ikay

What type of bass is it? If it's US built the chances are it will be an imperial size. Anything else most likely metric. Using the allen keys you already have you can then narrow down the size to be somewhere between the ones that are too big and too small.

Thanks for the weight.

What does it weigh please?

1 hour ago, Lozz196 said:

TC Spark Booster (full sized one) I reckon would fit the bill nicely.

This sounds good to me. A clean boost pedal before the input on the amp, set at a level that pushes the gain stage into the desired level of overdrive. Overall volume may also increase which may (or not) be a problem depending on the context of how you intend to use it (eg. stepping forward for solos or just adding drive for tone). That's where having a switchable channel on the amp with it's own gain and volume setting comes into its own.

On 26/08/2022 at 21:34, JapanAxe said:

These are monster pickups!

👍 I did this with one. Monster!

3 hours ago, AndyTravis said:

Sub 10lbs for a neck through Yamaha is pretty good.

Yes, mine weighed a little over 11lbs! This one is a nice weight. Fabulous basses.

Thanks for that.

What does it weigh please?

You might find something useful here: 

7 hours ago, bertbass said:

Another option is to buy a straight edge like a metre rule and file notches in the relevant fret positions.

I did exactly this and it works perfectly

Thanks for that

What does it weigh please?

If you're after 1/4" solid shaft pots (ie. typical US size) then another option might be to get some of these little brass sleeves which convert 6mm split shaft to 1/4" solid:

https://www.wdmusic.com/wd-music-products-brass-potentiometer-shaft-conversion-sleeve-details.html

That opens up your options to include metric long shaft pots which may be easier to find (although I'm not sure if they are!).

Excellent 👍   

I wonder why the other two strings don't have the same problem!

It could well be a grounding issue. I found the following post on the Line6 forum which seems to refer to a problem similar to yours:

If any of you want to diagnose your piezo as a ground issue, you should be able to hear the string, but it should be quiet and possibly crackly.

If it cuts out 100% with no sound at all then you have an issue with the signal wire, not the grounding connection.
 

The problem is that the piezo has lost contact with the saddle, which transfers all grounding to a wire connected to the bridge. 

You could try to use contact cleaner, but it might go out again, so I suggest you secure the grounding contact by inserting conductive material on the side/under the piezo between the saddle. It's working great.

Thanks, I'd forgotten the voicing switch. The wording on the switch is a little strange for that though ...

What does the 'feedback' switch on the right do? Looks like it has 3 settings - Usual? / Amp/ On.

1 hour ago, Jaybeevee said:

I wish we could get a statement regarding the electronic changes. I committed to an R400 regardless, but it would be nice to know what we're getting. 

I asked Leszek about the changes and this is what he replied:

Hello,

English musicians like the Middle knob, so we made the middle tones.

There was a Contour knob on the R-400 and WB-100 and nobody used it in the UK, and in the US, the contour tone is the norm.

The biggest changes concern the inside of the amplifier, i.e. some very time-consuming assembly operations have been eliminated.

My ongoing experiment with effects pedals continues! This is a JOYO Oxford Sound drive pedal purchased new a few weeks ago and in mint condition with original packaging and instructions. Excellent pedal and unbelievable value. Delivers a big Orangey sound. Lots of good things about it here:

New price from JOYO is £40 and currently out of stock. https://www.joyoaudio.co.uk/JF-22-JOYO-Orange-Oxford

Selling for £30 including UK postage.

Worth mentioning maybe that the James/Baxandall circuit is quite different to the Fender tone stack and similar to a regular 2 or 3-band cut/boost eq in operation.

The tone stack is very different to a regular set of BMT controls. It's a series of 'stacked' passive filters that all interact with each other in quite complex ways. I found this explanation helpful:

http://pickroar.com/1003/the-tone-stack-explained-in-english-for-humans/

PM'd

I'd like to throw into the mix the idea of having some sort of voicing control to adjust the character of the sound from modern to vintage and points in between. This would be useful for someone like me who needs to cover a range of styles and could possibly widen the amp's appeal. 

Here are a couple of examples:

1. The Pure Tone Offset amp which has both Normal and Bright gain controls and allows you to mix the two together. See first demo below at 5m 25s.

2. The Ashdown Little Stubby which has a 'Feedback' control which sweeps from modern to vintage by adding low end saturation. See second demo below at 5m 25s.

I'm honestly not wanting to overcomplicate things or detract from the idea of a great amp with it's own core tone. Just a little tweakability in the way of modern/vintage voicing.

1 hour ago, Merton said:

We haven’t really got that far but we can certainly try to specify it to be cleaner for longer. I’d prefer that too, as it seems would @BassAdder27

Please add me to the list for clean headroom.

3 hours ago, ikay said:

How about the TRS jack out on the LS DI into the TS of the effects return - the TS would short the RS connections on the TRS ...?

I contacted Ashdown to check this and anything that shorts out the RS connections on the Stubby DI would likely set fire to the amp!! Glad I asked 😵. It would need a modified TRS to TS cable. I have wiring details so if anyone needs to know just drop me a message.