atsampson

The value of Hammond organs varies by several orders of magnitude depending on the model. The one in the original post is a later fully electronic spinet organ - you might get £20 for one if you're lucky. The M3/M100/L100 spinet organs, which are in the same form factor but have a mechanical tone generator and valve electronics, go for a few hundred depending on condition and features. The T100 - mechanical tone generator but transistor electronics - is also worth looking at but you don't see many of them in the UK. The full-sized, full-featured A100/B3/C3 are worth a couple of thousand, more in good condition - bearing in mind that even the newest ones are 50+ years old now.

That said, a lot of what people think of as the Hammond sound really comes from the Leslie's distortion and modulation, and even a cheap electronic organ sounds pretty convincing through a Leslie or a decent Leslie simulator... I went from an L100 + Leslie 2101 to a C3 + Leslie 122XB, and the latter is definitely better but it's not ten times better.

Bought a bass from Simon. Great communication, packed very well (with original box and receipt!) and shipped out the same day. Thanks very much!

Bought a couple of CDs from Mick - they were with me in a couple of days, carefully packed and in as-new condition. Very happy. Thanks very much!

You might have poly chain mode turned on? See section 4.9.3 in the manual.

As someone who does ethics and data protection review for research projects as part of my day job, the interface design here is stunningly bad. In order to not consent to tracking, you have to individually click on dozens of tiny checkboxes - realistically, nobody is going to do that, so this is not meaningful consent. You need to ask a clear yes/no question, not attempt to force users into agreeing with what you want. (And, realistically, I think it's very unlikely that you can actually meet UK/EU data protection requirements if you are "sharing" data with that many "partners" - there is no way to do meaningful review.)

That configuration reminds me of Mo Foster's Jazz and Precision. It does seem a bit of a shame to refret it if the neck's otherwise in good condition - there are plenty of fretted Precisions out there already...

It's a long shot, but I would be tempted to have a careful look at the electrolytic capacitors at the right-hand end of the preamp board. If the amp is 18 years old, then (a) they're most likely past their intended service lifetime and (b) they were originally fitted just after a time when some manufacturers were using a dodgy electrolyte formula that caused early failure. If, say, you've got a filter capacitor across the HT or LT supply that starts acting as a short circuit once it's warmed up a bit, that might explain the fault you're seeing...

Bought some IEMs from Chris. Very easy transaction - ordered on Friday evening and they arrived, carefully packaged and in as-new condition, first thing Monday morning! Thanks very much.

That's an IEC C14 ("kettle lead") socket with a built-in fuse holder - you can pull the plastic bit below the socket out to replace the fuse. That's what the note on it and the specs printed below are referring to.

It says the amp's fuse is 315 mA (0.315 A) so any IEC lead will be fine. As BigRedX says, the fuse in the plug is only there to protect the cable - they usually come with a 13 A fuse which is much more than the amp will draw, and more than the 10 A the IEC connector is rated at.

For Basschat purposes, it's worth noting that DPA do the BC4099 double bass mount which clips onto the strings below the bridge. I use one of these on my DB and it works nicely.

Bought an effects pedal from Richard. Great communications, and the package arrived within a couple of days, very carefully wrapped and in perfect condition. Thanks very much!

The main out is a good option, but that mixer also has "tape out" and "tape in" connectors which are designed for this purpose - the tape out is the same as the main out, so it's not affected by soloing channels, etc., unlike the control room output, and the tape in lets you feed the output of the recorder back into the desk so you can play back the recordings.

Another option is to use one of the stereo group outputs - this is useful if you want to exclude some channels from the recording (announcer's mic) or add extra ones that aren't in the PA mix (drum overheads), or if you need a gain control to avoid overloading the recorder's input.

No, that looks like a duff string to me - all four usually match. Here's a well-worn set of mine:

I've got a Skyinbow violin pickup in my Freshwater octave mandola - it has a small piezo sensor set into the bridge, with a tailpin jack that includes a little preamp running off a supercapacitor (you plug a battery into the jack briefly to charge it up and it lasts for a few days). This was a bit of an off-the-wall suggestion from my local guitar tech about ten years ago, but it's a very neat install and I've been really happy with the sound - it's much more like a microphone than a typical piezo pickup, and I've not had problems with feedback when playing live.

You could ask Thomann's custom case department? They can make cases to spec, but they may well already have a design for the Sub Phatty. (They do sell a padded bag for it, but you might want something more substantial...)

Would it be possible to use the offcuts from the pickguard to fill the "wedges"? I don't know if it's the right type of plastic to do an low-visibility join with solvent...

Tokai (and other Japanese brands) - please find a proper UK distributor for your high-end instruments, so we actually have a chance of being able to try them out and buy them new here.

Behringer or Joyo - make an affordable bass DI, in a metal box, without the whacking great notch (or at least with an adjustable notch depth), and with phantom power.

What a neat design! That's much tidier than the usual approach to using conventional tuners in a headless bass. I wonder if anybody's done the same on a solid body - I guess a 4-in-line arrangement on the treble side would also work...

Show of Hans

The Roadside Band

The Bad Pus

Jock Tamson's Barns

Big Big Rain

Crooked Sill

The Shame

Sash's Snakepit

"Eerie" Willie Johnson

Bargain! I'd agree that the missing word on the headstock is Maya - and that looks like a Schaller 463 bridge?

Quote

Of course I have no idea if ALL Tokai basses/guitars are like this

Certainly not the case with my late 90s Jazz Sound - I've had several sets of very light strings on it and there's plenty of truss rod adjustment in both directions.

I bought a pair of these when they came out, and have used them quite a bit, including comparing them with other headphones on the same material. To my ears, they sound pretty much indistinguishable from the Sennheiser HD650s that I normally use for hi-fi listening, with the advantages of being closed-back and a lot easier to drive. They don't have the treble lift of the ATH-M50X or DT770, and they seal to my (large-ish) head well so the bass extension is excellent.

I've found them comfortable for long periods of use. Mechanically they seem reasonably solid, and it's useful being able to choose which side the cable comes out. On the downside, they don't fold, the bag they come with is rubbish, and the two cables they come with are both fairly sticky rubber so they get caught on things (especially guitar straps!) and make irritating mechanical noises. I need to see if it's possible to bodge a compatible 2.5mm connector and make a better-quality cable...

On my Tokai Jazz with TI flats, which I set up with slightly higher relief and action than the Fender specs:

• E string action at the 17th fret is 2mm between the fret and string
• At the 18.5 fret dot, the edge of the fingerboard is 4.8mm above the pickguard (which is 2.5mm thick)
• The top of the neck pickup is 5mm above the pickguard; the bottom of the E string is 11mm above the pickguard at that point
• At the bridge saddle, the bottom of the E string is 11.5mm above the base of the BBOT bridge

On my MIM fretless Jazz with ETB92s, which has lower relief/action and the pickups cranked right down:

• E string action at the 17th fret is 2.6mm between the fingerboard and string
• At the 18.5 fret dot, the edge of the fingerboard is 5mm above the pickguard (which is 2.2mm thick)
• The top of the neck pickup is 3mm above the pickguard; the bottom of the E string is 9.55mm above the pickguard at that point
• At the bridge saddle, the bottom of the E string is 9mm above the base of the BBOT bridge (the saddle isn't all the way down - there's about 0.8mm adjustment left)

You may be able to do some surgery to the foam under the pickups to get them lower, but it does look like you need a shim to raise the neck or tip it back a tiny amount - maybe the top of the body isn't quite parallel with the neck pocket?

Bought a pickup from Chris - excellent communication, and it arrived next day! Very happy - thanks very much.

Bought half the VJ74 mentioned above from Sean - excellent communications and arrived next morning. Thanks very much!