Daquifsta

Just to throw a spanner in the Donkey, the EMG pickup set I have in my bitsajazz, which came with a pre-wired loom, said to use 9v, OR 18v for 'more headroom'. Now, despite being a mechanical engineer, and not a 'lecky one - I do get the idea of the whole -9, 0, +9 situation, since we're in the context of AC voltage here, but there is definitely not a connection to the 0v between my two batteries. Have EMG done something clever?

I cut my own headstock logo from Black sticky back vinyl (from Homebase). It was a bit fiddly, to be honest, and the material is thicker than a normal transfer, but you don't end up with a clear border round it, because I personally hate that. I can try and describe the process, if you want? [attachment=58552:S1030777.JPG] The rest of the guitar (a P style kit by SAGA) looks like this, that's a Honda colour 'Imola Orange pearl metallic' [attachment=58553:S1030767.JPG] Having said all that, I really like the white, especially the white/ black headstock :-)

An Eastwood classic 4 maybe? Sounds nice here: [url="http://www.youtube.com/watch?v=MmSUjhcJaPo"]http://www.youtube.com/watch?v=MmSUjhcJaPo[/url] but then most things do when Ed Friedland plays them

Also, don't let him mix your 4 ohm cab with his 8 ohm - that actually adds up to 2.6 ohms as far as the amp is concerned, which is very bad news! Edit: Some amps are ok down to 2 ohms (older Peaveys for example, IIRC) but these Hartke ones aren't (I have the LH1000, which is kind of like a pair of LH500's)

Much love from me. I run an LH1000 through a coupled of (very!) 'roadworn' Peavey 2x10's. To be honest, the cab's aren't really worthy of the amp and fart out at around 6 on the loud knob, but that's more than enough to flap trousers. It's my long term plan to get something a bit more appropriate for my Hartke to sit on , but as the band are more of a recording project at the moment, as opposed to gigging, due to various members commitments, there's no great rush. An action shot! (The bottom slot in the rack is occupied with the PA amp): [attachment=55604:24010_37...071613_n.jpg]

The answer is, it depends on what those outputs actually are on the back of the amp, and how they are wired. Let's Google up the user manual (here: [url="http://www.eden-electronics.com/info/manuals/pdf/WTX260%2001082007.pdf)"]http://www.eden-electronics.com/info/manua...2001082007.pdf)[/url] and see what we can find. From a read through of that, you first option is to connect one of the two jacks on the back of the amp to each speaker cab, since the jacks on the head are wired in parallel (your two 8 ohm cabs in parallel gives the 4 ohms you want). Don't make any connections between the two cabs if you do it this way. The other option is to go Speakon - Speakon from the head to one of the cabs, and then go jack- jack from that cab to the other, making your 'daisy chain' (Or the way you said, it's all the same) I guess what you finally do will be dictated by the cables you have to hand. Apologies if I'm telling you something you know, but don't be tempted to use an instrument type Jack- Jack cable between your head and cab in your new arrangement - get proper speaker grade cables (OBBM is the member to talk to about cables :-) ) I saw our band's previous bass player wreck a very nice Yamaha head in that way. Twice.

Just buy a complete footswitch from one of the cheaper amp manufacturers, like this [url="http://www.dv247.com/amplifiers/epiphone-2-button-amplifier-footswitch--59811"]http://www.dv247.com/amplifiers/epiphone-2...otswitch--59811[/url] Rework/ repaint as required. (That looks identical to the one that came with my Marshall, in all but name!) Edit: even cheaper :-) [url="http://www.dv247.com/amplifiers/marshall-pedl10008-single-footswitch--54660"]http://www.dv247.com/amplifiers/marshall-p...otswitch--54660[/url]

That, or a joint where the solder is dull and grey, rather than silver and shiny.

A suitably sized drill bit twiddled between the fingers is common, too

Oh that's nice, very nice. It looks like it would taste of spearmint flavour Trebor softmints if you licked it

I have the LH1000, which is basically two LH500's in one box. I love it to bits and have never had any reliability issues. Only thing to remember is that flat on the eq section is actually about 2-7-2 (Bass-Mid-Treble), i.e. if you have all the knobs on the same setting, you end up with scooped mids. This also means that there isn't a whole lot of room to boost the mids with this head, if that's your thing.

Doh! Missed the question about the sound. As far as I can hear from the videos on youtube, it's just like the original pedal. 1) With the gain knob all the way off, you have a clean boost, with some added warmth. The two band EQ is very effective in shaping that. 2) As you add more gain you start to get a nice breakup, which is controlled by the dynamics of your picking hand. This is what I really wanted the pedal for. I liked the idea of something that would let me smoothly dirty up the tone in a chorus or supporting a guitar lead just by hitting the strings harder, and not actually stomping on a pedal. 3) That said, when you get the gain knob up full, it doesn't matter what you do wth your fingers - you're going to get filth! It's kind of three noises in one box

Glad you like it, it's actually iron- on T shirt transfer paper from PC world [url="http://www.pcworld.co.uk/gbuk/decadry-a4-dark-t-shirt-transfer-paper-5-sheets-00851397-pdt.html"]http://www.pcworld.co.uk/gbuk/decadry-a4-d...851397-pdt.html[/url] Basically, I'd bought a couple of sheets of Laser compatable clear waterslide transfer paper from Das Musikding when I ordered all the other bits, intending to sneak it through the colour laser printer at work when no- one was looking! Long story short, both sheets got jammed up in the printer and ruined, so I nipped into good ol' PC world on the way home that night and decided to give the T shirt transfer stuff a go. This is actually much easier than the waterslide paper I think: 1) It's inkjet compatable, which I meant I could print it at home. 2) There's no water to mess about with 3) The label is much less fragile than a waterslide decal when you've peeled it off the backing and are handling it. It won't stand up to a lot of abuse, because it's quite stretchy, but you can place, and re- place it many times before you finally heat it with the iron. When you've got the thing in the right place on the box, you lay the backing paper (you did save it, didn't you ) on top of it, then iron away. Now, the paper instructions recommend that you heat it for 10- 12 seconds - this may be fine for T shirts, but it's far too long on an aluminium box, 4-5 seconds with a cool to medium iron is nearer the mark. Don't move the iron about, either, just bring it straight down on the pedal/label/ backing paper sandwich, hold it for 5 and then off. Let it all cool back down, and gently peel the backing paper off. The last step is to slap the clear lacquer on, to seal it all in. Be very light with the first couple of coats of lacquer - I had a couple of bubbles come up on my first pass and I was crapping me pants thinking I was going to have to rub it all off and start again from bare metal. The bubbles did settle down as the lacquer dried, but it was close run thing. The basic label design itself was drawn up in Solidworks along with the rest of the pedal, then I just added the background in afterwards in Gimp. The bunny girl is actually part of an entire font of bunny girls I found as a free download, I think she was the letter 'i'. Have a go yourself! You are a bit limited with the design, as the paper itself is white, so you can't have any clear areas in your label, and even if you tried the clear version of it, inkjet printers don't print in white, so it wouldn't work on dark coloured paints. Basically, you're stuck with a full face label, but it does look quite nice under the lacquer.

Just finished my first DIY pedal build and though I'd share it with you fine people. Pedal is a clone of the Catalinbread SFT. Cost in parts: about £30, cost in time: best not mentioned I am a 3D CAD monkey by day, so I had a go at planning the thing on the computer first: [attachment=51540:Catalinb...FT_small.JPG] The finished item [attachment=51541:Love_Pump_small.JPG] I am a happy bunny

Has to be Mr. 'Fro - he's giving so much more than bassface alone

Here [url="http://www.musikding.de/product_info.php/info/p581_Alpha-Potentiometer-16mm-1M-rev-log.html"]http://www.musikding.de/product_info.php/i...1M-rev-log.html[/url] Edit: read the whole frickkin thread first before posting: facepalm. JackLondon beat me to it :-)

All you need are 3 balloons: [url="http://www.youtube.com/watch?v=jTPA4woIGkA"]http://www.youtube.com/watch?v=jTPA4woIGkA[/url]

I guess it depends on how long the 3/4 size body is. Remember you'll need to move the entire bridge back so that the distance from the bridge to the 12th fret, is the same as the distance between the nut and the 12th fret on the new neck. Otherwise you will never be able to set the intonation up properly.

You might want to also consider the Zoom r16, which has 8 proper mic inputs (against the Tascam's 6) and records 8 channels simultaneously to an sd memory card. It's about £80 cheaper, too. My band are going to get at least one of them very soon, maybe two, since they can be daisy chained together. Unless you really need to do 16 channels at once?

This is the good old 80:20 rule of thumb in action. Have a look at [url="http://en.wikipedia.org/wiki/Pareto_principle"]http://en.wikipedia.org/wiki/Pareto_principle[/url] In the business world, you can spin it many, many ways: 80% of your profit will come from 20% of your customers 80% of your complaints will come from 20% of your customers, (and it won't be the big spending 20% in the rule above, it'll be the buggers that bought one thing, five years ago ) 20% of the company's staff will be paid 80% of the available cash. In the context of basses and rigs, you can get 80% of 'the sound' for about 20% of the cost, hence all of us (me included) who can live quite happily at the budget end of the market If you want to get to 100%, it's gonna cost ya!

I have those ^, and I love them to bits. Even just listening to pre-recorded stuff through them is a very nice experience - I was amazed at the added extra detail that I'd simply never heard before. Edit - when I bought them (18 months ago or so), they were £170, the link above has them for £150: bargain

Thanks gentlemen, glad you enjoyed

I use a Laney RB3, which is 65 Watts. Perfect for home use, and can just about keep up at a quiet band practice. should be right on your budget if you want to buy new. Obviously, secondhand gives you many more options, and there's a for sale section a little further down the forum :-)

Well, my first trip with the band anyway :-) The first four tracks are the fruits of today's labours [url="http://www.myspace.com/lifeafterjeff12"]http://www.myspace.com/lifeafterjeff12[/url] Gear used: Adam Black Apollo 4 string (My £50 backup bass, because I thought it might sound nice recorded ) and my trusty Laney RB3 practice amp, 'cos it's fanless, unlike my Marshall and Hartke. We weren't too precious about mistakes, particularly for my bits, since completing 4 tracks into one day is pushing things a bit! All comments welcome. Edit: should have mentioned that the recording was done with Jim Riley at Ranscombe Studios in Kent, and the Harmonica parts are all Jim's work, created on the spot - top, top bloke