mcnach

[quote name='Fat Rich' timestamp='1343557995' post='1751978'] It's your thread, you can do what you like! [/quote] I don't own it, I only started it.

[quote name='Fat Rich' timestamp='1343557995' post='1751978'] I suspect when the Fender bass was conceived, no one expected bass players to change their strings often for fresh ones or want super low action. Upright bass player leave the same strings on for years and have to have the instrument properly set up usually by professional, Leo was probably trying for a fairly dead thumpy sound from flatwound strings (this was before roundwounds were popular) and foam mutes. So, like Jamerson you kept the same set of strings for the whole of your career. Which meant you didn't need to remove the ashtray covers, take the old strings off, put the new ones on, take them off and remove the neck, adjust the truss rod, put the neck and the strings back on, then off and adjust, back on, set the action (nice and high), the intonation and finally put the ashtray covers back on. There's a guy here on Basschat with a very nice 70s Mocha Fender who hasn't changed the strings yet, and probably hasn't needed to adjust anything either. It was when people like John Entwhistle made the zingier roundwound sound popular, and Anthony Jackson put fresh strings on not just for every session but for every take, that you needed to get to the gubbins regularly to make the adjustments. It's your thread, you can do what you like! [/quote] Yes, that makes sense, historically. But when Fender says "let's bring out a new series, based on classic periods, but without having to adhere strictly to the peculiarities of the period, bringing up a modernised version of the classic period... and we can call it Modern Player series!", and they replace the 6-screw vibrato system on the strat for a simpler and more stable 2-point one... but they leave the body-end access truss rod neck... THAT is madness.

[quote name='Conan' timestamp='1343556815' post='1751958'] Cheers for that! I had already found it on an old thread - very useful! You learn something new every day! [/quote] Adjusting the neck angle can make the difference between "meh" and "playing like butter". It's often overlooked. Some people think of a shim as something you do to repair a defective instrument. IN a way... they are right, because if the instrument were made carefully making sure neck and body fits perfectly etc, the neck angle would be spot on. But with a bolt on neck, a tiny shim can make a huge difference (illustrating just how accurate the manufacturers would need to be), and it's a painless and simple operation. The micro-tilt makes it even simpler. Take advantage of it! (if you need to)

[quote name='Thurbs' timestamp='1343545771' post='1751823'] Well done on the longer gigs... sounds like you have some fans! I wouldn't worry about playing songs for longer than the usual 3-4 minutes to tend to find most bands stick to. As long as you have musicians that can improvise well (and I don't just mean a guitarist going up and down pentatonics) then there is no reason why one song couldn't be a whole set, or more realistically 6+ minutes as you say. I don't know if you play much Jazz? You could look at how some Jazz songs are structured... play the song through, take it in turns to improvise (sometimes the whole song, sometimes just a section) have a go around again improvising if you want to and then when everyone is done, play the song again and end. You can easily turn a 3 minute song in to 10 minutes... [/quote] Not playing jazz at all, no. But we sometimes do that "go in turns" thing, and we may use it to introduce the members of the band sometimes. Not talking about solos, but more who is going to lead the improvisations, who is going to lead the changes and the rest follow. For some reason, I am normally the leader in these things, 'though, so it's easy for me... although I have to make sure the changes make sense and that I come up with interesting variations. I played with the same drummer in another band for a couple of years, and that helps a lot as we have a "shared vocabulary", and I find that if bass and drums go well together, then the rest seems to fall in place easily. The only problem is that the sound onstage is not always good enough, so we often need to keep it simple live, as some band members may not be able to hear well what's going on. Hopefully one day we will have our own sound screw and we will be able to hear eachother well.

[quote name='RichF' timestamp='1343555595' post='1751940'] interesting. I discussed this with Chris McIntyre (ex Sei and now McIntyre Guitars) and he encouraged me to disengage the microtilt and revert to a shim with an explanation that in part involved the issue of contact (the difference between a pin and a traditional shim) and reference to what BigRedX is talking about. What I would agree with is doing whatever's necessary to understand this dimension of your bass(es) so that adjustment is as easy and effective as possible. If that makes 3 bolt and a micro-tilt your thing then go for it. I am rarely in a set up crisis so I quite "enjoy" taking my time over an afternoon, adjusting and fiddling to get it right. If I needed stuff on the fly then I would see the benefits of a micro tilt as long as it worked. [/quote] Your point about "speed" is a good one. It's true, I enjoyed that it was simpler and faster to use the microtilt compared to using a shim... but it's hardly the end of the world if I need to remove neck, put shim, do neck again etc. I have done that many times before, and once it's done right, it stays and does not require further modification. But I am of an impatient nature, and I want things done yesterday. I don't particularly enjoy the process of setting up my guitars. I like the final result, and I love playing with them. But setting them up? Nah. Once I fugure out what it is they need, I lose interest. I'd leave the manual work to somebody else if I could afford to pay a luthier a retainer to be available anytime I call

[quote name='BigRedX' timestamp='1343555559' post='1751939'] The 3-bolt neck joint with the micro-tilt is a good idea that Fender in the 70s simply couldn't implement in a consistent and reliable fashion. It relied on the two metal plates fitted to the neck and and body in the neck pocket to be completely flat with the surface of the joint. Unfortunately this seemed to be a fairly hit or miss operation. If one of the plates wasn't sufficiently flat, then adjusting the micro-tilt screw would tend to push sideways as well as up. On it's own that wouldn't have been a problem but when combined with sloppy over-sized neck pockets, the neck had room to move sideways which resulted in the typical 70s mis-aligned Fender neck. Every new Fender with the micro-tilt mechanism that came into the music shop where I was helping out in 1979 suffered from mis-aligned necks to the extent that none of them were suitable to be put on display until the shop guitar tech had taken the necks off and sorted out the problem with the plates. [/quote] thank you for a great explanation!

[quote name='Conan' timestamp='1343555041' post='1751928'] I have no idea what this is about.... and I have a three-bold Jazz! Please enlighten this thicko about the "micro-tilt" system to which you refer?? Thanks. [/quote] no problem, check this out, bottom of the page. The picture is actually of a 4-bolt, but the microtilt system is the same, through a tiny hole at the bottom of the neck plate: [url="http://www.fretnotguitarrepair.com/repair/electric-guitar/neck-angle.php"]http://www.fretnotguitarrepair.com/repair/electric-guitar/neck-angle.php[/url]

[quote name='Fat Rich' timestamp='1343552379' post='1751887'] I've got 3 bolts on my 74 and 78, the micro tilt seems to be seized solid on both although I'm sure they could be freed up with some WD40. The neck is rock solid on the 74 because it has good neck joint routing, the 78 isn't so stable because the neck joint is a joke, the routing is not even neck shaped. The screws into the neck have been over tightened in the past to compensate and feel like they'll strip any minute, although it can probably be fixed with some plugging and re-drilling. I prefer the 4 bolt system, but only where there is access to the truss rod without removing the neck. Older instruments without truss rod access need to be treated with care or the threads in neck get sloppy if the neck bolts are over tightened. [/quote] That's another thing: truss rod access at the body end. Madness!!! I have one of those Modern PLayer series Fender Stratocaster, based on the 60s models. Lovely guitar. Based on the 60s models, but not adhering strictly to the 60s... for instance it has a two-point vibrato system, which is a modern addition and a better execution of the original idea than using 6 small screws partially unscrewed. Nice. However... they kept the truss rod access at the body end. Why oh why oh why oh why don't you "modernplayerise" it and use an easy access truss rod system, since you are not exactly going for 100% genuine characteristics anyway? Grr. It was explained to me that a truss rod inserted from the body end is a better mechanical solution. Then do like MusicMan do and their "wheel of fortune". Sorry for the offtopic rant... I hate having to undo the neck to mess with the truss rod, especially when the screws are simple wood screws, not exactly designed for repeated screwing/unscrewing.

[quote name='The Bass Doc' timestamp='1343545827' post='1751825'] Don't think there's anything wrong with the 3-bolt system in principle. Leo Fender persisted with it through his Musicman period and on to G&L. It's mainly that it's introduction coincided with a time when jigs were wearing out so neck joints were gappy, pickup routs got sloppy, contours got slabby etc... [/quote] and this makes a lot of sense. 70s CBS Fender is accepted as a general low point in the company's production. Although some great instruments still managed to come out of their factory.

[quote name='stingrayPete1977' timestamp='1343545268' post='1751815'] The 6 bolt is as solid as a rock! Never had to shim one though...... [/quote] That has nothing to do with the number of bolts, and the 5 basses I have owned (now 3) with 6 bolt necks have not required a shim either. But I think that is a reflection on factory tolerances than anything else. And if I had to put a shim on a 6-bolt neck... I'd be looking at the 3-bolt with microtilt with envy It seems reasonable to think that a shim makes better contact therefore it is better than a screw making a small contact point. However, is the resulting difference noticeable? Is a micro-tilt neck instrument less resonant than a shimmed one, and this one less than one without a shim? I am not convinced that works as a general rule. People argued that about bolt-on vs. glued... and that doesn't hold water for me either.

[quote name='stingrayPete1977' timestamp='1343545111' post='1751814'] Most three bolt neck basses I have seen you can move the neck left and right fairly easily with a good tug. Now a 4 bolt with a micro tilt that's a different matter. In truth though a good shim is always going to give a good solid joint compared to having a little pin trying to do the job, using it as a way to gauge the shim you need would make sense. [/quote] Yes, I understand that, and that's why whenever I heard bad comments about 3-bolt I just gave it a half a microsecond thought, nodded and moved on. But now I am questioning it. I really can't see any "movement" issues with the Jazz I just got, and neither has my brother with his strat (about 10 years or more with that guitar). Once it's "solidly attached", you cannot make it any more solid by adding 300 extra bolts, if you see what I mean. And I play my bass, I don't use it to club baby seals or anything... Just getting the feeling that "3-bolt necks are unstable and bad" is an exaggeration. Much like "Stingray's G string is weak"

[quote name='Delberthot' timestamp='1343533216' post='1751788'] So its like shimming a neck but you don't have to take the neck off? [/quote] 'xactly.

[quote name='Fat Rich' timestamp='1343552801' post='1751891'] Good luck trying to sound like Marcus Miller! [/quote] My liking maple/natural/black has nothing to do with Mr. Miller, who is a great bass player although I'm not a big fan (and I don't like his beer either ) Just check out my Stingray (see the avatar), G&L L2000, Cort GB74, Squier CV50, Fender Precision fretless, Squier VMJ... you may notice a recurrent theme there

[quote name='rogerstodge' timestamp='1343527876' post='1751777'] Don't spose they do a lefty? [/quote] there's always that mirror idea...

[quote name='markorbit' timestamp='1343524005' post='1751766'] I certainly think that the ability to adjust the neck angle is often overlooked but it can be crucial to a perfect dream setup. It'is something that cannot be rectified correctly with adjustments of string action or bridge. I've just had a quality parts bass put together and the neck is sublime with SUPER low action at the moment except... it gets progressively tighter the further up the neck you go. But as the action is so low - it matters. Otherwise the neck seems so true that I don't want to alter the truss away from it. I know what I have to do... right now I wish there was a good mechanism at the back. IIRC the general dislike of the micro-tilt was down to some issues introduced with the concept? [/quote] what are those "issues introduced with the concept"?

Our next Sea Bass Kid gig is going to be one of the best ever, I am sure. So if you are in Edinburgh... make sure you come along! This is an originals band. Our style is... hard to describe. We seem to get invited to ska festivals... despite the fact that we only have a couple of songs with a ska section, and maybe another with a slight reggaeish hue... We play a bit of funk/reggae/ska/pop/blues/rock fused with techno-polka, when we feel like it Anyway, it's a band playing energetic upbeat rhythms and people seem to dance a lot to it. The thing is that we rarely get slots beyond 45min, when playing original material. We recently changed drummer (3 months ago) so we focused on getting enough material for 1h down, and very slowly we work on new stuff and help the drummer get up to speed with the older stuff. Slowly. Now, 2 weeks ago we were asked whether we could play a 2x45' minute slot on Friday night, a couple of days later. I said "of course!". It was one of our best gigs ever. We added a cover ("Bad Boys", it's always fun, and not exactly a cover, it's more a jam based on that song), and various short jams based around "work in progress", as well as a couple of older songs that the drummer managed to memorise. Oh, and we repeated the second song of our first set near the end of the second set It went down really well, and we were very nearly mobbed to continue playing. We had already unplugged, sound guy was playing music over the speakers... but a large enough group yelled for more... so we obliged and played yet another song We were happy it worked, and decided we needed to switch gears and get another hour's worth of material ready to be sure in the future. So one rehearsal later... we get asked whether we can do a 3x45' slot. I said 'of course, no problem!' Now that we start getting longer slots without even having to look for them, playing originals, I am reluctant to say no! So now we are looking at eachother with a huge grin thinking "this is going to be interesting!" We managed to rescue 3 more of our older songs, plus a cover we used to do (Reel Big Fish's "Beer"), and we have yet more "work-in-progress" jams. We will have to write the setlist strategically, to make it flow nicely, but it's doable. We are a band that jams a lot. When I joined, one of the guitarists broke strings often, and I hated being there in silence, so whenever there is a "technical issue" I start playing and get the drummer to play with me, and then whoever else wants to join is welcome... we do this often, at rehearsals, live... so it comes naturally and people often tell us that they like seeing us because it shows that we are having fun when we play. Six people on stage, with a trumpet player that is an expert in silly dances... yeah, we have fun. And we noticed that people seem to respond to a band having fun, even if they are playing songs that are unknown to the audience, and even if they are instrumental jams. Last time, one such jam was meant to be a very short thing, a couple of minutes or so... turned into maybe 6 minutes, as there was a crazy man doing some amazing dance moves and he got other to join him... so we could not break their mood, could we? Very convenient for us too Have you been in situations where you need to come up with an extra 40min of material on the spot or something? What do you do? You play very slowly? Talk a lot between songs? Play the same song twice with different vocal lines?

[quote name='Lenny B' timestamp='1343504960' post='1751587'] I recently took the guard off mine and haven't put another on - I think it looks great (natural, maple, white blocks) - will stick a photo up [/quote] Indeed! Mine does not have the prettiest grain, I have to admit, and one of the pieces the body is made off is clearly darker than the others. With the pickguard on most people would not pay attention. Without it it is very noticeable (actually the grain on the back is much nicer... I think mine was meant to be a lefty, I'm convinced ). The one 'bubinga5' has for trade has a wonderful grain. But after I examined the pictures on what later became my bass, I decided that there was something cool about it... more of a "plank of wood with strings" vibe to it that I liked. In any case... yes, natural ash body and maple fingerboard, what's not to like? I'm not exactly a fan of neck binding or blocks, but I think it looks great on this bass. I should put some pictures of mine too.

[quote name='apa' timestamp='1343503035' post='1751551'] Cut the heads off the screws, super glue them into the black pickguard holes (Or get the bassdoc to make one with no holes at all) then use that double sided tape you have.You wont be making the holes loose when you do take the guard on and off all the time either. A [/quote] but then I'd be removing adhesive residue everytime I remove the pickguard That double-sided tape is really very good. It held the thumbrest really firmly on the bass. Some of the best inventions are the most simple ones! I have to admit, that I liked the idea of a no-holes pickguard.

I can't say I have much experience with 3-bolt neck instruments, but I heard over the years people talk about 3-bolt neck fixing as a TTT (truly terrible thing). Probably a bit hyperbolic... lots of Fender and G&L basses still around with 3-bolt necks. My only close experience is my brother's Stratocaster, which works just fine, and my new Jazz, which seems solid too. Over the past couple of days I have been doing small adjustments to the Jazz, to get the action just right for me. Today I decided I needed to alter the neck angle a tiny fraction to help me get that very low action I was after. Not a big deal, but on this bass... it was even less of a deal Loosen strings a bit, three bolts to partially undo, turn the micro-tilt screw a fraction, redo bolts and retune. Trial and error... repeat a couple more times, and now it plays beautifully. And I think the combination of the microtilt and 3-bolt neck is actually pretty cool, making the neck adjustment very easy and quick. I'm a fan. So I say genius. What do you say?

[quote name='bubinga5' timestamp='1343404109' post='1750316'] dark red tortoise shell is the way to go i reckon... [/quote] I have one already (on another bass, but it fits!), however... black/natural is slightly more delicious, so I am getting our good Bass Doc to copy the white one I have in glorious dark menacing black.

[quote name='Looper' timestamp='1343478080' post='1751273'] Recently got a jazz after having a p-copy for years. Really like the slimmer neck, still find myself twiddling with the knobs looking for the best sound though. All down to what feels right to your hands and your ears. In an ideal world I'd go for a jazz neck and a p body. [/quote] Funny, I'm the opposite: Jazz body and Precision neck.

[quote name='uncle psychosis' timestamp='1343479423' post='1751282'] *Ahem* [/quote] I have not forgotten you!!! You will have a PM this weekend. Just need to make a decision

[quote name='squire' timestamp='1342522461' post='1736433'] I'm not sure if it has the same circuit as the Singray 2EQ. The only thing i got to got from the Ernie Ball forums is; [color=#333333][font=Verdana, Arial, Tahoma, Calibri, Geneva, sans-serif][size=3]I found this video, but sounds quiet rubbish(probably due to the recording). When I tried it in the store it sounded awesome.[/size][/font][/color] [/quote] Despite the limitations of the sound recording... it sounds pretty good! I may be tempted after all!

[quote name='brensabre79' timestamp='1343462166' post='1751037'] Do you mean the black fluted ones? I got some for the EMG pre on my 70s Jazz, it took a while to find them but they are a genuine Fender part. I had to order them from the US in the end as I couldn't find them over here, and they were expensive! The only problem is, the shafts on the pots are not the same size as the J-Retro, in the end I left the J-Retro ones alone on my fretless as I couldn't find anything to fit them. [/quote] Yes, those ones! Ah, so they won't fit the J-Retro shafts What a shame. Thank you for the disappointing but useful nevertheless news.

[quote name='gary mac' timestamp='1343461959' post='1751032'] Fear not, there's always another bout of GAS, it just hasn't got to you yet. Be patient, give it time and you will be rewarded [/quote] I hope you are right... I feel... empty! Then I remembered my car is due for service and MOT next month and I am sure my lovely mechanics will find something I can spend my money on.