Ghost_Bass

[quote name='BigRedX' timestamp='1378470603' post='2200793'] A terrible solution as it works by lowering the frets rather than raising the fingerboard leaving you with a very high fretless action. [/quote] We're talking about innovation and development[u] in the future[/u]. I think it won't be too hard to design this system, or a similar one, with a nut (or zero fret) that changes it's height from fretted to fretless position. I just think that the core idea of this is very appealing and can be a real solution in the future. Just a case o minimizing fret wear or making it easier to replace frets and address those action issues with nut or bridge adjustments. Easier to be said than done but that's what R&D departments are there for! I think today i'm a bit too confrontational, seems that every post i write, even outside this thread, originates a (healthy IMO) discussion! I'll keep of the keyboard for a while and go grab a cup of coffee. Cheers

[quote name='BigRedX' timestamp='1378470542' post='2200790'] But time domain problems mean that every single person in the room hears something different and none of them are stood where the mixing desk is. EQ solutions are at best a compromise for a small number of people in the audience and you can actually make things much worse for those not in the "sweet spot". [/quote] I see where you're going to but i think we're maybe talking about different things. It's probably my fault for not being able to explain it better in english. Try to see the "room accoustics correction" like something that just does the same thing we all already do in each venue that is to play and hear wich freqs are ressonating in the room and cut them and at the same time hearing whtat's being damped by the room and bring it up!

[quote name='Jono Bolton' timestamp='1378473823' post='2200844'] The last one there is the only one that catches my eye, the rest don't do anything for me. That, and WoT's lovely former Fender are the only examples that I could get on board with, everyone else, must try harder! Also, I realise that some of you might have basses in the colour combos I've previously derided, and it may even be your dream bass, so if I've offended anyone, I apologise! These are entirely my views, and as it's been pointed out, it's horses for courses. As long as you like it, it doesn't matter what I think! [/quote] Just to clear this out, i'm not a fan of tortoise, i really prefer BWB pickguards on burst finishes but i do have one bass (my first) with a tort pickguard. I'ts metalic red (with flakes) and the neck has a roasted finish. I find it very pretty and if you see the fifth pic i think you'll agree with me (just overlook the poor fretboard colour on sandbergs configurator). I do love a maple fretboad though

AHA! Here: [url="http://www.mikeyguitar.com/"]http://www.mikeyguitar.com/[/url]

[quote name='Kiwi' timestamp='1378465654' post='2200677'] One prototype of the fretted/fretless neck was trialled by Steinberger. The XM bass was on Ebay a couple of years ago and eventually purchased by someone from Steinberger world. The general points made earlier about simplicity kind of apply in this case. The more complicated something is, the more potential there is for things to go wrong. With the neck, the refrets could have been nightmarish, I imagine. Also the string height would need to vary when the frets were rolled over to flush or the action would be higher in fretless mode. A rotating zero fret with a half height profile would take care of this at the headpiece end. But at the bridge it would be a lot trickier to achieve. I'll put a hand up for Steve Chick however. Some of the stuff he was showing me with his new synth bass system was remarkable. If Line 6 and other modelling approaches are also considered, it might be that at some point, musical instruments become wholly electronic and simply interfaces for triggering sounds stored somewhere else. Yes the quality of interaction between player and instrument could become less satisfying but if the nuances of touch can be faithfully sensed (as Steve Chick has been working towards) then it would open up a different world where the role played by a musician and their preferred interface is more important than the sounds they actually make... [/quote] Here's a video of the bass i was talking about: http://youtu.be/J2WOOIZXNks Can't remember the make on this one, is it really a Steinberger or are we talking about different models?

[quote name='BigRedX' timestamp='1378465377' post='2200664'] You can't do room acoustic correction on an amp, because most room problems are time domain related (nodes and reflections) and trying to apply a frequency domain solution (EQ) doesn't give consistent results - improving things in one area of the room usually makes it much worse somewhere else. [/quote] But you can focus on having the sound improoved on the area you'll expect your audience to be standing (normally front center).

From Sandberg Configurator: I rest my case...

This is a beautyfull, sexy beast! [quote name='Jono Bolton' timestamp='1378408982' post='2199959'] [/quote] And this one feels so wrong on more levels than i can describe... UGLY!!! [quote name='Jono Bolton' timestamp='1378408982' post='2199959'] [/quote] ...horses for courses!

Most things are already covered here. The idea i liked the best was the adding of a "room accoustic correction" system on bass amps. It has already been done by some digital mixer makers so it won't be too hard to put this on a bass amp. Appart from all the ideas over here i really like the idea of having a neck that can go from fretted to fretless with a flick of a switch. It has also already been done by somebody whose name i can't remember now but i can remember that those basses are way too expensive. I would like to see something like allparts or mighty mite selling these kind of necks as replacements for the standard models and VERY CHEAP!

[quote name='cheddatom' timestamp='1378294145' post='2198171'] (...) If you like all of your sounds and just want to prevent any nasty peaks, then a limiter at the end of your chain is what you need. [/quote] That's what i use my multicomp for but i wouldn't trade it for a limiter, i prefer the way the compressor reacts to the peaks. It's just personal taste.

[quote name='4 Strings' timestamp='1377847347' post='2192560'] If they had admin staff, probably would. Anybody seen this, btw? From their FB page showing some of the bracing design (S12?) [attachment=142669:Barefaced Bracing.jpg] [/quote] Not S12, i would say probably a Vintage. The S12 doesn't have so many brackets inside (yes, i had a peak inside mine but only for replacing the membrane of my tweeter)

I would start by replacing the electronics on the Tanglewood (keep the stock pickups) and go from there. It will be very cheap (i would guess around £20 for the full thing, you can even get a wiring loom ready to fit the bass from a BC user whose nick isn't comming to my mind at the moment) and in the end, even if you decide that you realy need a new PJ you'll still have your trusty Tanglewood fixed and ready to serve as a beckup/home rehearsall. If it would come to the point of having to change the pickup on the Tanglewood to get a better sound (or a different sound that you'll need) i would prefer to get a Squier CV/VM PJ and leave the old bass with the stock pickup. New pots/jack/capacitor are cheap and allways worth replacing, new pickups only replace on very good or very expensive basses. My 2p Cheers

I use their 3A, 8 plug power supply also bought on e-bay about 3 or 4 years ago. Very good and still going strong after a lot of use. That's good gear for not much money.

I use a setting similar to what you're looking. I'm currently running (in order) Pitchblack>MXR Octave Deluxe>B3K>3Leaf GR>Multicomp. Here are my findings: - I opted by using the comp at the end because i like how my pedals respond to my playing dynamics. Having the comp at the end i can even out peaks produced by the OD and Filter pedals. - I only use the comp (allways on) to tame the signal peaks, not to boost any low signals. I found the Multicomp to be a great choice to get this result. I might trade it for the MXR comp sometime in a near future, it works like the multicomp but has a more "rich" timbre. - I found the the three fx units work better in this order when i use them simultaneously (oct+OD for heavy stuff / oct+EF for synth / OD+EF for solos / oct+OD+EF for synth heaven) - Obviously, the tuner is always first on the chain so i can mute the sound and unplug the jack when bass is not in use. Hope it helps, cheers (edited to add more info)

The issue here is the time that the handle takes to start to tear appart. I believe that the handles from the pic i posted will be up and running for far longer time that the ones currently equiping the S12. It's not a real design fault on the cab, it's easier to lift it with the handles on that position but the handles weren't designed to be used in that position so they will eventually fail in a relatively short period. When mine go away i'll take a good look in the market offerings and see if i can find a different solution that will also work propperly but will be able to last longer.

Sold an amp bag to John, it was one of the easiest deals i had on BC. Great PM exchange and fast payment. Will certainly do business with him again if another deal comes up. Thanks John Marco

Naaa! These guys are all wrong, if you want it reliced you need to treat it like a baby, have attention to it, keep it safe from harms way, alway clean it and maintain it free from dust. That's when the big dings will start to happen!

I use one from these guys: [url="http://www.effectpowersupplies.com/power-supplies-8-c.asp"]http://www.effectpowersupplies.com/power-supplies-8-c.asp[/url] still going strong and steady for the last 3 years!

Can we have a pic of your switch and wirings? What does it really do, neck pu / both pu / bridge pu? Won't one of these fit better (and occupy less space on your electronics cavity? [url="http://www.axesrus.co.uk/Silver-Bodied-Short-3-way-Toggle-Pickup-Selector-p/silverbodytoggle.htm"]http://www.axesrus.co.uk/Silver-Bodied-Short-3-way-Toggle-Pickup-Selector-p/silverbodytoggle.htm[/url] Cheers

[quote name='Adrenochrome' timestamp='1375348390' post='2160002'] I can't be sure but it sounds like the input gain might be too high, can you try reducing that and increasing the master volume to make up for it? If that means that it sounds okay but too quiet then you might need an extension cab - you can get really good Peavey Black Widow 1x15s cheap as chips used. [/quote] This! Also try reducing the EQ (probably the bass), flat doesn't always means flat on amp EQ's The experience that i have with Crate is that the name suits the gear perfecly, very boxy sounding with harsh highs and distortion all over the place but with time and some EQ you can get useable sounds out of it, with 220W you should hear yourself propperly without distortion. Go fiddle with it, good luck

[quote name='discreet' timestamp='1375343958' post='2159933'] As far as I can Google, the American Special P has a semi-circular access slot in the pg that allows use of a Fender ball-end hex wrench without removing the pg or unbolting the neck... I'm guessing the shop didn't have this particular tool! My custom P is vintage-style and has no such access slot either in the body or the pg, and requires the heel end of the neck to be moved upwards to clear the body and the pickguard for adjustment. [/quote] Oh, i now see that the bolt is hex, probably my last post is a bit off and in this case it might be needed to take off the neck (or not...).

Another vote for pickguard removal. I recently had a friend's Geddy for a setup and i only needed to take out the pickguard to access the bolt. With a simple large flat head screwdriver you can adjust the bolt 1/4 turn each time without having to take out the neck. I would ask them for a replacement brand new pickguard. those guys are idiots and don't know their way around a bass setup, stop using them and find a proper luthier or start doing your own setups