GreeneKing

You can buy them online. One was included with my Warmoth neck too. Venture onto the Warmoth website at your financial peril Peter

More than familiar Shaun I spent over 3 hrs choosing the woods Have you seen my 4? Peter

Alan If you're getting a sore shoulder playing seated isn't it more likely to be the way you're holding yourself (ooor, errr missus) rather than the weight that's causing the problem. That Sadowsky is nice. Hollowed out I assume. Peter

Not exactly. If they sound like 2 x GS112's then I'd say I'd be more than happy with one Obviously more difficult to lug around. Peter

I missed that Stuart. Date into my diary, sounds like a lot of fun. Peter

[quote]Can you bend notes on it - that was my first thought.[/quote] In more than one dimension

I'm stuck thinking about set up and getting the string/fretline straight and more or less parallel. Amazing idea. I'm imagining taking it into a shop for P/ex and say 'the neck's supposed to be like that'. Peter

Is it a two way trussrod? Some trussrods keep going and force a relief into the neck. ACG are such an example. Peter

Here's a few sound clips taken from the Spector post modification. The blend is centred and for all except the penultimate clip the passive tone is wide open. I'm just playing intervals of major 3rds down the far end. One basic way to look at the filters is to take the 'meat & gravy' approach. The low pass filter at one extreme lets through just the lowest frequencies and as it's rotated more and progressively higher mids are added to the tone without taking away the lows. This is the 'meat knob'. The top knob enhances the peak at the filter cut off frequency. The high pass filter when shut down just allows the highest frequencies past and as its rotated progressively lower mids are introduced . The two filters do overlap so you're not missing anything. This is your 'gravy knob'. The top knob on this is a cut and boost that has the added function/beauty of enabling the signal through it to be shut right off. The passive tone is just that, a pickup tone bleed off to earth. So here's the tone with both pups, passive tone not cut and high pass midway with cut/boost at the centre detent. So the gravy is set. What I'm doing sample by sample is opening the low pass to alter my most basic 'meat' of the tone. It's not necessary to listen to every sample to get the idea. [url="http://www.zshare.net/audio/55768053cfd0911f/"]1st sample[/url] [url="http://www.zshare.net/audio/55768754ced39d94/"]2nd sample[/url] [url="http://www.zshare.net/audio/557692881b18cab1/"]3rd sample[/url] [url="http://www.zshare.net/audio/55769511c34c4a0f/"]4th sample[/url] [url="http://www.zshare.net/audio/5576968230d2d3e9/"]5th sample[/url] [url="http://www.zshare.net/audio/55769728d1f4ebeb/"]6th sample[/url] The next sample shows the passive tone 1st in and then cut: [url="http://www.zshare.net/audio/55769918103348ad/"]Passive tone being cut[/url] The final tone just gives an idea of range. [url="http://www.zshare.net/audio/557699768037ee9b/"]Tonal range[/url] Peter - who realises on listening to the clips that I may have too much 'gravy' in the mix

Ever heard of the North West? What he said...

That's going to look really nice. Peter

Well Alan it's not actually a passive vs active thing. What the passive knob does is 'bleed off' your tone just like a passive pot in a passive bass does, but at the point where it feeds into the pre-amp board. Like a passive pre-preamp pickup control. It's a one knob whole tone adjustment. It's subtle but noticeable. I'll do a range of sound clips tomorrow. I'd describe the passive tone as a useful addition rather than an essential. We must get together for a comparo Al. Peter

And suitably prompted I'll probably stick with the 'odd knobs'. Black for the filters is actually pretty cool (black magic) Peter

[quote]refusing treatment for fear of losing the 'highs'.[/quote] He's wasn't alone with that

I'll get something done Ped. It'll be more sound than music - nothing new there Peter

I created a thread a while back describing how I fitted an ACG02, filter based pre-amp into Alan (Niceguyhomer's) Black cherry Spector Euro 5LX. These are truly great basses with good ergonomics, necks and quality of construction. The Tone pump in combination with the active EMGs is very good at 'in yer face bass' imo but there are times Alan (and I) were looking for more subtlety and 'warmth'. Having listened to Alan's several times now, both being played by Alan and others, I realise that my 4 was eventually going to get the same treatment, so: They get easier every time (fitting is very straighforward). The ACG02 in mine is slightly different in that the volume and blend are board mounted and combined and there's an extra passive control for both pups. So that's Vol/blend at the front, High pass filter/cut & boost at the top, Low pass filter/resonant peak at the bottom and the single knob at the rear (!) is the passive tone. Alan was a little short of gold knobs (evidently most folk have better taste) so I've nicked some black ones from my Harlot til they arrive. How does it sound? Just like I'd have hoped. Still all that Spector growl but with a whole lot more scope besides. I think that's 5 of these I've fitted now Peter

[quote]I would say it is probably the most sublime, comfortable and toneful bass I have ever laid hands on.[/quote] Thanks Al, that's a great indictment of Alan's efforts. Peter

Interestingly today Jim Fleeting was talking attack vs sustain and how basses tend to have more one or the other but not significantly both. B/o for attack, NT for sustain. Slapping needs attack evidently I say evidently, I've got the DVD and keep meaning to try it out more than the odd fumble. Peter