Pea Turgh

Super glue will sort it out (it was originally developed to stick skin back together in the Vietnam war or something).

Spectracomp tagged on to the Thomann order I’d been hovering over for days. The Thumpinator will need to wait til next pay day. I shall report back...

I think I’m going to go spectracomp & Thumpinator after the shared thoughts here and an afternoon on YouTube! Thanks all!

I have an Ampeg Pf350, so I don’t believe that has a hpf. I also have a muting tuner already (Korg Pitchblack). I like the look of separate pedals, and you can swap them around, and as everyone keeps saying about heads & cabs vs combos, if one dies it doesn’t take the other with it. The other thing putting me off the one pedal solution is some of the other Zoom threads here - do you have to run 2 hpf’s in series to get a decent amount of sub cut on the B1-4? I think i’m just convincing myself to get the separate bits!

I’m just confusing myself now - the hpf in the Cali76 appears to be set to alter what lows are going to the compressor rather than filtering out inaudible sub bass prior to compressing the whole signal. Is that right? I can see why that is useful, but I was after a hpf before compression circuit. Back to the drawing board...

I’ve had a read through the B1-4 thread and I’m put off by mentions of noise and artifacts at the tail end of notes. I fear a cali76 purchase on the horizon...

Hello chums. I’ve been slowly coming to the conclusion that a compressor & hpf would help me out at gigs. I’ve read the thumpinator thread, and was going to save my pennies for that first. Then find a nice transparent comp that doesn’t squish the life out of the sound at a later date. Then I saw the Cali76. Damn, that sounds the business. Then the price tag. Just, damn. Then, I saw this TC jobby; https://m.thomann.de/gb/tc_electronic_spectracomp_bass_compressor.htm?o=0&search=1559330249 I don’t know much about this toneprint business, but could I add some sort of hpf toneprint to the compressor, thus achieving my desires sound-wise? Your superior knowledge is most graciously invited.

Or, just leave as is, and sell it to me when you get bored of it!

I carry two! Mostly just to look cool though. Never works.

Thanks Phil! I think I’m beginning to understand their numbers now! 210 is the version that’s been around for yonks, the last two digits relate to the boom. I’ll get the 210/2 on Thomann (and some nice stands and maybe a cahon!)

It said Kay on the truss cover, but the 1969 stamp was definitely in the neck pocket. It was a piece of crap, but nostalgia is a warped puppy.

Hang on, your house is so big, you rent land inside it to a farmer? Crikey.

Which model number did you get? God I’m sounding sad.

Right, looking at K&M stuff now - the PA company we use has them and they seem hard wearing. Trouble is, there are still a few different sorts available! I just want a metal boom to hold my standard dynamic mics. So many options! Anyone familiar with the model numbers, and which one is best bang for buck?

And if you try it, please film it

Mad. You get a misprint on a bass, and it devalues. Get a misprint on a 20p coin and it’s worth as much as a bass!

Is a Yeat like a warm tent?

Mine definitely had a 1969 stamp in the neck pocket. I don’t think anyone was bothering to counterfeit Kay bases in1994!

https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.co.uk%2Fulk%2Fitm%2F333209821302 Mine was a Kay from 1969. That listing brought back memories, mostly of how heavy the body was, and how bad the neck was made - looked like 50 packs of matches glued together!!

A flippin’ lovely one that is not helping my GAS! Wilcock. Made in that there London Town.

Or defret it then use a router to remove the fretboard (like you skimmed the body for the top wood).

Damn it, I missed those!

£22k. Wow. Shipping is included though.

I’ve never been a fan of the Warwick shape, but your work here has changed my mind - that is looking niiiice!!!

Paint one on?