Wil

Love it.

[quote name='Max Normal' post='1261158' date='Jun 8 2011, 01:26 PM']Bad advice. You should have the right hardware to begin with, not try to bend delicate bits of your guitar to cater for the wrong hardware. Do it right in the first place or risk damaging your guitar.[/quote] I'm suggesting that he ensures the truss rod is set correcly - that's not "bending delicate bits of the guitar", it's using the truss rod to do what it's designed to do - set the neck relief. It takes 5 seconds to check the neck relief, with no tools required.

Adjusting the truss rod is considerably less hassle than changing the bridge, and it's free, so I'd really advise you try that first Here's a good quick reference if you're unsure how to do it: [url="http://www.garywillis.com/pages/bass/bassmanual/setupmanual.html"]http://www.garywillis.com/pages/bass/bassm...etupmanual.html[/url]

[quote name='Al Heeley' post='1261116' date='Jun 8 2011, 01:03 PM']Neck relief is the correct way to go, as long as your neck is true. A little bit more tension in the truss rod. With a well set-up bass you should not need to adjust saddles for string height above the frets, it should be done via small tweaks to the truss rod. If your neck has pretty low action already then you will have to rout out a few mm to sit the bridge lower. If you say the bridge feels too far forward then is it the right bridge for the bass? Is it a wrong spec replacement?[/quote] Sorry but I think this is incorrect - you should set your desired relief with the truss rod, set your intonation and use the bridge saddles to adjust your string height. Using the truss rod to adjust your action can have undesirable consequences - too little relief can cause buzzing near the nut and too much can cause buzzing above the 12th fret for instance.

First things first, check your truss rod is adjusted correctly - too much relief can cause a high action. Failing that, routing may be the way to go...

I bought a cheap but full featured DBX rack comp after reading some of 51m0ns excellent posts on the subject and I'd say I'm now fairly confident setting it up how I like it (4:1 ratio, 8-10db reduction with the same in makeup gain, fairly fast attack, medium release - a bit squishy, but not too squishy ) and having played with all the features I think I've got a better understanding of how to achieve the sounds I want far more easily in future. As long as you have the controls available there's plenty of scope for allowing your dynamics through, and it really does add some punch.

My sterling feels a lot like a P, body wise. Fits me like a glove. The neck is somewhere between a P and a J.

Incredible feel, especially at that pace.

So great.

Really interesting approach I think.

I've had the LMII, and currently use an F1. Great, light, reliable, punchy and versatile amps. I was worried the F1 would be a bit clinical sounding but it's actually a very warm and articulate amp.

Mine is plywood. Mid 90s model. With new pickups though it sounds pretty good, it's got bags of P character.

I'm usually on my second pint by the time I get on stage, or a bit toasted. Could do it sober, but would rather not, it's all part of the fun.

[quote name='waynepunkdude' post='1247322' date='May 27 2011, 04:47 PM']Winning.[/quote] Agreed.

The first 3 minutes of this, for me, are just musical perfection. Adore it.

I still have it (sort of). It was bought new from a Bristol music shop for my 10th birthday in 1995. An Encore P bass, over the years it's been like Trigger's broom, so the only thing original left is the body I think. It's on it's 4th neck, the original neck was stolen when I was burgled. After that it had a Status graphite jobbie, a fretless rosewood mighty mite and currently, a fretted maple mighty mite P neck. The stock P pup went for a dimarzio at first, and now a US Fender P pup. I had it routed for the Aaron Armstrong humbucker in the bridge, and it briefly had a John East active circuit, but I've got it wired passive like a Jazz, with a series/parrallel switch now. Sounds great, (it's my go to bass when I'm recording) and I think looks pretty cool too. It's nice to know I've still got part of my first bass with me. I hope I don't go mad and sell it.

When you sight read, you don't think of the note by it's name typically, you tend to associate the dot on the page with the note position on the fretboard at a subconcious level. You tend to have to read the bar ahead of the one you're playing with more complex pieces so you don't really have time to think "that's an A, which is here on the fretboard". So, I'd say to sight read fluently, at a decent pace, you have to have practiced it to the point where you no longer have to think about it.

[quote name='burno70' post='1241846' date='May 23 2011, 04:41 PM']Traktion, a virtually idiot proof sequencer. I only need a basic recording and mixing program and it does this with ease plus a lot more beside.[/quote] Same here, I love Traktion. So simple to use and get good results with.

I can read bass/treble clef, sight read for cello and trumpet (and piano to a degree), but can't sight read for bass. I've recently learned the fretboard up to the 5th fret but after trading my iPhone and losing the Bass Clef app I've lost interest a bit, without a teacher I struggle to find the motivation to stick with any kind of structured practice. At the end of the day it comes down to the fact that what I enjoy most as a bassplayer is locking in with a drummer, either playing music I've composed in my head or writing to compliment original music my bandmates have composed. I don't really need or want to push any boundaries.

That's a cool bridge pickup! Wonder how they sound.