Al Heeley

err, no. I'd set bass volume to three quarters then turn the amp up to normal required volume. Then when the guitarist and the drummer start up you can alter the volujme as needed from your bass without having to trot back to the amp. If you start with your bass vol on 10 then you have nowhere else to go. Unless you are nigel tufnel and can go to 11.

A tip from Patrick Eggle to give your frets a great polish. 1) Cork sanding block 2) Old t-shirt 3) buffing wax candle/jewellers resin paste Wrap cloth tight round cork block, rub a little of the wax/paste on then go up and down the frets & across them for a couple of minutes with the block. Comes out great, fretboard may need a bit of a clean afterwards but it makes the frets really shine and takes out all the small scratches

classic diy pedal - well done on the first build. You'll get plenty of steers from the guys at diystompbox.com when it comes to modding for bass use. Most will involve simle swapping out of a couple of components on the input/output side, maybe a cap or resistor value. I don't know enough about the FF circuit to advise specifics having spent most of my time modding tubescreamers but i imagine the principles are pretty similar. larger value input caps allow more of the bass through to extend the distortion into the lower frequesncies, but you have to be careful you don't end up with a lot of mush.

sanding disks and a dust mask

If you are handy with a soldering iron you could wire in a resistor to the output socket to reduce the signal strength a little, not sure which value to start with though - may need some trial and error.. Maybe all that's needed is a mini 100k trimpot you could fit into the original enclosure then tweak with a screwdriver to match the output better. Simpler than a whole bypass pedal to knock a few dB off the signal.

Don't get confused with high or low outputs, we're only talking about a single signal here. You are correct, sticking with a single cap 0.047 or 0.033uF is best way to go. For a passive bass, the smaller the cap, the higher the treble frequency cut-off as the tone knob turns from 10 to 0. The resistance of the pot also affects this ramp or 'sweep' as tone is turned down. At 10, (tone pot = no resistance) to all intents and purposes, the signal goes straight through bypassing the cap, so it doesn't matter what value it is. At zero, (tone pot at max resistance) a lot of the the signal will take the path of least resistance through the tone cap. This filters out the higher frequencies like a shock absorber soaks up the vibrations of a road surface - you still feel the pot holes. Bigger value caps retain more of the lower frequencies so only the lowest will get through. Tiny caps will just take off the top end sparkle. But only when the tone pot diverts enough of the signal (ie. it's turned down enough). I find it easiest to visualise the shock absorber image. I would think that a 0.1 uF cap in the circuit would just give a muffled decrease in output when you turn the tone knob down. Now you won't be wanting that will you?

If you connect them in parallel then you get 0.147uF capactiance. If you connect them in series you get 0.032uF. Are you thinking you could use one for highs and one for lows? Electricity is not able to understand this. I would think 0.1uF or greater is way too high to give your tone knob any usable sweep. That's fundamentally all the cap really influences.

ebony should need no treatment. It's wood, it's natural, it differs. If your ebony is not as dark as you would like, don't change it, accept it for what it is and learn to love it.

LOL! I think you find the ball ends are on a thread and unscrew so you cn get the keys on. Thats what happened at the last gay wedding i was vicar at anyway.

I always struggle to get the solder to stick to the copper shielding, think you need quite a powerful iron - a bit of degreasing with white spirit can help but its easy to get what you think is a good solid joint just slide away like an errant ice cube on a western bar a few minutes later.

get your sister to take it to the sunbed with her. Some pigments & dyes have a lot less light stability than others. I recall PRS had a disaster with some dark blue/black stains that went an entirely different colour after 3 months. They ended up withdrawing that finish from the range and now the affected guitars are much sought after.

Self-adhesive copper sheets from Axes'R'us or from ebay should be standard practice in any guitar - you notice most when theres dirty ring mains, fridges or fluorescent tubes on the circuii

OBBM: [url="http://basschat.co.uk/index.php?showtopic=99485&st=20&p=931444&#entry931444"]http://basschat.co.uk/index.php?showtopic=...mp;#entry931444[/url]

Looks like Drg to me but no idea what the relevance is. Graph is showing the increase of cable resistance with the frequency

Speakons are a lot less use getting the earwax unlodged from your lugholes though.

I just love the sound of Ricky basses, all my favourite bass players have used them when I was growing into rock music as a kid - I was a huge fan of Chris Squire, Geddy Lee, then later the Jam, I found out they all played Rick basses most of the time, just love the sound. Then when I played a real one for the first time I was full of nervous reverence, looking back now I found them sadly quirky (yes that word again...)not really comfy to play but so very cool and I still really want one; for the joy of owning a huge rock icon, I'd just rather play an EBMM or a Jazz bass, they suit me a lot more. Gutted, really.

Yep deffo ohms on left side of graph, however, this has absolutely nothing to do with the O/P's question about Speakon connectors

I was going to suggest a small soft plastic or rubber washer slipped onto the shaft before fixing the knob back on, that will add a little friction to the rotation without marring the surface of the body.

not the max resistance but the taper - the ramp of resistance change. sounds like you may have a log pot which are normally used for volume pots, you need a linear one. Cheaper pots tend to have uneven ramp where all the change is in a small sweep.

[quote name='Grand Wazoo' post='929614' date='Aug 19 2010, 11:53 AM']Most modern amps and cabs comes with these "speakon" jacks, now I am a 40 something ol' fashion git, please can someone tell me what's it all about these type of cables versus the old style copper shield 1/4" jack to jack jobbies? And why so many manufacturers are adopting those, there must be something good about them, so what is it? Thanks[/quote] Not the cables, but the connectors themselves are more secure, more robust, bigger, firmer contact area and they lock in place.

ah, soz, missed that bit, join the internal white and black together for each coil pair, to complete the humbucker circuit. Normal guitar humbucker with 4-conductor wiring will have a red, white, black and green plus shield. If you want to coil-tap it then the red and white go to a switch, otherwise they get soldered together and the pup is wired normally with green as live and black as earth. Note- different manufacturers use different colour codings, the above is normal for Seymour Duncans.

white neck wire to vol pot lug black neck wire to white bridge pup wire black bridge wire to earth Now you have to use both together as a double humbucker unless you put a switch in to allow you to choose neck, bridge or both.

Bad form, SB comes out of this with a soiled disposition, only thing I'm worried about is I am a Stingray owner and BMW driver. I'll have to keep a low profile and use my bass to indicate where possible. The fried, sorry, baked necks look lovely but I'm not sure they do all they claim. reminds me of the cosmetics industry where certain magical attributes are given to certain products, there may be some scientific truth behind the marketing (there has to be as legal costs can be astronomical) but it may take 3 hundredweight of extract [i]x[/i] before any significant improvement can be achieved in practice.

Mr Foxen is correct in a slightly cheeky way, - clear high frequency output is was a capacitor doesn't do, it rolls off the trebles as the tone pot is turned down, it is a high pass filter. Most high freq response is of course with the tone on 10, thats zero(ish) resistance and the cap is not in play. Can we direct you to this fascinating recent post which explores many aspects of the cap arguments? [url="http://basschat.co.uk/index.php?showtopic=95539"]http://basschat.co.uk/index.php?showtopic=95539[/url] My summary would be that it takes sensitive electronic measuring equipment to differentiate the tonal differences between cap types, and negligible effect for a pair of ears to be able to tell the difference.