LukeFRC

Could you record the sound With no mistakes and then mime along with your smile on And splice together?

I have no problem with a finger a fret on a 34inch scale, I’ve been doing it on a 35inxh scale without thinking since November and it was only yesterday where I was doing something Fast that was having me stretch Over two frets that I noticed the extra scale length.

My mate from church has an original Hammond organ. He went to the professional electronics expert in town to get it serviced. He did his thing, It was ok but still not 100%. Then this old guy turned up at church to help the leaders for a few months. He asked to have a look at the organ, stripped it down and fixed it. It turned out he used to build them for a living, and now restoration was a hobby of his. The professional knew the basics and could do a decent enough job. But their expertise was in electronics generally and they would work on anything. He knew a lot about a lot, but not to a massive depth. The somebody we knew nothing about had one very small window of expertise and knew a massive amount, at great depth, about one make of organ.

I've no idea where Canada sits, but having had flatmates who played in worship bands in the US I can compare it to there... typically we don't do mega church as much, most churches will be small, and less professional in terms of worship bands etc. Typically if you're good, and part of the church you will have no problem getting in. You possibly don't even have to be good, but there's a culture of being part of where you serve. I know my friends in the US used to get paid and play in lots of different churches, I'm not sure that happens in the UK. So "performance quality" may be down, but you gain things with a lower key community approach too... That said all cities and a lot towns will have a bigger church that models itself on the bigger Hillsong style big church with a focus on performance - so if thats your thing that's there. I've got friends at Emmanual church in brighton, but beyond that I don't know the south coast - but a "more mature, progressive Christian who doesn't like to listen to fundamentalist dogma being proliferated any longer" - that's probably so subjective to what you're looking for I've no idea! There will be something for you, whether the church that fits where you're at had great worship playing too... or the place with great worship fits with you I don't know! There's probably less of a cultural gap between 'progressive' and 'fundamentalist' in the UK compared to north america, and what you mean by those terms, and ones like evangelical, might be understood contextually quite differently

I like this thread

Aww cheers. I think I'm outwardly processing with this bass quite a bit. There's the 5 string thing. (which I'm fine with and like) the 35 inch scale thing (which I'm only now getting used to the bass enough to go 'erm' with) and the sound of it (which I don't like, and love all at the same time) and the preamp and switching (which I've got my head around now) And it's trying to get my head around it all - there's been enough times that if someone offered me a half decent 4 string Precision bass in trade I might have taken them up on it... but also wanting too persevere and not take the easy route. Musically and having the notes on hand I'm a fan of 5s. The trade off is hand size needed. It's a really easy bass to play... but it seems to lend itself to a certain style of playing...

One month later... With some bass preamps you boost the bass or treble it makes them louder. With this Bartolini on you turn it up and it makes them sound fatter too and adds harmonic content... which is fine, but I was setting it flat and not liking it... my big penny drop moment was that "flat" on the bass seems to be cutting it a little bit. I was all ready to give up and move it on up till then. what I really really like about this bass is the fact that it's got loads of low mids - if I set it right I can get passably into the way that a P bass sits in the mix. - which is amazing. Now I've got the preamp kinda figured the tonal range of the thing is really really nice. What it doesn't have much of is aggressive or cutting high mids and digging in doesn't give you any more of them either. In terms of the 5th string. It feels normal now. BUT for the first time I was playing something fast tonight and I noticed the 35inch scale and I was stretching more, and some bits couldn't move my hands quick enough. That's not anything to doc with having a B string, just small hands!

I am not @Bassassin, I am not even a Padawan of 70s Japanese stuff but it looks so similar to the Cimar I had, even that bloody horrid bridge with the adjustment screws sniffing for blood. I seem to have lost the images from around then though.

maybe that's why he sold it?!

Not mine anymore. Sold it (v cheap) to a mate. He’s still playing it

I can't imagine Belle & Sebastian playing a ACG!

Was going to say that - it looks a lot nicer compared to some of their others

Nate: “guys can you make me this one off for the tour?” ashdown: “sure mate, mind if we make two, we know someone who will deff take the other one” Nate: “ Paul again?” Ashdown: “yep”

Adding mass to one end of the string would be easy to test. Get a metal G clamp and fasten it to your headstock and see if added mass makes any difference. I think though, if we get away from the science side for a bit the better question is what do we prefer and why. I would say there are differences, but how pronounced it is depends on the player, the bass, the rig and so on. The other difference is usabilty. My Sadowsky bridge is easy to change string on, and the G&Lbridge has a grub screw hold everything in place. Thr bridge on my Warwick allows a massive amount of adjustment... it is possible that the use ability will be more important than minute tone differences when choosing a bridge

Surely it would be the opposite way round. a high mass helps the string resonate more effectively and resonates less into the body? A string resonating between two points which transfers less of its vibrations into the points it is resonating between will have more sustain. The heavier and more bolted in the bridge (and stiffer the neck) the more isolated the resonating string is. the lighter the bridge (And more flexible the neck) the more transfers into the body/neck and the more cancellation Of bits of the frequencies there will be. (It’s only going to ever be subtractive, a bridge or body can’t add anything to the vibrations of the string) From a P bass with its flatsawn maple neck and BBOT bridge where the way it interacts with the body gives it the classic attack and decay to a P bass sound. I think I very much prefer the BBOT bridge on a P. the opposite would be a high mass bridge on a neck made of laminates of wood. A peavy T40 is the best example I have tried. Absolutely massive bridge, and super stiff neck - there’s less transfer of resonance and the string resonates freely, the attack and decay is different to a P bass.

It’s a good thread

The bridge reminded me of the 1975 Cimar 1908ash you helped me with the tuner brushing for years back. it's really odd how the body had yellowed but the fretboard hasn't

I think it's a machine that deliberately doesn't wind perfectly ...

Well Ernie Ball would say that wouldn't he! The same factory managed to keep making G&L pickups which are quite well renowned (esp the early ones!) I guess with something like Nordstand, he's done all the R&D and tried lots of things, and genuinely makes really nice sounding pickups. I think they have some kind of mechanised scatter wound so it's similar to a hand wound pickup? I would really interested to compare a boutique pickup, a cheap pickup and a homemade one, all with the same ingredients, and see how different they are

love the colour of that one. (playing's nae bad either)

but this is the bit I don't understand... if you make a cake in a factory in china, and make a cake with the same ingredients in a artisan pickup winder in Brooklyn .... where does the difference come in? I get that a bass is a bit different, there is some difference in wood and how it can be harvested and dried, and there are bits in bass production where someone spending an hour doing a task will give a better result than a factory spending 10 min, but with pickups I'm never sure.

I think there's probably a bit of a difference between the pickups on an entry level Harley Benton and something Boutique. Probably when you get past semi decent the differences are marginal. But then the same is true with bass guitars...

I’ve done some swaps too. Slight differences. High mass nice on jazz. Prefer BBOT on a precision