GreeneKing

Personally I wouldn't endorse Howard in the slightest. He left me minus a paid for replacement and an original scratch plate. I know he's been ill but I've heard absolutely nothing and gave up many months ago. I've been out of the loop more recently but he has my details. No apology or explanation has been offered.

[quote name='sk8' timestamp='1476526442' post='3154958'] [url="http://s420.photobucket.com/user/spongebob_sqaurepants/media/0EF90E1D-DDD1-49DD-BE39-FE8B5EFC84A8_zpswmtzqwgq.jpg.html"][/url] [/quote] A sad day for Mike but a great one for me. I've bought this custom COG and early impressions are very positive indeed. I'd like to say how impressed I am with Tom's help. I emailed him late last night from work, asking for some help with function of the controls. He was straight back to me saying that he's get to it in the morning as it was time for bed (I work nights). Before 8am I had personal instructions on how the controls function. More than impressed really. Peter

[quote name='BassBunny' timestamp='1481644441' post='3193971'] Problem is Peter that we don't seem to know how the pickups are powered. EMG's are easy there is an additional Red +ve that is used to power them. The MEC's only seem to have a Hot and Ground and I am struggling to see how they are powered up unless there is something unique about the MEC pre-amp. [/quote] I don't think that all MECs are active. Is it possible that they aren't active at all? In that case connecting them to the battery would be a major faux pau. I believe that the active MECs appear to have two wires but the white wire has an inner core (+ve power to pickup) and the outer braided wire is a common ground. I suspect you know this though Although if the OP has connected the red wine to 9v then it would be wrong as that is the pickup output hot wire. Inner white to 9v switched and braided wire ground, inner white is the pickup power not red. Thats as I remember it anyway. Peter

Shame you are in Denmark as I've done a fair bit of this, in fact a whole lot. The jack wiring is the culprit quite often and getting your head around it's switching via the -ve side is important. If struggling start from scratch and work out what is going on with the wiring.

I think that if you go for the simpler compressors they take a lot of the decisions out of your hands. I've got a Keeley Bassist that allows you to set threshold and ratio but the attack and release is down to the design function. The Doubleback gives you control of attack and sustain but threshold is a derived function. These sort of compressors are great if they are done well. The more expensive and featured units have all the adjustments at your fingertips but you need to know how to use them. The Keeley Bassist (and the Doubleback) work well in this respect but not all do. I've used the full rack all singing and dancing compressors and now find that the Bassist does the job really well. Peter

[quote name='chrisanthony1211' timestamp='1481614582' post='3193643'] I play through a Mark bass CMD121P with a NY12 extension cab, I never go over 12 O'clock and will often play at 3..... [/quote] Strange, as you have to go over 12 to get to 3.......

I'd suggest the Seymour Duncan 'Doubleback' and not just because I'm about to have one for sale A great resource is here: http://www.ovnilab.com Peter

My ACG Finn Uber spec: http://www.acguitars.co.uk/acg_admin/wordpress/portfolio/0148u-finn-5/ Each pickup has two coils per string so the articulation is completely different to the usual one coil per pickup. The neck is very rigid and the B string is like no other I've played (I've owned nearly 100 basses, not all 5 string). It feels more like an E. The latest spec filter pre-amp gives the adjustment of a low pass filter on each pickup, an active blend between pickups and there is a resonant peak control on top that has a significant effect on tonal range. There is also a high and low mid boost on each low pass filter. Add to this sweepable mids and a passive tone control, just like a Fender and that's it. Oh and there an active/passive switch but you still need power to supply the pickups. Add to this Alan's playability from perfect balance and fretwork on a flat board that is as good as any bass on this planet and there you have it. It is a bit weighty but we knew this from the choice of woods that were informed from my 89 NT Thumb. Even the tuners are the smoothest and best geared I've ever used. I have had a play on a couple of Fodera's and I didn't feel they were as good. Peter

I remember Bassworld initially thriving and then succumbing to the inattentiveness of Gerald the moderator and owner who was apparently addicted to World of Warcraft. That would have been around 2005 I guess. So I was around for a year or two before that. I was a regular contributor for many years but fell foul of getting too immersed and personal in some of the more emotive content. Some good friends with non conformist tendencies got banned so I've been a bit of an outsider since. Thank you Michael.

[quote name='wateroftyne' timestamp='1481226392' post='3190840'] I joined Bassworld on December 14th, 2004. Crikey. [/quote] Is it possible to find this stuff out anywhere Michael? Peter

[quote name='bakerster135' timestamp='1481137475' post='3190007'] Tarkin and Knightfall in one box mate, only way. [/quote] Thanks to all. This indeed seems the ideal solution and thanks to Mike (Sk8) it should become a reality. Looking forward to it and will update. If i remember.

Interesting. I've had problems feeling like I'm getting lost in the mix with my 5 piece band. I was using a class D mini amp and I found the power stage was clipping because I was pushing it so hard. Basically the drummer is very 'committed' in his playing and the lead guitar raises their volume to compete. The singer, rhythm guitarist and myself kinda get lost. I tend to use my ACG J5 with an East pre but on switching to my SR5 HH it was worse. I play with the low mids high and the best bass is my ACG Uber spec Finn. I've gone back to a class A/B amp (Markbass LMII) and I've decided to wear my motorcycle moulded ear plugs as 46+ years of motorcycling have caused much damage. Raising the cab is a good idea. maybe get the drummer to damp his bass drum would be a good place to start too, and get the lead to raise his tone a bit. We'll see.

Having been through the whole pedal thing more than once and given up I find myself returning. Here's my new progression: I've a TC Polytune, a lovely tuner that being a mute is perfect with my LMII. My compressor is a Seymour Duncan 'Doubleback' that I'm about to replace with an incoming Keeley Bassist mainly because the Bassist has threshold control and a function LED I've a TC Mojomojo that is perfect for that injection of 'character'. I really like. I've also a TC Dark Matter that is good but not strong enough in the fuzz department for me. My final pedal is an MXR M87 bass chorus deluxe. It is good but not what I'm looking for in a chorus. EHX bass clone incoming. So I will have a few pedals for sale once i've sorted out what works both for me and in the band mix. I'm thinking of replacing my Mojomojo and Dark matter with either a Grand Tarkin or a Dual Knightfall/66 I'm wondering if either will give me mild grit and strong fuzz in the one box(think BRMC's Whatever Happened To My Rock n Roll) or do I need 2 separate pedals (or Sk8's custom) GK

Cabs are prone to such things. I sold a Zoot 2 x 12 and it arrived with driver damage. I'd probably not post one again.

[quote name='Sibob' timestamp='1434098906' post='2796596'] I've also just noticed that you're from Brightlingsea, my home town, still get back there fairly often to see my parents Anyway, back to Fuzz Si [/quote] Trawling through and saw this. I used to wave at Brightlingsea folk. Mersea boy. I'm thinking that suitably set up the Knightfall with do subtle warmth/a hint of grit but that the Tarkin won't?? Peter

Much appreciated