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Hi all,

I picked up a Moollon 51 P last summer and shortly after I brought it home to Colorado from LA, the pickguard warped. It pops up off the body far enough that it affects the playability.

Any recommendations for a pickguard replacement?

Hello,
I am going to buy a Stingray Retro. I have played one and they are great basses. I need help deciding between the standard or the Nitro 76. Maybe you've played both or own both? Any thoughts would be helpful. I will be getting either one used and trying to mainly determine if the extra cash for the Nitro 76 is worth it. Thanks!

Howdy from Texas

“That's pretty much what I used.”

TonyP- said:

Review update:
I was a little premature on my update

I ran the unit through my DAW with my compression in a Universal Audio and Logic.
It sounded MUCH BETTER that way then through its headphone amp. That was an amateur move on my part.

Significantly more in fact...I actually did use the drive. The the blend at 10 and drive at 9 (o'clock) in a mix the drive sounded ok up to about 10 in a real rock mix. I feel that it needs lots of presence at the blend at 10. I had the presence at 2 o'clock and both a Spector and Dimarzio model J jazz sounded real good.

I will %100 keep this pedal.

neil|lien​

bass player 53​

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HAHA!
I am SO relieved to read this! Thanks a lot for the update!
Now i have 20 more days to wait til i can open the box and play with it..
Thanks again @TonyP-

Your first picture shows it. The solder on the back of the pot is connecting the metal braided shield to ground. Just solder the new pickups exactly like that.

I don't know anything about Spector basses (beyond having seen reference to them on TB), but in my YouTube ramblings this came up and I thought some people may enjoy seeing it.

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The SVT3PRO definitely needs the Graphic EQ volume boosted makes a huge difference and as already said max out the input gain

August update:

One new utility module on the way:



Its a non-inverting gain stage with an inverting buffer following. This might come in handy for certain per-pickup onboard preamp builds I have in mind, but my current use case is for the "digital BBD" widgets I've been getting back to work on recently. This new one at top left for electric guitar is just a four tap delay/verb, with the chorus effects omitted for now:



I think I should be able to get the next iteration down an enclosure size or two fairly easily.

And then I'm looking at Neural Amp Modelers, specifically a new Raspberry Pi based DIY system currently in development at Pedal PCB. That project is moving very quickly and I think some of my modules are a good natural fit, so I'm really looking forward to jumping in ASAP.

kodiakblair said:

They did the same in the UK, if you were lucky enough to have a Woolworths.

Music stores were big city which meant lengthy train or bus journeys, for most of us it was pay by instalments via mail order catalogue

Congratulations on your NBD

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Just saw this, yeah we had a Woollies in every town in the Midlands, and they weren't small, it was the old department store model then taking up the most commanding aspects of the town - them and and the co-op (are you being served?) you could get lost in them which I frequently did as a 5 year 'owd while I has gone off to look at all the sweets, me old lady would have buggered off to lingerie to try on a girdle, leaving me desperate and bawlin' in a sea of busy shoppers who cared not a jot. You could take dogs in then - in fact everywhere - before some bright spark decided it wasn't in the interest of public health, but at least I had our 'owd Skippy a border collie to bury my head in her fur and dripping snot and tears all over her while waiting for the police to take me to gaol for being lost, never to be returned to home. She died in '72 aged 16 and the saddest time for a 8 year owd.
Anyway, wasn't Woollies great?, wish I had a time machine I'd ha bought a few of them Matsumuku's to bring back to the now, but being 11 when dribbling all over the first electric guitars I'd ever seen in the flesh, of course, I never has to coin to pay even those cheap prices, now look at 'em - sought after by every vintage Japanese bass aficionado and for good reason, most of 'em played as good or better than their US counterparts for a fraction.
I do remember the record department, primarily because one of the shop assistants there was drop dead gorgeous to me, she was never interested in an 11 year owd, her bein' 16 and orl that but the prices were sweet you were talking 75p to £2 for the most expensive LP way cheaper than the usual outlets, bulk purchasing I 'spose, but the feather in Woolworth's cap back then was the real live guitars, and the bird in the record department.

Fico said:

My first bass guitar arrived today. I wish I had something to which I could compare it but I don't. So I'll just say that it is very pretty and the frets are a lot further apart than those of a regular guitar. The instrument is based on the Gretsch Corvette guitar. The guitar has burst finish that Gretsch calls Bristol Fog. Operation couldn't be more simple. Each pickup has a volume control and there is single tone control. I plugged it into my new Fender Rumble 100 amp that you can see in the image and it seems to sound pretty good. It certainly sounds like a bass guitar. So the adventure continues as I begin adding new skills to my guitar playing.
View attachment 7466278

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Glad to see another CVT here! Got one earlier this year also and love it! I'm a guitar player transitioning to bass last year. Started out with a Squier Mustang Vintage Vibe and the short scale was perfect for starting out on bass. I had a medium scale acoustic/electric bass too, the 32" scale didn't bother me as much as the full 34" models I tried. The CVT looks great and the medium scale was meaty enough for a full bass tone, while easy on my left hand! I had a pro set up on the Gretsch, but seemed to have a hard time dialing in the tone I wanted. After some research, I think I had the pickups too high, so have adjusted them again and that seems to have improved the tone, at least on my Hartke 15 practice amp.

I'm curious how you like the Rumble 100? I'm using an Ampeg Rb112 (borrowed) with the band I'm in, and like it ok but, have heard great things about the Rumbles. Would love your opinion since we have the exact same bass. Congrats!

Queues said:

Also, to respond to one of the questions: raising the action would be the result of a setup that would change the relief in the neck and hopefully increase the tension in the strings.

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That's not how this works. If you raise the action that much, you'll just have to tune down the string to get it back to pitch.
Even so, the difference will be minimal, but it will make the instrument harder to play.

Does anyone find it difficult to balance the G-string output on the Mullarkey? To me it always seems too hot unless you really tilt the pickup .

Old thread but this is a great little octave pedal. Sadly discontinued now by Markbass the simple dry and octave knobs let you dial in the sound you want quickly. Tracks great too.

Yup I just found that out

TroyK said:

I THINK Christoph Luty might be in/around LA.

Of course John Clayton if you can get him. If not, he would 100% know who to send you to.

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I couldn't find contact info for Christoph Luty, I did try reaching out to John Clayton through his website but no reply. This thread is a bit old, but since originally posting, I did a handful of lessons with Mike Gurrola last summer and one with Katie Thiroux - both former J Clayton students and both great players. I'm able to restart lessons so I'm back on the search for in-person private lessons in the LA area, if you have Mr Luty's contact info please DM me. Thx!

dave_anderson said:

My point was about Sid bashing. There’s no need to criticise his ability because he was a beginner. It’s semantics to discuss what he may or may not achieved. But, at that time, he had the potential to do anything with the instrument. Just the same as every beginner.

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Exactly. Paul from The Clash had to get help from Joe and he even had bits of sticky tape with the notes written down the top of the fretboard, and he was apparently totally terrified of playing live for quite some time as he had no experience playing bass at all before being chosen for the job, word was he got the gig because he looked the part at art school. And as we all know, he survived and went on to write incredibly iconic basslines for the whole of The Clash's career. Sid-slagging is incredibly boring and inappropriate...I always wonder if those doing the slagging spend equal amounts of time on other forums dumping on all the other (living and dead) drug-addict musicians on the planet. If they are, they mustn't have much time for anything else.

Took a trip to AR to visit family this past week. We stayed at the Queen Wilhelmina Lodge near Mena, AR on the way over and back. Nice sunsets.

A few of the pics are at the Grand View Vista on the Talimena Scenic Drive. This is the only vista with graffiti like this. It changes constantly. I was glad the pink smiley face was still there from about 6 months ago.

In the first instance I figured that I'd just fit a fairly Standard "J or P" Type BBOT Bridge so I ordered a Wilkinson WBBC Bass Bridge with Brass Saddles . . . The most important thing to do is make sure the Fat E and the Thin G are perfectly intonated . . . Get this 100% right as you need this later . . . I removed the Neck, Pickguard and original Squier 2 Saddle Bridge and ran Tape from the neck pocket to the outside edge of the far left, then far right side of the front 3 bridge fixing holes . . I applied some more tape and marked a centre line, picking up on the centre of the neck pocket and the middle of the front bridge fixing screw position. . . I then drew parallel lines over the original front 3 holes and the rear 2 holes, actually I did this with edge of the adhesive tape so I could see half the hole . . . I then placed the original bridge into position and popped the screws back in so it was secure . . . I used a short 6" rule and a Pencil and marked the front face of the Upper Saddle and the front face of the Lower Saddle on the Tape running from the Neck to the Base of the Guitar . . . the distance between the two marks was probably around 12 mm . . . I preset the NEW Wilkinson Bridge so that I could still adjust forward and backward if I was slightly out and I made sure that the E and G Saddles were around 12 mm apart . . . The rest is simple . . . I found that around 10 mm back from the rear 2 fixing holes on my Squier Affinity Bronco is the right position for the Wilkinson Bridge which is a millimetre perfect copy of a Fender Bridge . . . plus you cover the original front 3 bridge fixing holes ! !

All that said, I wish I'd have gone down the route of buying a Retrovibe Mustang Bridge as I'm new to the forum and I've just seen Juanma Bourbon and Tippsukka's post and I'm super jealous . . . . they look amazing . . .

MindinAction said:

Thanks for the heads-up, though it looks like it's already gone.

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Yeah, they don't even have it at full price now.

Quatschmacher said:

The latest update included about 20 cover band patches, including most of the tunes from which the stock MXR patches are drawn.

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Great. I’ll give it a shot.

Did you hear about the family who lived in PA? It turns out they live inside a giant bass bin. They parked their cars in the bottom of the bin. It was known to be a loud house and could be heard miles away.

6thplanet said:

I'd personally ditch the tweeter and just run the woofer in this case.

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agedhorse said:

No, the resistor needs to be at least 5W.

Since there seems to be a lack of technical prowess in your skill set, I think you would be better off removing all of the tweeter wiring and connect the input jack directly to the woofer. Leave the tweeter mounted in the cabinet so there’s no extra hole.

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Yeah, that's the best course of action. Thanks for everyone's advice!

I have a friend that is now "Dropping a new single' of AI slop a few times a month. He and I were bandmates for MANY years, I know his abilities musically, vocals, guitar playing, recording and writing and this is absolutely not him making the music. He has even gone so far as to naming his session musicians and singers. The response from his Facebook friends is very telling, His musician friends are starting to gently call him out on it but his non-musician friends are gushing about how great he and his new songs are. To me one of the biggest problems is that any HONEST recordings that are made by other amateur musicians are now judged by his SLOP.
That said I am not one to eschew technology. I use a combination of organic instruments, MIDI keys and VSTs, drum tracks and my own awful vocals. I always disclose my usage of technology to anyone that I share it with. One final thought, I will be forever grateful that Bob Dylan, Neil Young, Mark Knopfler, Tom Petty and a bunch of other singers didn't let their less than perfect voices stop them from making real music.

cfortner said:

I changed the LTPI valve to a 12AT7 and got 320W.

The reported power depends to the accordingly THD. At 10% you may get 280-320W, at 20% more. If you don't know the THD at reported power it isn't really comparable.

In this context, I noticed that my measurements weren't always at a specific THD level either; from now on, I'll only measure at 10%.

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This is a good example of why the assumption that a 12AX7 “ALWAYS” has more “GAIN” can be so incorrect.

There is voltage gain and current gain, combined they make power gain. When the load requires more current than the tube can deliver, the apparent voltage gain can fall like a rock.