Soledad

That swings it. Spoke to Andertons and as the CEB3 was on back-order, have swapped to a CE5 (in stock too). The hi and lo pass control really appeals - to adjust treble cutoff which is where I started from. I really suspect they are both good but it's the dual-concentric on the right that I fancy. Must say it's a great pedal for the tenner it cost me (secondhand). I'll keep it and prob use at home. With the active fretless straight throuth the BCH1 I can get a good chorus sound without the toppy problem, but it doesn't work well with the fretted on my pedalboard.

BCH1 - got it for a tenner from a fellow BCer. It's been good just used in isolation but it's tempting to assume spend more = better... doh. I need to resequence pedals when I get the CEB3. It's at the end of the chain (only pre/comp/chorus so not silly long) - will try Ch/pre/comp I think, and any other permutation.

I was a bit torn, but ordered a ceb3. I can use the Sadowsky pre to control top if I need to (or just roll back on the bass) - but either is going to be way better than my very budget Harley Benton. Surely?? !

Exactly what I needed to know. Will get a CEB3. 👍

it's fine, just pm your address, happy to pass them on

was the predecessor the CE5? They're both still available but Boss say the CE5 is for guitar and keys. BUT I do like the top and bottom filter on the CE5, as I want to close in on the mids with the fretless. As I understand the CEB3 just has hi-pass. Are they pretty much evens or is one better than the other for bass?

address and we're done

Came off an Aria 34". Loved the sound - bright, ringy but with v good body and depth. See. you actually get a review for free too. Asked the guy I got the bass off what they were, he couldn't remember. He never played the Aria, neither did I (no disrespect, just not a keeper) so strings are virtually unplayed.

Just found a review of the CEB3 by @greghagger - think it'd do me (or the CE5). Like the CE5 hi and low filters though.

Should say that on the box - liking seasick. So there's a CE-5 and a CEB3, the 3 seems bass dedicated, and they cost the same. With chorus I roll the top end back so the mids sing, so toppy chorus is not it. Shall I get a CEB3 then?

Mainly for the fretless, but sometimes the main (P) bass. I used the TC toneprint on their head, good given it's a preset chorus. Now I have a cheapo on the board, it's OK but gets very toppy - I want lots of mids, fair bit of depth and normally slow speed. Any recommendations please?

wow - would require some very serious changes to my left-hand technique I suspect. How do you actually reach the bottom string higher up the neck ?

very tidy, the amp is very nearly as big as the cab !

yes, that's it. Shims in the neck pocket would be a walk away for me. It's on a J serial '89 and all else seems spot on. Need to see it I think. ooh, bad mistake. V nice P - sunburst / tort is the classic finish I think. V nice indeed.

Thanks for that, and @LeftyJ - the fact that at least some do is helpful. It's one aspect of a bass I needed to check. So this is GOOD. May have to buy it... that is BAD p.s. and WOW that Squier Strat back is tasty indeed👍

Did any 80s / early 90s MIJ Fenders have a black plastic shim between the neck plate and body? Never recall seeing this but I'm no expert.

He's right of course - I find the logo variants quite confusing. The original '61 referred to earlier has this logo so all good !

He's right - sorry thought that was LP blue ! Should be very tasty. Small question - is the stack knob pre '62 and if so should the headstock logo be spaghetti?

Almost exactly what I'd like, and love the colour. Basically I 'need' a lake placid P, and a fretless Jazz, unlined and maybe that mucky white colour with tort plate. (See the CS Jazz for sale on here - that but unlined fretless👍👍👍)

same here - why Fender insist on lining the fretless boards is beyond me. At least offer an option. It's probably a hang-over of the Jaco Jazz which he stripped the frets out of. But actually putting lines onto an unmarked fretless neck seems moronic to me. I might pick up an affordable used Jazz somewhere and spend on getting an unlined board fitted. btw, am in contact with Mark about a '64 P, Lake Placid...

Got a MAG250 210 combo for £120 recently - it went straight into the rehearsal space and stays there. For rehearsals I just go straight in (P, no pedal board) and it sounds very good indeed. Obviously lacks the lower body mass due to its 2 x 10s - a 115 ext would probably round things off very well. I reckon the Ashdown gear is an absolute bargain - almost picked up a clean 210 cab for £40 recently, and the EVO heads look really good at the going prices. I believe Adam Clayton is an endorsee - it's really good gear, maybe just out of fashion?

Thanks @ped and @dannybuoy. Main thing first was to use the effects loop or not. So not. The tuner can tee off the pre so I'm guessing sits aside the signal path. I will try a few sequences but I'll start with pre>comp>chorus and see how it goes. Thanks for the help

I've messed with the odd effects pedal over the years just putting the chorus (say) between bass and pre-amp in. But I now have 4 boxes to hook up and I'm not sure the best way to do it. The boxes are a Darkglass SS comp, Sadowsky pre; chorus, tuner. The main amp I use is a GB Streamliner (valve pre) with send/return on the back. Do I series all 4 between bass and pre-input, or series all 4 between pre and power (through the send/return), or do I need to split the pedals and put some before pre-amp, and others into the send / return. I'm guessing the Sadowsky in particular would be best before the pre-amp, but compression may be better post pre-amp. Basically, don't know.

I aim to get the things I use most as close as possible - so all the marking tools, mallets, scrapers etc. On the 6' bench I have 2 cantilevers screwed underneath (2" x 2" anything) and they project out the back about 6" or so. I built a long box which sits on those and lies so top is flush with benchtop. Put several dividers in and keep all the smaller and much used tools in there, including 2 small planes, marking knives, gauges, squares, pencils, mallets etc etc. Basically I aim to not move around! Planes under, saws very close by, chisels the same. The good old 80/20 rule - i use 20% of tools 80% of the time - put those within immediate reach. I know benches and workspace is a personal preference thing, but it all works right for me.