BOD2

[quote name='lowhand_mike' post='1533' date='May 18 2007, 05:13 PM']i'vs seen my guitarist do it[/quote] Guitarists ? What do they know Yes you can - what they said above. The signal from the FX send/tuner out might be higher than a normal bass signal so you'd have to watch the input gain of the second amp. Alternatively you can go IN to the FX return on the second amp. That bypasses the input gain/tone controls on the second amp and just uses the power amp section of the amp, meaning all the tone control will come from the first amp. Or you could just use a power amp (i.e a PA-type power amp) as the second amp. You could also use a splitter box before the amps to split you bass signal into two separate ones and feed one into each amp as normal. Lots of options.

There are no set rules - it's down to personal preference. You can raise one side and lower the other, tilt them to emphasise one string more than the other, or anything you like. If you raise them too high the string might hit or the string vibration might be dampened by the magnetic field causing overtones ("wolfnotes") but otherwise you can do what you like. It's often necessary to raise a pickup on one side (or lower the other) to balance the string outputs. Make sure you use a good-fitting screwdriver or you'll burr the screw heads.

[quote name='Timface' post='2329' date='May 19 2007, 06:02 PM']question: When Di ing from the Back of a amp ( SVT cl) Does it send the fxs from foot pedals through the Pa ( bass - effects - amp -pa)? Tim[/quote] Yes. All the setups shown in the diagrams above will send the FX to the PA too. If you didn't want the fx (unlikely) then you'd have to go bass > DI splitter > FX > amp If your FX are in the fx loop of the amp then it would depend on if the "DI out" comes before the FX send or after the FX return. You'd have to either read the manual or just experiment to find that out.

It can go in either place but there are some considerations and it could have a different effect depending on where you place it. Firstly check that the compressor will adequately handle the two different signal levels. The bass signal might be much lower than the fx send signal. There may be input level switches on the compressor to allow for this., or it may handle these two levels with ease. If your FX loop has a "level" control and you put the compressor in the fx loop then the level must be fully on, otherwise some of your bass signal will get through uncompressed, defeating the purpose of the compressor. If you go bass > compressor > amp then the bass signal is compressed before it reaches the preamp (input gain and tone section of the amp). You could therefore use the compressor as a "limiter" to prevent overload of the preamp (possibly not necessary - just one option) The fx loop, however, comes after the preamp so you couldn't use the compressor for limiting before the preamp. If you use other fx then you might want to consider the placement of the compressor in the chain. Compressors are usually best first in the chain, unless you use "envelope triggered" fx (e.g. auto-wahs) that respond differently according to how hard you play. These type of fx must be placed before a compressor as the compressor will even out the dynamics of your playing and you'll lose the tiggering for these fx. Other than that you can try out both placements to see what works best for you.

[b]COMPRESSORS[/b] Audio compression is a fairly simple, yet often misunderstood process. At its simplest a compressor reduces the difference between the loudest and quietest levels in a signal (or piece of music). It does this by reducing the gain (volume) of the louder parts of the signal without changing the quieter parts. It is this ability to leave the quieter parts untouched that makes it different from merely adjusting the overall volume of the signal. If you simply used the volume control to reduce the louder parts of the signal, then the quieter parts would become even quieter. Similarly, if you use the volume control to raise the quiet parts in volume then the louder parts would also be raised, becoming too loud. [b]The Threshold [/b] The level above which the compressor operates is known as the threshold. If the signal level rises above the threshold, then the compressor will kick in and reduce the level of the signal back down towards the threshold level. If, however, the signal level remains below the threshold then the compressor will do nothing. [attachment=130:Comp1.jpg] The diagram above shows an audio signal on a graph. The signal level (loudness) is shown in dB (decibels) on the vertical axis and time passes along the horizontal axis. The red lines show the threshold for the compressor. Only when the signal goes beyond the red lines will these peaks will be compressed. The blue line (-7dB) highlights a peak in the signal that is below the threshold. [b]The Ratio [/b] The ratio is the amount of compression applied. This is expressed as two numbers (e.g. 3:1 or 4:1 etc.). The first number shows by how much the incoming signal must increase before the compressor will allow the outgoing signal to increase by the amount of the second number. [attachment=133:Comp4.jpg] The diagram above shows the effect of different compression ratios on the output level of a signal as it rises above the threshold. A 4:1 ratio means that the incoming signal must increase by 4 dB to get an increase of 1 dB at the output. The higher the ratio, the more that loud signals will be reduced in volume. [attachment=131:Comp2.jpg] The diagram above shows the result of compression. The threshold has been set to 10 dB (so that only signals above 10dB are affected) and the ratio is set to 4:1. This means an input signal of 14 dB (the threshold value + 4 dB) will be reduced to 11 dB (the threshold value + 1 dB). Note that the compressed signal is allowed to go above the 10dB threshold and that the signal peak at –7dB is not changed. [b]Make-up or Output Gain [/b] This is the clever bit. After the signal has been compressed the overall gain (volume) of the signal can be increased so that the loudest part of the compressed signal is restored back to its original level. This is applied to the whole signal so the end result is that the loud sections are restored to (or near) their original volume but the quiet sections become louder. [attachment=132:Comp3.jpg] The diagram above shows the compressed signal after make-up gain has been applied. The volume of the loudest parts of the signal have been restored to original levels, but note that the peak originally at 7dB is now also louder as the make-up gain has been applied to the whole signal. The result of this is that the loudest peak of the compressed signal is no louder than the original signal but the quieter parts of the signal are louder. This signal will sound punchier and more consistent in volume, with less variation in loudness. [b]Attack Time [/b] The attack time defines how quickly the compressor will act and reduce the volume of any signals above the threshold level. With a fast attack the signal is compressed almost immediately whereas a slower attack will allow the initial loud pulse to pass through before the level is reduced. [b]Release Time (Sustain) [/b] The release time controls how quickly the compressor will stop working and release the signal back to its original level after it has dropped below the threshold. If the release is too fast then the compressor may “pump” or “breathe” up and down as the compressor comes on and off quickly in time with the music. [b]Hard Knee/Soft Knee [/b] Fully featured compressors may have a control to adjust the “knee” of the compressor. A “hard knee” compressor applies the full amount a gain reduction as soon as the signal level exceeds the threshold. A “soft knee” compressor progressively applies gain reduction before the threshold, as the signal approaches the threshold, producing a softer more subtle effect. [b]Enhancer [/b] Low frequency elements of a sound tend to be higher in levels and will often reach the threshold and trigger the compressor, but any high frequencies that occur at the same time will also be compressed. Some compressors have enhancer circuitry that boosts these higher frequencies to compensate for any loss in brightness. Many compressors, especially stomp-box ones, will often have preset attack and release times, or will combine the operation of several parameters within one control to simplify operation. Likewise, some devices will automatically apply make-up gain to compensate for the reduction in the compressed signal so that the overall output level is always restored. [b]LIMITERS [/b] A Limiter is simply a compressor set up with an infinity:1 ratio and a very fast attack time. This means that no amount of input signal will allow the output signal to rise above the threshold. The output is effectively limited to the level set by the threshold control. Limiters are often used as protection to avoid signal overload into a device. The threshold will be set to a level that the device can safely handle and the limiter will prevent the signal ever exceeding that level. [b]COMPRESSORS AND BASS GUITAR [/b] So what effect does a compressor have on your bass sound ? Generally the effect is usually described as an “evening out” of the overall sound and an increase in “punch”– but note that fret noise and other unwanted background noise might also be increased. Harmonic undertones of a note will usually be well below the sound level of the fundamental note. A compressor can increase the level of these harmonics making them louder and thickening up the sound and making it more even and “punchy”. If you play slap bass then the slaps and pops will often be louder and leap out more than normal bass notes. A compressor can reduce the difference in volume between these so that the overall sound is more even.

The following is some simple guides to the various methods of using a DI box and playing directly through a PA. An [b][i]unbalanced jack lead[/b][/i] is a standard jack plug to jack plug instrument cable. A [b][i]balanced XLR lead[/b][/i] is a standard XLR male to XLR female mic lead. "Balancing" allows for improved noise rejection in the cable which gives better signal strength and allows longer cable runs. The [b][i]PA mixer[/i][/b] is the mixer used for the Front Of House (FOH) sound. [b]1. Standard use of a DI splitter box. [/b] [attachment=123:DI_1.jpg] [b]2a. Using the DI out connector at the rear of the amp. [/b] [attachment=124:DI_2.jpg] If your amp doesn't have one but does have a Send/Return loop that you are not using then you can try connecting a jack lead to the Send connector then put that into a DI box to convert it to a balanced XLR signal. The signal from the DI box can then go to the PA. [b]2b. Using the Send connector as a DI [/b] [attachment=125:DI_2b.jpg] [b]3. Using an amp/cab simulator. [/b] Connect straight to the PA. [attachment=126:DI_3.jpg] Usually there will be another output that you can also connect to your amp or a stage monitor so that you can hear yourself. For best results from your amp you want to bypass the preamp, if possible. There are different ways to do this on different amps - if there's a "power amp in" connector then use that. Alternatively connect to the Return of a Send/Return loop. If you have to connect to the normal bass-in jack then turn the gain down low initially and set the tone controls flat so that they don't affect the sound too much (the amp simulator has already shaped the sound). As always, when connecting any two pieces of equipment for the first time, keep all of the levels (volumes and gains) down low to start with and bring them up slowly to get the correct level. This avoids damage to equiopment and ears. [b][i]Phantom Power[/i][/b] can potentially cause problems when using method 3 above. Phantom power is a voltage (usually 48V) sent down the XLR connectors of a mixer to power condenser mics attached to the XLR channels. It does not affect dynamic mics (e.g. bog-standard Shure types etc.). It should not damage pre-amps also attached to the XLR connectors of the PA but , in some instances, it can. To avoid any possible damge to your amp/pre-amp when conencting it to the PA, you can insert a DI bix between the pre-amp and the mixer. This will stop the phantom voltage from ever reaching the amp/pre-amp thus avoiding the problem. Having a DI-box in your kit bag will also give you a backup should the pamp/pre-amp ever fail as you can use this to connect you bass to the PA directly. [b]Types Of DI Boxes[/b] Types of DI boxes vary enormously. The simplest ones will have only inputs and outputs. Others are available with attenuation "pads" (to reduce the signal level) and various linking options. The most versatile ones have tone shaping circuitry (and act as mini preamps in their own right). [attachment=127:DI20_small.jpg] Dual channel with attenuation [attachment=128:DI_Hartke.jpg] DI box with tone shaping [b]Links for more information[/b] [url="http://www.soundonsound.com/sos/jun02/articles/diboxes.asp"]soundonsound.com[/url] [url="http://en.wikipedia.org/wiki/DI_unit"]wikpedia[/url] [url="http://www.astralsound.com/di-boxes.htm"]astralsound.com[/url]

Just for reference, you should NEVER run a valve power amp without a speaker load. There's a fair chance the (expensive) output transformer will go if you do. Solid state power amps should be ok but again it's better to turn down the master volume (it shouldn't have any on the DI signal anyway as this signal is tapped off before the power amp/master volume). If in doubt, keep the speakers attached and turn the master volume down to 0. And since the volume is at 0 you could use any speaker cabinet (making sure the impedance of the amp is correctly set for the cab) you don't have to use you 8 x 10" monster cab.

Sound Control are the sole UK distributors for Schecter guitars. Contact you nearest Sound Control or e-mail them via their website. I don't think anyone else in the UK stocks them. Schecter make good basses, excellent value for money, well made, good components. Definitely worth a look.

I thought I heard somewhere he's packed it in and enjoys spending time with his family. Lots of stuff on the net about him. Good bio on [url="http://en.wikipedia.org/wiki/John_Deacon"]Wikpedia[/url] He was a good songwriter too.

other...Schecter Diamond Series Elite-5

I'm not sure if it's quite as simple as just replacing a capciator but here's some info I managed to find - [url="http://www.ev-b.com/compressors.html#cs3"]Compressor Review[/url] [url="http://www.monteallums.com/Product_links.html"]Mod Kits[/url] Try a google search for "Boss CS3 capacitor bass" and see what else ytou find

GEE Electrics in Liverpool, 0151 228 2280 -------------------------------------------------- These guys are fast and efficient Ex-Trace Elliot wizzo chap www.gmaudio.co.uk -------------------------------------------------- I did get a name of a bloke in Bexhill off the web [email protected] www.servicesound.com -------------------------------------------------- Chris Ward at the Bass Centre in London is fantastic - great with amps, preamps etc. 02073779300 -------------------------------------------------- I use a bloke in Chiswick. Jon Griffin at G-tek, his phone number is 0208 9946477 and you can email him at [email protected]. Let him know that Steve who has the Burmans put you on to him. -------------------------------------------------- Anyone in the NW:- [url="http://www.amprepair.co.uk/"]http://www.amprepair.co.uk/[/url] -------------------------------------------------- I use Soundburn Audio in Bristol (0117 9555766) - a one man outfit but he seems to be able to fix anything. Plus, he doesn't charge you 20 quid just to look at your amp. -------------------------------------------------- For those of you in central london, John Kelly (of John Kelly amps fame) is a very talented and brilliant bloke. Comes highly recommended; reasonable prices and always ready for a chat (he has many stories to tell). John is also the official Mesa tech for London. You're in good hands. Here are his details: John Kelly (Electronics) Ltd 020 7359 8001 28 Rheidol Mews London N1 8NU -------------------------------------------------- Andy Collins [email protected] 01323 442035 Unit 3b, Hackhurst Lane Industrial Estate, Lower Dicker BN27 4BW -------------------------------------------------- Steve Malem who repairs the amps at www.antonesguitars.co.uk is a genius. A very clever man who is slightly eccentric but a boffin who delivers every time ! He is incredible with vintage stuff and can bring anything back from the dead. -------------------------------------------------- For those of us North of the border I can highly recommend - Dennis Marshall at [url="http://www.emersonwilliams.com"]http://www.emersonwilliams.com[/url] Land line : +44(0)1506 826333 Mobile : +44(0)7713 251211 Emerson Williams Limited, 10 Links Court, Bo'ness, West Lothian, EH51 9UD, Scotland Email: [email protected] Dennis is a Mesa Boogie specialist and approved repairer, like most of these guys he is a tad eccentric but nicely so. His preamps are the mutts nutts but are not cheap. He's one of the old school who repairs things so they work, not just to make money, if that makes sense. He takes pride in what he does and goes beyond what you'd expect him to do. -------------------------------------------------- I have used electrofix.co.uk on Alma Vale rd: Graham - orange hair and odd attitude but does a good job on valve amps. Sells valves and used PA kit too. 34 Alma Vale Road Clifton Bristol UK BS8 2HY tel: 0117 923 9119 -------------------------------------------------- I think I need to add one for the West Midlands contingent: Pacific Sound & Light Ltd. 505 Bristol Road Selly Oak Birmingham West Midlands B29 6AU United Kingdom Tel: 0121 471 3110 Fax: 0121 471 3103 Great guy there for ss or valve work - if it doesn't get fixed, it doesn't get charged. -------------------------------------------------- Brian Bond in London. Leave your gear at the Bass Gallery, he picks it up, performs his magic etc... www.thebassgallery.com -------------------------------------------------- Anyone else in the Carlisle / North Cumbria area should definitely visit Dave at DEV Engineering. One man show again, mad as a hatter, but when you step into his workshop, you understand he's a serious techy... He specialises in repairing camera and VT equipment, but used to work for Marshall and apparently built his first valve amp "when I were about 10 or 11" so he knows his stuff. -------------------------------------------------- Anyone in the Surrey/Hampshire area looking for a decent amp tech, try [url="http://www.stevesamps.co.uk/"]http://www.stevesamps.co.uk/[/url]. I dropped off a pair of speaker cabs to him last Friday as one had a possible blown crossover. I got them back this evening. Very, very fast turnaround. His speciality is definitely valve amps though, but he's an incredibly knowledgeable chap. -------------------------------------------------- In the north east if its a vavle amp DCooke try www.cameronelectronics.co.uk in Sunderland. I will be taking my Mesa 400+ down there soon, i've not yet been so cant say if there good or not. -------------------------------------------------- I can completely recommend Dave Lunt in Stockport 0161 432 9698 -------------------------------------------------- And..........If in the South West, www.hartnollguitars.co.uk has an Amp Tech that does all sorts. -------------------------------------------------- Is it OK to recommend myself? I'm in North London. I've been repairing valve and transistor amps (on and off) for thirty years. I'm a Chartered Electrical Engineer with 20 years experience in the Electronics industry. I can do anything from a service to a complete rebuild. I can do modern amps but generally you're better off taking them to dealers. I don't do guitar electronics. I don't charge just to have a look, I don't charge if I can't fix it (although I can't remember the last time that happened). I charge for parts at cost. I can generally turn stuff round in under a week, but if its urgent and you're prepared to pay I can do it quicker. TW [attachment=85:TW.jpg] -------------------------------------------------- For anyone in Coventry or going from B'ham across the A45 to Northampton, Manor Electronics (right on the A45 near Canley) are bang on - the kind of people that are always busy and dont need to advertise, such is the greatness of their reputation. Top blokes. -------------------------------------------------- Central London. There's a guy called Frank in a workshop attached to Angel Music who's excellent. Angel Music is on the 1st Floor above Music Ground in Denmark Street. Frank's rates are £35 per hour plus parts. He's a don when it comes to valve stuff. He'll do solid state stuff too if you ask him. --------------------------------------------------

[b]Humming and Buzzing Noises[/b] There are many possible causes for humming or buzzing noises from your amplifier. The key to resolving this problem is to be methodical and eliminate each possible cause one after the other. The following will guide you through the basics. [b]Is There A Problem At All ? [/b] Firstly you should work out if there is actually anything wrong with your gear or if the noise is to be expected. All bass guitar pickups will be affected to some degree by strong electromagnetic fields in close proximity to the guitar. Move around the room with the guitar. Does the noise lessen or disappear as you move around ? If so then there may be some “noisy” electrical equipment in the room. Some common culprits are – 1. Computers screens and computers 2. Fluorescent and “low-energy” light fittings 3. Lighting dimmer switches 4. Cheap mains transformers (e.g. pedal power supplies) 5. Fridges and air conditioning units If you suspect there is some noisy equipment then try switching the equipment off to eliminate that as the cause of the problem. If you cannot switch off the equipment then move it away from your gear (or you gear away from it), to where the noise disappears. [b]What’s Changed ? [/b] Next, think about the problem. Are you using gear that has been OK until now and the noise has just started ? If so, have you changed anything immediately prior to the noise starting ? Have you added a new FX pedal to your setup ? Are you using different cables ? Are you in a different room ? If so, try to “undo” this change to see if that has caused the problem. Note that “noisy” electrical supplies can exist and that you may find a problem in a particular room, or building, that disappears when you play in a different location. [b]Earth Loop In The Mains Supply [/b] This sounds complicated but is quite simple and easy to check for. Wherever possible, all of your bass gear should be powered from the same 13-amp socket in the wall. You should avoid, for example, plugging your amplifier into one 13-amp socket and plugging a pedal board power supply into a different 13-amp socket in another part of the room (a twin 13-amp socket is OK). You should also avoid running some of your gear from 13-amp sockets in one room and running other gear from an extension cable connected to a 13-amp socket in another room. [attachment=83:HB1.jpg] Check to see if this applies here. If it does, then try powering all of your gear from the same 13-amp socket in the same room, using a multi-way board if necessary. [b]Safety First [/b] Now that the problem is not immediately obvious you need to investigate further. Before doing so you should ensure your gear is SAFE. All that you can do here is check the 13-amp plugs on any power cables that are supplying your gear. Unplug all your power cables and open up the 13-amp plug. Have a look inside and check that the plug is wired correctly (see image) and in particular that the green and yellow earth wire is connected to the top earth pin inside the plug. Check the screws on the pins are tightened firmly. If the plug is moulded on then try using a different power cable. Below is a correctly wired UK mains plug (apologies if you're reading this from another country - I don't know the wiring regulations anywhere else but the same principle for the earth wire will apply). [attachment=84:HB2.jpg] Repeat this process for each mains power lead, and don’t forget to include any extension cables or multi-way adaptor boards that you are using. If you find any problems or any dodgy wiring then you should fix this immediately. If you don’t know how to fix it then find somebody who does. NEVER use power leads that are badly wired and NEVER remove the green/yellow earth connection from a plug. [b]Simplify The Problem [/b] Now try to identify the component causing the problem. Strip your gear down to basics – bass guitar plugged directly into the amplifier with no FX connected. If the problem is still there then it can only be the guitar, amp, or guitar lead (see next topic). If the problem goes away then try bringing in any other items of gear (e.g. FX) one at a time and noting at which point the noise begins. If you can do this then you should be able to identify which piece of gear is causing the problem. [b]Swap Gear to Identify the Problem [/b] Once you have narrowed the problem down you should try swapping gear to eliminate the problem. Guitar cables can often be the cause of problems so try different cables to see if they are OK. If you have two guitars, try each one to see if this makes a difference. If you have access to another amplifier, then try that. Note that you could try the bass through a guitar amp (quietly) to help see if the problem lies in the guitar or the amp. [b]Noisy Guitar Lead [/b] If it’s a cheap cable then throw it away. If you’re going to keep it then mark it so you know there’s a problem, otherwise it’ll come back to haunt you ! If the jack plugs are not moulded-on you could open them up and check for loose connections, fixing any problems that you find. You could even cut off the jack plugs and replace them but bear in mind that the problems may be inside the cable somewhere and it’s very difficult fix that kind of fault. [b]Noisy FX Unit [/b] If the noise is cause when an FX unit is added then look carefully at how you are connecting this unit. Are the leads used by the FX unit ok ? (try different leads). Are you connecting the unit correctly ? If the FX unit is in the Send/Return loop of your amp then check that this is configured correctly and that the FX unit is compatible with the FX loop. If the FX unit is connected via an XLR cable (microphone rather than jack cable) then is there a “ground lift” switch anywhere ? Engaging this will often cure the problem. Alternatively, you can modify an XLR cable by disconnecting the ground wire from one of the XLR connectors – this will not affect the operation of the unit but can sometimes eliminate humming/buzzing noise. Sometimes the mains power supply (wall-wart or power brick) can be a source of noise. Try getting someone to move the power supply while your gear is setup. If the noise varies as the power supply is moved then find a location that minimises the noise. [b]Noisy Amplifier [/b] If the noise is coming from the amplifier, and you have checked that the earth wire in the 13-amp power cable is OK, then you will need to have this checked out by someone competent. NEVER open up an amplifier unless you know what you are doing. [b]Noisy Bass Guitar [/b] Some guitars are noisier than others – in particular those with “single coil” (i.e. most Fender basses) as opposed to “humbucking” pickups. Some degree of noise during gaps in music may be acceptable but it should not intrude on your playing. Humming or buzzing noises from the guitar suggest problems with earthing or shielding inside the guitar. It is quite safe to look inside the guitar but you will need to have some idea of what you are looking for and be able to use a soldering iron to fix any problems. If this is not you, then find a competent friend or take the guitar to a repair shop. Common wiring problems inside a guitar include – 1. Broken earth wire inside control cavity 2. Missing or broken earth wire from bridge to control cavity 3. Too many earth wires 4. No shielding (metal foil or screening paint) in control cavity 5. No connection between shielding and earth Bass wiring varies enormously. If you suspect a problem with your wiring then search the net for a wiring diagram or ask on this forum for advice on how your bass should be wired.

[b]BadAss Bridge[/b] The Leo Quan BadAss Bridge is a complete replacement bridge for Fender-type basses. Other replacement bridges are available (e.g. Hipshot, Schaller, Trevor Wilkinson, Gotoh etc.) but the BadAss seems to have become the accepted standard for Fender-type basses and is actually supplied by Fender on some models. The BadAss II is the most popular version, as this is a direct “bolt-on” replacement for Fender Jazz and Precision bridges (using the same 5 mounting holes as the original Fender bridge). [attachment=79:BadAssII.jpg] The BadAss III is similar to the BadAss II but is designed for Fender American Deluxe basses with through-body stringing and only 3 mounting screws. It features pre-slotted bridge pieces and extra holes in the bridge plate giving the option of either standard stringing or through-body stringing [attachment=80:BadAssIII.jpg] The BadAss V is a 5-string version of the BadAss II with 6 mounting holes. [attachment=82:badassV.jpg] The original BadAss (with no numbers after the name) is less common. It is not a direct replacement for Fender bridges as the different height of the bridge may require routing of the body in order to fit. [b]What Does It Do ? [/b] The BadAss bridge claims to improve tonal quality and sustain. This is achieved by the greater mass of the bridge body/bridge pieces and the through the high engineering quality of the design. [b]Where To Buy ? [/b] There are many suppliers of BadAss bridges. Do an online search to find a suitable dealer and to get an idea of prices. You can also find them on eBay. [b]Fitting A BadAss Bridge [/b] It is a very straightforward job to fit a BadAss II bridge to a Fender-style bass. Remove the strings, unscrew the old bridge, and then screw the BadAss in its place using the same screw holes (note that the BadAss II has 5 screw holes but the BadAss III has only 3 screw holes). Make sure everything is tight and ensure that the bridge earthing wire is correctly trapped between body and bridge plate. [b]Filing The Bridge Pieces on a BadAss II [/b] There is a lot of discussion about this. The BadAss II, as supplied, does not have string slots cut in the individual bridge pieces. This is to allow for the installer to adjust the string spacing to suit the player. The manufacturer recommends that string slots be filed into the bridge pieces during installation to avoid lateral movement of the strings while playing. This is not a difficult job but does require some basic skills, the appropriate tools, and some care. Many people use the bridge successfully without strings slots. Through time the strings will create their own slots, though not as deep as correctly filed ones. It seems that, provided your playing style is not overly aggressive, you can use the bridge without slots with no adverse effects. [b]Issues With String Action [/b] Due to the different design of the bridge, the amount of vertical travel of the individual bridge pieces is different to the Fender original. In particular, the BadAss bridge pieces cannot be adjusted quite as low as the Fender bridge pieces. In most cases this will not be a problem. Unless your original bridge pieces are set very low before the BadAss is fitted then you are not likely to be affected by this. If however, after fitting, it is found that you cannot adjust the action low enough then adjustment of the neck-to-body angle may be required. For Fender basses with a “micro-tilt” neck adjustment this is very easy and involves screwing IN the micro-tilt adjuster to move the neck headstock backwards. If the bass does not have a micro-tilt adjuster then the method of adjusting the neck is to add (or remove) “shims” to the neck pocket. This is still a potential DIY job, although it does require a little more skill. Remove the neck from the body, and then adjust the neck angle using very thin pieces of wood, card or plastic. Inserting a shim at the body end of the neck pocket will push the headstock back and lower the action. Inserting a shim at the neck end of the neck pocket will push the neck forward and raise the action. Before doing this I would suggest you do a Google search more detailed information about shim fitting. [b]Fitting A BadAss II to non-Fender Basses [/b] Remember that the BadAss II is designed as a replacement for Fender basses; it should fit most Fender-style basses without problems, although it is possible that the mounting screw holes may not be in exactly the right position. If necessary you can fill the original holes and drill new ones. For basses that are not Fender replicas check the dimensions of the bridge to ensure that it will not protrude beyond the back edge of the bass or foul the pickup when fitted. The BadAss II is a flat-top design so will not fit on bodies with a carved top without routing a flat area first. [b][i]Extra Information[/b][/i] [b]Fender Aerodyne Basses[/b] (thanks to "buzz") The Aerodyne jazz bass with the curved top, both the exported and non-export models have trouble with the bridge, this is due to the standard fender one sitting in a recess, and the badass being larger than it (the badass just sits over it and makes minimal contact) To get around this, either routing of the recess is required, or using a wooden/metal plate to fill the recess in, so the entirety of the new bridge makes contact. It's not just an bolt on job like on normal flat topped fenders. [b]Practical Tips [/b] (thanks to LFalex) I've just fitted a BadassII to my new Squier 70VM Jazz, and found the following points to be noteworthy when installing a Badass... * Protect the body of your bass with card or a duster etc. to prevent scratches. * Slacken your strings gently. I don't favour having all the strings off at once (I change them one at a time). For this job, it's a necessary evil. * Make sure all the holes line up on the bass / Badass. * Watch out for the screws supplied with the Badass. I found them rather "soft" and the heads began to burr as I screwed them in. I reverted to the original screws, and they seem fine, in spite of being a little shorter. *Make sure that you get a good contact with the bridge earthing lead, or hum and buzz may result (NOTE - to help with this splay out the individual wires of the earth wire, and roughen the underside of the bridge plate where the wire will contact with sandpaper/emery cloth) * IF you elect to file slots in the Badass II saddles (as I did), Please don't try and do it with the unit on the bass. It's a nightmare, as they bounce to and fro on the intonation springs. Bite the bullet and remove the saddles! To mark the slots, I put the bridge on the bass and put on the strings. I tuned it to the desired pitch (GDAE), positioned the strings as I wanted them, and marked either side of the string. This gives a bare patch on the saddle between two lines, showing where the groove should lie. Remove each saddle in turn. Clamp in a vice (ideally with wooden cheeks, so as not to damage the saddle) Start each groove with a hacksaw. It helps centre the file later and gives a nice, straight groove. Use appropriate files! Mine cost a whole £2.88 from B&Q for a set of six. I cut a V profile with the triangular thread file, and then rounded it out with the tip of a circular rat's tail file to give good string to saddle contact. I used an old set of 0.040 - 0.100 gauge strings to "offer up" to the grooves and decide when to stop cutting. I filed to a depth equal to half that of the relevant string's diameter in each case, so the strings sit nicely in the saddle. I put each saddle back and took off the next one, keeping the other 3 strings in tune to help the truss-rod out. * Keep your old bridge handy. It's useful to compare in order to establish roughly where the saddles should be for the correct action and intonation. Naturally this'll need further adjustment, but it's a start. * For those of you who like your intonation spot on, try using the harmonic note against the fretted note at the 19th fret. The pitch is higher so tuners pick it out more quickly and more accurately. This is a good one for anyone who uses chords or plays up at the "dusty end" of the fretboard. All of the above came from my first attempt at fitting a Badass II and filing slots in the saddles. They describe what I believe to be helpful practices drived from what I learned the hard way. * Tighten the screws that hold the bridge in place after a week. I got another 1/8 of a turn on all of them. Definitely felt and sounded better for it. Then I had to raise the action, as the whole bridge was now a fraction lower (but I do run the action insanely low in the first place.)