BassPimp66

I hear you Paul. There's something fake about aging artificially an instrument. This being said, some people like to add a sticker to their bass, some people prefer gold hardware (which I cannot comprehend) as esthetic choices. The customization process takes many routes. This Jazz Bass came with battle scars from the previous owner that I did not like. So, rather than getting new hardware or trying to make it look newer, I went the other way and I aged it slitghly. I went very easy on the aging just to blend in traces of the previous owner. It is not intended to make it my 20 year-something axe. But, I have made is somewhat more personal and to my taste now.

[quote name='Fat Rich' timestamp='1342871867' post='1742120'] Best way to relic an instrument is to practice many hours a day and play every gig you can. 20+ years of that will make even the toughest poly finish start to look a bit second hand, plus you'll have the chops and experience to match your instrument [media]http://www.youtube.com/watch?v=hx2lza1Rb0U[/media] [/quote] I didn't know SUPER MARIO was a bass player... Is LUIGI on drums?

[quote name='Ou7shined' timestamp='1342870602' post='1742095'] Lay off the acid man. That's probably what made you think this was a good idea in the first place. [/quote] Yup! acid fumes are very strong ... they have expanded my musical horizon /creativity

[quote name='Jean-Luc Pickguard' timestamp='1342869003' post='1742059'] I have never seen a pickguard age like that naturally - vinyl ones usually just stay the same colour and pick up pick marks. Also chrome doesn't usually age like that - the chrome hardware on my basses including a well-used 1981 fender is as bright as the chrome on my newest bass. Nickel plated tuners often develop a dull patina though, but that would look very different to what you have done. As it does not emulate natural aging I wouldn't call it a relic. [/quote] OK, OK, I will try with more acid and more rubbin

[quote name='Ou7shined' timestamp='1342865665' post='1741979'] Kind of a drastic reaction to a scratched p/g don't you think? [/quote] pick+fretless = abomination , hence my drastic reaction

After a bit of research on the web, I have decided to relic my Jazz Bass Fretless. The motivation was that the pickguard had been somewhat abused with a pick by the previous owner and I did not want a brand new pickguard on it. So, I removed the scratches and the shiny finish on the pickguard and gave it a matt, slightly stained finish (coffee + wood oil colouring). The chrome hardware on this MIJ model always felt kinda cheap (but working perfectly), so I stained the chrome with acid fumes. I am very happy with the overall result. Let me know what you think. --- --- --- --- --- ---

tasty rig !

[quote name='cloudburst' timestamp='1342363764' post='1733746'] I think this may be the person in question. Worth a read. [url="http://www.markpercy.co.uk/"]http://www.markpercy.co.uk/[/url] CB [/quote] I am very tempted to call the man for a tuition.

you guys miss the point.... it's VINTAGE !!! (so it's OK to be rubbish)

I always look at the neck, because it looks gorgeous. I also love the silky feel of the back of the neck in my hand.

[size=4]I'm pretty sure M[/size][left]ichael Manring must have tried this...[/left]

Avishai Cohen's new album.

It took me a while to be comfortable enough to be use slap in a band. But, I find it now very rewarding. A few things that I have leaned over the years: 1) Some basses cannot be slapped. Some models won't work. So, ask around and check your bass is OK. A Jazz Bass will be easier than a Violin Bass, etc... 2) Setup is important. Strings too low and they rattle. Strings too high and it becomes very hard to pop. 3) New strings sound amazing. I've made the most progress with a set of new strings, when you get that nice metallic bite, and when they bounce effortlessly. 4) I second Paul 5: focus on clarity and timing 5) You can slap anywhere. On the bus or on the train: hit your thumb on something hard, say, while you listen to Level 42. ... you'll get a good sound once you get that bounce right ... so, bounce that thump through the day to build velocity and stamina.

5mm.... that would be very high for me. I'm a 2.5mm sort of guy. But, rather than considering whether 5mm is high or not, I would check if this is caused by a high bridge position, or an overly curved neck. If it's 5mm because the neck is too curved, then I would adjust the truss rod. If it's 5mm because of the bridge, then it's your choice.

floating thumb for me

I played all 40 sound clips ... Now, my wife is upset... OK, maybe because it's Saturday 7:00 AM

das link ist zuper gut. danke schon

[quote name='Warwick_Official' timestamp='1337085252' post='1655097'] Warwick Basses and Framus Guitars are made side by side here in Markneukirchen, Germany [/quote] Noooooooooooooooo !!!! I thought they came from Warwick in Warwickshire , and were Made in UK

[quote name='Lfalex v1.1' timestamp='1340731854' post='1708841'] and two use them because they're less prone to expansion/contraction than wood, which helps stop them "popping off" of the graphite necks they're bonded to. [/quote] I have never seen an ebony fretboard "pop off" from a graphite neck, but it sounds so scary that I want a phenolic fretboard now !!! P.S: I own a Modulus Flea 5... guilty as charged.

What about a cryogenic [color=#282828][font=helvetica, arial, sans-serif]£5000/metre speaker cable? Would it sell for [/font][/color][color=#282828][font=helvetica, arial, sans-serif]£6000/metre?[/font][/color]

Cryo Valves? [font=arial,helvetica,sans-serif]DEEP CYROGENTIC TREATMENT The process involves taking the vacuum tubes and freezing them down to -312 f and soaking these for a minimum of 12 hours. Then the temp is held at this low level for 24 hours. The vacuum tubes are then slowly brought up to normal levels over the next 12 hours. The biggest benefits I have found has been a dramatic improvement in dymanic range. Bass response has been clearer with reduction in microphonics[/font].

Does it come with a Pimp hat? What about encrusting "P.I.M.P" in crystal on the pickguard?

[color=#E0D9CB][font=Times][size=3] [color=#000000][b]A.R.E. (Acoustic Resonance Enhancement)[/b][/color][/size][/font][/color][color=#E0D9CB][font=Times][size=3] [color=#000000]A.R.E. (Acoustic Resonance Enhancement) is an original wood reforming technology developed by Yamaha. Instruments made with woods processed with this technology produce a tonal richness that is like vintage instruments that have been played for years. This technology is currently applied to the BB2000 Series[/color][/size][/font][/color][color=#E0D9CB][font=Times][size=3] [color=#000000]A.R.E technology uses precision controlled humidity and temperature to manipulate the molecular properties of the wood into a more acoustically ideal condition (similar to the molecular characteristics of woods in instruments that have been played for years). [/color][color=#000000] [/color][color=#000000] [/color][/size][/font][/color]

[quote name='Mr. Foxen' timestamp='1340466103' post='1704853'] It all checks out, the only thing it justifies is an engineering decision that produces a cost to the company. Its the best explanation I have found to link to on the subject. The idea that true bypass preserves tone is the bollocks bit, because it doesn't. [/quote] OK, got it! You put a big switch versus a buffer. It's cheaper. So, you tell everybody it sounds better. How did I fall for that???