Muppet

Absolutely. I mask off the pickups too - little bits can get everywhere and anywhere.

After you've done a couple of coats of tru oil and wire wool, take the final coat just down to a dull finish. I do this with wire wool again and then the green side of a kitchen sponge. Then, use gunstock wax as your finishing coat. I use the Birchwood Casey stuff (as I do with the Tru Oil). Bit of elbow grease with a cloth leaves a lovely smooth and natural type finish.

Rightoh chap, thanks, good stuff. I'll amend my initial post to include this!

I've been interested in these for a while, firstly because I fell for buying a '50th Anniversary' Precision 1996 model a while back that turned out just to be a regular 1996 American standard with a little sticker on the back of the headstock and also because I now own a proper 60th Anniversary Precision bass. It's easy to get confused I think as there have been commemorative models to celebrate Fender anniversaries, as well as to celebrate the history of both the Precision and the Jazz. As a result, a lot of models appear to be anniversary models when they are not (like the one I thought I'd bought) and are sold as such. Here's what I have found out but I'm sure there's more to it. If anyone is able to add more detail to this or photos of genuine anniversary models or correct me where I am wrong then that would be great. 1996 – 50th Anniversary of Fender Sunburst Jazz and Precision with gold hardware and commemorative neck plate ALL OTHER standard models from 1996 had the 1996 sticker on the back of the headstock. This does not make them anniversary models. 2001 – 50th Anniversary of Precision Bass Butterscotch Blonde model (black anodised pickguard) – commemorative neck plate 2006 – 60th Anniversary of Fender Sunburst Jazz and Precision – commemorative neck plate AND 60th anniversary jewel and ribbon on headstock face. Special silver hardcase ALL other standard models had the 2006 anniversary silver button on the back of the headstock. This does not make them anniversary models. 2010 – 50th Anniversary of Jazz Bass Candy Apple Red anniversary model, rosewood fretboard, pearl blocks, matching headstock – commemorative neck plate 2011 – 60th Anniversary of Precision Bass Blackguard Blonde Anniversary model, 51 P bass style with split coil pickup, maple neck – commemorative neck plate All other US Standard and Special Precisions from this year had a commemorative neck plate. This does not make them anniversary models.

I'll ask 'em if they can make them in kg instead but remember we're coming out of Europe so maybe they're future proofing......

The Barefaced FR800 is 33lbs with a 12" driver. Any easier?

Lovely guy to do business with and a really smooth purchase from Gary! The perfct Basschatter

You need to assess different types of neck in conjunction with your playing style. You often see on this forum (and elsewhere) " I have small hands so I need a thinner/shallower neck" when in reality it's not so much do with the size of you hands rather the playing style you have chosen to adopt. The baseball bat type grip will always limit the neck choice more that anchoring the thumb at the back of the neck. You can easily play a deeper (U shape) or wider neck with small hands with an appropriate playing style. Do you know other bass players nearby who you might be able to get together with to check out other guitars?

Thanks. That's what I'm doing - I'm using a FR800 on stage. I think sometimes because of all the variations and complexity that the Helix can handle, I try to make the most of it, when most of the time simple solutions are best!

So all my signal paths are set to include cab sim blocks (or IRs) after the amp section on all my patches and from there I'm going out to FRFR for monitoring and also DI out to PA for FOH. Same signal to both at the moment. I wondered yesterday whether I should really be only applying the cab block to the output that's going to the cab and sending the PA a signal without a cab block to effectively simulate a real life DI scenario (as I've hardly ever had my cab miked in the past). Am I overthinking this? I guess the other option is to do without the cab block entirely. Thoughts on the use of cab blocks?

I agree, Eddie's a great bass player and quite a character! Eliza's released her debut album a couple of days ago, well worth checking out.

I cut shims out of the very thin plastic used in document wallets and ring binder covers as it tends not to compress over time.

Over the last ten days I've been to see Turin Brakes, supported by the brilliant Eliza Shaddad, in Northampton, Leamington Spa, Lincoln and Galashiels. The injunction prevents me from attending any more. The Mac Arts centre in Galashiels was a brilliant venue for such a tiny town; I don't know if anyone here has been there?

Thanks - is he in the US?

Whilst this is two years old now , I've only used it a handful of times and it's in perfect condition. Apart from today it is completely dead. I've tried four power supplies just to check. Anyone know anywhere decent that could repair this for me? ta Steve

I've go a Helix Floor and a Rumble. Rumble doesn't get used much really. I use the Helix direct to PA and monitor through a Barefaced FR800. If you're planning to use it as a substitute for a pedal board then it's a bit overkill I think,. If you want it as your one stop shop (within reason) then it's worth considering.

Another vote for the Roland Bass Cube 30. Mine was brilliant, I wish I'd never got rid.

I'm seriously considering this as an 'alternative' to my Helix Floor. I currently run XLR out from Helix to Desk and 1/4" out from Helix to FRFR for monitoring. With the flexibility in the Helix Floor I can adjust my monitoring sound and volume independently from the FOH. The Stomp appeals as I can replicate my amp/cab/effects setup in it but I'm not sure I'll still have the routing flexibility without additional hardware. The Stomp has the same snapshot functions as the Floor which reduced the reliance on just the three buttons.