits from it.

I started off on guitar, bought Empire Song by Killing Joke in '82 and wanted to play like Geordie Walker. 2 years later in '84 I heard Dreamtime Live at the Lyceum and decided I had to go and buy a bass. So, my main influence is Jamie Stewart, other bass players of the time who had influence would have been the likes of JJ Burnel, Steve Severin, David Jay.

Have you got any sources for that? I'm sure I've seen this debate before and can't remember it ever coming to that conclusion. Re: the OP, yeah lead free is carp.

Apparently the only difference between this and the CE2 is larger input/output decoupling caps to preserve the bottom end and the effect level pot.