roman_sub

[quote name='Paulhauser' timestamp='1454222996' post='2967568'] Nice comparison! I'm partial towards Spectors but all the three others are great sounding instruments. Ww was a bit of a surprise as it sounds way beefier and stronger than my Ww Thumb NT5 from '91 did. Must be the soapbars. [/quote] I think you are right re: soapbars, IIRC pickup placement is also a bit different between the 5 and 6 models. My 1990 NT6 sounds VERY similar to this demo, even though it has different pickups.

good comparison. I think you did a great job capturing the tonal nuances of each instrument. The Warwick probably sounds the most distinctive and the Modulus the "clearest" to my ears.

would agree that muting would be more important with more strings. IMO there is also a technique adjustment when playing the E string - playing "into" the B string feels different rather than playing the E "against the pickup" on a 4 string. Pros and cons to that.... 5/6 string basses may also be more "suggestive' towards floating thumb, as opposed to fixed thumb, right hand techniques (again, muting, and getting consistency of tone) - assuming it's fingerstyle of course!

Apogee One/Duet would be my top picks and One has a surprisingly nice mic built in. Some of the best AD/DA converters around so it just sounds fantastic ... An older One can be had for around 100 quid on ebay (+/- for accessories), though if you want to take a line-in and use onboad mic at the same time, you'd need the newer one. The older can only do one at a time

I've got one - decent for the money and will power the pedal at correct voltages - albeit the isolated output marketing is rather misleading. I think there are two "banks" that may be electrically isolated, but each output definitely is not! It has introduced a bit of a noise floor to my pedals - so eventually I decided to do this properly and bought a One-Spot Pro CS12. It's not terrible but enough to bother my obsessive nature Definitely not bad to arrange and power a "larger" pedalboard, but you get what you pay for in this case, including a European wal-wart supply in my case. I did end up running a on-off 12v inline switch between the wall adapter and the brick, to be able to switch off the power without having to unplug it each time. In summary, good stop-gap solution, but one you'll likely want to replace sooner rather than later...

yup someone got a great deal. I sold mine for more than that without the hardcase.

[url="https://www.gumtree.com/p/guitar-instrument/fretless-hohner-arbor-mx-series-bass/1150806949"]https://www.gumtree.com/p/guitar-instrument/fretless-hohner-arbor-mx-series-bass/1150806949[/url] Looks in good nick and at £100 well worth a punt IMO!

Neil had sent me some potentiometers and wire as a freebie from the "recycling" forum - and had even paid postage himself. Many thanks.

Buzzing could be caused by either excessive wear to first fret - i.e. that the F fret is always too low... however, if the neck relief is too far forward, this may also cause the fret to buzz. Measure the relief to decide if this is the case, and *maybe* try a small trussrod adjustment... In my experience, Warwick alloy fretwire holds up quite well... but if you're not sure definitely get a professional to look at it! 1991 Warwick, I guess that means MEC as opposed to EMG? Could be soldering, or knackered pickup..... however if it's a 4 string SS1, then you'll have a P in the neck, which will always sound louder, so to get the two to balance, you may actually need to try lowering the P. Hope this helps!

the P bass looks amazing! what's the bridge pickup?

the designs look great, looking forward them coming to life

[quote name='Kev' timestamp='1453505380' post='2960255'] You are aware that, providing they were built in the same revision, the circuits are identical, so a flat EQ B7K in turn would sound just as tight as a B3K? The bells and whistles of the B7K all come after the drive circuit, with the EQ circuit flat they sound identical. This is based on experience and owning a B3K and B7K of the same revision at the same time. [/quote] I owned an older B7K and a new B3K. Clearly YMMV

It's a very effective tool, if not very "pretty" sounding, IMO. Good to hear you got an excellent recorded tone!

Seriously top-notch work!!

Kept the B3K, sold the B7K. Tighter sound, less knobs, and better EQs out there (IMO).

As much as I love GK stuff, it does seem to be a bit of a confused design - not sure if it's trying to be a desktop or a pedalboard unit....

The picture reminds me of a biscuit tin... probably not a good thing. Maybe it's time for lunch...

killer bass

I would add to this discussion that we don't really know Warwick's cost-base or, "opportunity cost" - what else the same employees can create during the same man-hours. It may genuinely cost them several times more to pull out from a standard manufacturing process to address a non-standard job than it would a smaller, local luthier, whose business consists of such commissions. Warwick may pay their employees more or their carbon-neutral facility may just cost more to run Ultimately it's a business decision - and, as a business, if you don't really want the work but still have to quote for it, you may decide to price it highly (i'm not saying that's necessarily the case here, though). I think that would reflect the direction of the business and how much the customer really wants the "brand XYZ" experience.... Glad the OP got the bass sorted at a good price.