rmorris

[quote name='MagicOnion' timestamp='1461146611' post='3031779'] Clear! I always assumed that my Line6 DL4 was a digital pedal, but I have never experienced any problems with it when I had it on a daisy chain together with my other pedals. But it's probably better to connect it to an isolated output that isn't shared with any other pedal. Same thing for the Space Station: it'll need an non-shared isolated output. I have looked up how much the current draw is for every pedal. Polytune - 50 mA Boss OC-2 - 4 mA DIY BassScreamer - probably not more than 10 mA EHX Big Muff - probably not more than 10 mA EQD The Depths - 35 mA Line6 DL4 - different sources state different things, most likely around 250 mA Space Station - 500 mA There's still one thing I'm struggling with to figure out: both the Line6 DL4 and the Digitech Space Station require 9V AC. I've had my DL4 succesfully connected to and powered by the OneSpot (of which I assume it only gives DC) with a L6 converter cable. So I guess that the DL4 works on DC too? Or can such a small cable adapt DC to AC? Just wondering :-) As for my Space Station, I don't want to ruin it, so I probably need a 9V AC output on the power supply. [/quote] Sounds like you've been lucky with the DL4 noise. It is possible that a 'Digital' effect might have adequate noise suppression inside it or be well enough designed to avoid the issue in the first place. Bear in mind that low level noise issues may not be noticed in some circumstances - live / rehearsal etc but could become noticeable in, eg, a studio recording environment. The Space Station sounds power hungry ! DC into an 'AC' input can work depending on the detail of the 'AC input'. A simple bridge rectifier circuit will accept DC of either polarity and produce the correct polarity at the output. You may be running at reduced voltage level with 9V DC going in- probably losing 1V or so across two diodes in a bridge giving somewhere around 8V. 9Vac (rms) going in will get uou about 11V at the output as it gets rectified to the peak value minus the diode drops. Whether any of that matters depends on the internals of the unit. Best stick to the specified AC or DC as other units may have different power input circuitry and internals.

[quote name='dood' timestamp='1460907341' post='3029679'] I've just treated myself to a WMD Utility Parametric EQ. I'll let you know how I get on with it. Not just mids though, this is a full Para EQ pedal. YAY! [/quote] imo I can't really see justification for a 'Mids only' pedal. You've gone to the trouble of getting a box/pedal/ connectors etc so you may as well get at least high / low shelving EQ in there as well ! The WMD Parametric looks the business. We wait to hear what you make of it...

[quote name='MagicOnion' timestamp='1461138248' post='3031695'] Thanks! Is there anyone who can tell me whether or not I can power multiple effects with only one power outlet of a supply? It's probably okay as I already do that with my OneSpot (which is actually one outlet going to all of my effects). I guess distortions and fuzzes don't require as much power as certain digital pedals. That way I don't have to buy a huge brick. [/quote] Yes - as you have shown you can power multiple units from one outlet as long as it can meet the current requirement. Using a daisy chain or splitter cable. Indeed many 'multiple output supplies' effectively do this but provide individual connectors (they may also have individual short circuit / overcurrent protection so that overloading one output shouldn't affect the others - but they are not isolated in terms of "ground loop" etc as all the outputs share a common ground.) BUT - if you are using a 'Digital Pedal' ie anything which uses a microcontroller / logic / clock then you really don't want to be sharing a supply with it as it's likely to put a load of noise onto the 'Ground Line' which is disastrous for noise especially in unbalanced systems as you have generally have between effects units / amps etc. I'm guessing the Digitech pedal is a 'Digital Pedal' (the brand name sort of implies it :-) so I'd recommend a dedicated supply or isolated output for it. With non digital pedals it's probably okay - as you have found out - to run multiples but it is still more susceptible to noise / interference etc as you are introducing 'Ground Loops' into the wiring. Whether it becomes an issue depends on the detail - wiring / sources of interference etc. For value I'd recommend taking a look a the Thomann Powerplant Junior which has 5 x isolated outputs - bearing in mind you can parallel for more current and stack in series for greater voltage. Note that it's only the Junior that has isolated outputs. It's 'big brother' with 8 outputs doesn't have isolated outputs. Seems wrong but I confirmed this with Thomann before purcasing a few Juniors.

Okay. 'Twangy' sounds food to me for funkish sounds. If happy with Strings I'd look at EQ settings and maybe active preamp next. Try shortest good quality lead practicable between bass and amp to simulate active preamp response. Not trying to put you off replacing pickups but that route can be endless tail chase. Having said that I am tempted to try a Nordstrand pickup on an OLP MM2 (at leats until I check my bank account against cost :-)

[quote name='Grangur' timestamp='1460147392' post='3023159'] If you're not too sure about working on a bass, IMHO you'd do well to keep clear of basses with neck problems. What's your situation? Do you have a bass already? Are you trying to find a cheap bass? Or are you looking for something to do work on? If you're looking for a low cost, good first bass, that's something different that we can maybe help you with. [/quote] +1 Good questions. There's really no need to land yourself with a problematic neck which may take time & money unless you're especially interested in the mechanics and workmanship of it. If it's playing that's more important - get a problem free bass and go with that. You can always pick up another 'challenging' bass for the technical set up stuff. Beware the 'proper' tools don't come cheap !!!

[quote name='icastle' timestamp='1460408711' post='3025540'] Hot glue is fine - just be thoughtful where you put it or you'll struggle like hell in the future if you need to remove the component(s). [/quote] +1 I don't like using hot melt glue myself as it's a right pain when reworking and rather 'inexact' in application but I can't deny it [u][i]can[/i][/u] do the job pretty well. But note that the glue sticks are not all equal - some dry really hard and are not that good at adhering to non porous surfaces like PCBs and electronic components. So a bit of trial / error may be needed. There are specific products made for this application - two part 'Black Tak' and similar - but they do come expensive. Alternatively you can try a 'Superglue' (again various formulations better at some surface types and combinations than others) and maybe use with an Activator to finish the job quickly. Seems to work well for securing patch wires etc.

Thinking 'Back to Basics' - how does it sound / feel acoustically as in not plugged in ? What strings are fitted ? What amp / desk / whatever are you playing through ? What Control / Switch Settings used / tried ? From the link you posted I'm not clear why they say it's a slightly shorter scale length as 867mm is more than the 864mm quoted for a standard 34 inch scale ( Do the maths - not math please :-) - and you'll see it's not exact using 1 inch = 25.4mm )

[quote name='FatDrunkStupid' timestamp='1460217560' post='3023760'] I recently purchased a (new) G&L M2000. Great sounding bass but the action's very high from the factory. After the usual checking and measuring I attempted to tighten the truss road slightly - it seemed extremely stiff (maybe maxxed out already?). After applying more pressure than felt appropriate (but I carried on anyway...) the allan key seemed to turn. I should've stopped there and then but nope, the key suddenly turned and now I have a truss rod nut with a rounded head. Bugger. Totally my own fault and I feel like a fool. Question is, what now? How badly screwed(!) am I? How common is it for truss rods to be fully tightened from the factory - seems like a QA failure. [/quote] You mention that it was purchased new. So did you buy it online or bricks and mortar shop or whatever ? It seems to me that the retailer has primary responsibility for it and should take remedial action (no pun intended :-) Hope it works out well.

Fair Enough...Enjoy...

Sounds good. And I reckon it's something of a bargain @ £40 Enjoy the Fado...

So you just need to verify that the XLR from the desk has phantom power. It seems that there isn't an option to power from battery or AC / DC Adaptor.

Assuming it's working correctly it will be a good high quality DI and also be well constructed to real 'pro audio' standard. Note that it does need phantom power from the mixer to operate.

[quote name='project_c' timestamp='1459878949' post='3020557'] eh? I don't get it. we don't have to use the same tuner to be in tune, we just have to tune to the same tuning system. [/quote] I assume it's about tuners having different accuracies - opting for strobe types for accuracy etc.

[quote name='Norris' timestamp='1459084568' post='3013385'] I recently had the 14V PSU for my Boss GT6B develop a fault - the strands broke where the cable goes into the strain relief grommet. I bought a replacement and it's the cheapest, flimsiest thing imaginable. Then last night the 9V (but +ve cenre pin) PSU for my DMX lighting controller had severed through the strands at the same point where it enters the grommet. I made do for the night by stripping the cables back, twisting them together and wrapping in gaffer tape. They all seem so cheap and fragile, even the OEM supples. Can you get decent, robust PSUs? Can anybody recommend a brand? [/quote] What Current rating is needed on the DMX ? Suggest look at something like [color=#999999][font=Arial, Verdana, Helvetica, sans-serif][size=3]RS Stock No. [/size][/font][/color][color=#333333][font=Arial, Verdana, Helvetica, sans-serif][size=3][b]770-2788[/b][/size][/font][/color] [color=#333333][font=Arial, Verdana, Helvetica, sans-serif][size=3][b]Decent strain relief on output cable. I use a 24V 30W version for work test rig purposes. PSU is [/b][/size][/font][/color][color=#333333][font=Arial, Verdana, Helvetica, sans-serif][size=3][b]Switch Mode but I guess your existing DMX psu is a switcher at the moment ?[/b][/size][/font][/color] Output on 'mine' is 2.1mm DC Plug Centre Positive.

[quote name='HowieBass' timestamp='1458318071' post='3006613'] AFAIK if the nut slots are at the right depth/strings at the right height then there shouldn't be any problems with intonation at the frets closest the nut. However, from what I've read and from my own experience, new basses often need the nut slots deepening (which is why intonation is often poor at the first few frets). [/quote] One other thing to consider is that a nut that is in line with the frets does increase the chance of a "back rattle" where there is fret buzz between the fretted fret and the nut. You might argue that the string shouldn't be moving behind the fretted note but some energy is always likely to get past the fretted note. Nothing special about it being a nut itself. It could equally be a zero fret. And same consideration applies if you are holding down the string somewhere between the fretted note and the nut - only then the string length will be shorter and less likely to buzz. So you might choose to make the nut a tiny bit higher than the frets - or it might not bother you at all. I really don't like fret buzz :-)

[quote name='MoonBassAlpha' timestamp='1458334203' post='3006838'] Like a d.I. box then? [/quote] I don't think it has a balanced output like a real di would have ? But if building it diy it could be incorporated without too much bother.

[quote name='ahpook' timestamp='1458417030' post='3007539'] Another vote for the Gallery [/quote] +1

[quote name='dood' timestamp='1458076469' post='3004559'] Where do you want your multi-effects placed? What's your budget? For the smaller floor based processors that are easy on the pocket, then yes you are right. The Zoom B3 for example is actually very good indeed. But if you are serious about your effects then Eventide and TC Electronic (my choice) are going to be on your shopping list. If you want premium amplifier simulations on your hardware too, then it's off shopping to Kemper and Fractal. [/quote] +1 what dood said it would probably help if you described what you are looking for - equivalent single effects etc - and what you think as issues with the current Zoom / Boss offerings etc. If price not a problem then should probably look/listen to 'high end' Eventide / Fractal etc...???

[quote name='project_c' timestamp='1457916414' post='3003060'] Why, do you have perfect pitch? You'd usually need reference for at least one of the strings to be in tune with everyone else. Plus have you tried tuning a bass in a sweaty rehearsal room full of musicians setting up and getting ready to play? Good luck hearing yourself amongst that car crash. [/quote] +1 It's seldom about not being able to tune by ear. But often it's not practicable (drum soundcheck !) without finding somewhere quiet - plus if you need to adjust tuning between songs it's a lot better if you can do it silently rather than 'entertaining' an audience with it. btw - out of curiosity and something I've wondered about - re 'Perfect Pitch' - if you do 'have it' are you able to apply it to pitch reference other than A=440Hz ?

[quote name='KingBollock' timestamp='1457613581' post='3000099'] I need a primer that I can paint on with acrylics. I know some people that use acrylics on the Halford's primer, but they're not painting aluminium. Which is why I wanted to check first. Also, my hobby room is in a state where it can't currently be used as I am fixing it up. The music and computer sections are done, and the painting and modelling section is almost done. But the electronics section is currently nonexistent since I changed my mind on how to build it. I was going to use the bench I was using before and build shelving, parts bins, drawers and pegboard panels around it, but I am now going to be building the whole thing as one unit from scratch. It's all very frustrating (I can only work on it on four days out of ten, and only that much if I am lucky) and so I find myself constantly researching every minute detail and asking questions at every available opportunity, just so I feel like I am doing [i]something[/i] towards it. [/quote] Aluminium Etch Primer ??? Something like... [url="http://www.paints4trade.com/etch-primer-aerosol-258576-p.asp?v=0&variantid=258578&fo_c=888&fo_k=83dddb9fd25de23cc150eebb8e6e192f&fo_s=gplauk&gclid=CjwKEAiA04S3BRCYteOr6b-roSUSJABE1-6BYzjqFT9COy_IaybfPO-Ccwvp5Aby_AtNRgeym0RbPRoCEXrw_wcB"]http://www.paints4trade.com/etch-primer-aerosol-258576-p.asp?v=0&variantid=258578&fo_c=888&fo_k=83dddb9fd25de23cc150eebb8e6e192f&fo_s=gplauk&gclid=CjwKEAiA04S3BRCYteOr6b-roSUSJABE1-6BYzjqFT9COy_IaybfPO-Ccwvp5Aby_AtNRgeym0RbPRoCEXrw_wcB[/url]

[quote name='Chienmortbb' timestamp='1457453438' post='2998741'] You are right, that cap you quote is a Wima and an excellent cap. It will be more expensive than some maker's 5% caps as Wima have achieved mythical status in audiophile circles. [/quote] Yes - it's a Polypropylene dielectric which is excellent in terms of stability over temperature (and likely time) and together with its relatively high 100V dc rating implies that voltage coefficient (giving rise to distortion) should be low (I haven't measured it) I tend to use these type in my (non audio) work where quality caps are important. I pointed to CPC as it's available to everyone whereas RS/Farnell etc can be trickier for individuals. Alternatively...forget about a tone control on the bass itself and use your pedal/preamp etc instead !

[quote name='icastle' timestamp='1457397810' post='2998201'] Except of course that they don't use electrolytics in the bog standard passive circuits we're talking about here. [/quote] yes - definitely avoid electrolytics where not necessary. On non-electrolytics - the costs of 20% vs 10% overlap to a large extent depending on the manufacturer / supplier at any particular time. It's pretty much a commodity market. Rather than the tolerance I'd be more concerned about voltage and temperature stability. The 20% types are generally (though not exclusively) likely to have lower quality dielectrics -- but it means they can get more capacitance into a smaller volume. Things do get expensive (in capacitor terms) if you go for 5% tolerance. I was really thinking more about people fitting their own capacitors / pots so the component cost is a fraction of what you'd end up paying for the same component fitted to a new bass (although you may have to buy a few of the capacitors as they may not be available singly). As an example for a 100n Cap' I'd likely go for: [url="http://cpc.farnell.com/wima/mkp2d031001f00kssd/capacitor-10-100nf-100v-mkp2/dp/CA08109"]http://cpc.farnell.c...mkp2/dp/CA08109[/url] I know it has pcb type legs which might not be the most convenient but probably worth it for the capacitor characteristics. Glue it to the back of the pot and solder / wire wrap !

[quote name='Chienmortbb' timestamp='1457281641' post='2997006'] Caps are also 20% tolerance unless otherwise stated do you can see how the electrics of your guitar can mess with your tone. [/quote] Whilst it's usual for electrolytic caps to be +/-20% tolerance other types eg ceramic ; film ; poly are generally available in 10% or 5% or tighter tolerance.

I've often reflected that my Westone Thunder ( Natural Finish / was '1A' but now has different pickup / electronics) hasn't needed any truss rod adjustment since I spent some time setting it up years ago. My other basses (including a few more Westones)may be as good but I probably wouldn't notice so much as the Thunder in question has the best nut and setup. Oddly the body does have some patches of deterioration where the wood is quite open grain and has softened/worn a bit but the neck is lovely. On the other hand my OLP MM2 seems to seek attention re relief adjustment.

[quote name='icastle' timestamp='1456953660' post='2994057'] As it's a potentiometer, being + or - 10% makes no real difference in the big scheme of things. As they're used for setting an audible difference, you either tweak it up or down until you get the sound you want. I dare say someone will be along shortly to tell me I'm wrong, but IME you really aren't going to hear a difference from tolerance alone unless you convince yourself you can (which is no more scientific than my assertion that you can't when you think about it... ). A 'good' pot is all about the mechanics of the thing, the way the 'brush' sits uniformly on the track, the smoothness of the track and how many operations it can handle before it wears out. When you consider how long CTS have been making pots, and the age of some of them that are still working, that'd make them about as good as you're gonna get. [/quote] Good advice - the absolute value of a pot will generally not have a tight tolerance. Don't sweat the difference between 9% and 10% tolerance. Carbon does wear out with use. For best long life opt for Conductive Plastic (or Cermet) tracks. It can be a bit difficult to get log or audio taper pots in Conductive Plastic (and possibly not so easy to get the high values you might use on passive Hi-Z pickup) It's possible to approximate a log(gish) taper with a linear law pot with a resistor from wiper to ground.