neepheid

Nuke it. I mean actually point a ballistic nuclear missile at Off Topic and press fire. That'd do it.

[quote name='bigsmokebass' timestamp='1441473117' post='2859124'] It's the 4-in-a-row headstock as well....going to need a mega long G string! Reg the RD, what's the scale length for it? I recall there's a slight difference between the original and the Krist Novoselic. I tend to use standard Rotos on my basses as it is. [/quote] I need to measure to confirm but I heard it was 34.5", I guess the KN sig is 34? As I said before, if you're through body stringing I suspect you'll need super long scale strings - I used D'addario XL super long scale on my RD - http://www.stringsdirect.co.uk/strings-c1/bass-guitar-strings-sets-c34/daddario-daddario-exl165sl-4-string-nickel-wound-45-105-super-long-scale-bass-strings-p859

The only burst which I'd actively avoid is extreme examples of Gibson's "Fireburst" which when done badly looks more like "ketchupandmustardburst". No thanks

[quote name='icastle' timestamp='1441487344' post='2859259'] Not taking a spare is stupidity. I'm a lot of things, but stupid isn't one of them. [/quote] Oh aye - ca' me stupid, wid ye?

[quote name='bigsmokebass' timestamp='1441408105' post='2858776'] All's well here but a bad hip haha Aye, I think for the sake of it and simplicity, I'd go for the Hipshot (as well as being a trusted name in our industry). Looking to go for the RD/Ripper string through, gives its a more aphetically pleasing look to it too with the ferrules (T+ and then to the bridge. I may have to look into longer strings given then 1" or so added length but besides from that, I don't think there's a lot holding me back from all the feedback I've received ([b]Thank you all![/b]) [/quote] It's more like an extra 2" and you will need super long scale strings. D'addario super long scale fit my RD with through body stringing. My usual Hartkes do not quite manage - the A string is currently top loaded on my Ripper because of that.

It's pretty much a waste of time that you have to be seen to be doing as proof of life and not much else. Event "going" counts are a waste of time. Asking for feedback is a waste of time. Actually, getting feedback from almost everywhere is like pulling teeth. No-one even wants to tell us they think we're rubbish. I think the apathy hurts worse than being told you're crap, because at least that's a reaction.

[quote name='bigsmokebass' timestamp='1441322527' post='2858019'] My good friend Neephied, how are you? Still as envious of your collection now, as I ever have. You are correct regarding the Les Paul but I think when I worked it out, i would have required a new hard case for it for the sake of machineheads- if the bass wasn't stolen anyway! The current tuners seem to be of a greater standard of quality than what my Ibby's ever had, I'm just a sucker for old school basses and hardware- the old ones were the best IMHO, just a shame they don't have an option to purchase a 76/77 T'bird The bridge I could take or leave, if I'm honest. It's all down to the Misses budget for me but I would like to have it string through. I've been looking to see if there's parts for the traditional 3P bridge, that you can just buy the parts for than replacing the whole part. Where about can you get the babicz from? I knew they were released Jan this year but never seen them available. [/quote] I'm nae bad, how's yourself? I've only seen the Babicz on eBay in the States so far (not cheap): http://www.ebay.co.uk/itm/281755217587 For the string through, are you thinking of doing it like an RD or a Ripper (holes behind the bridge with ferrules top and bottom)? Or looking for a bridge which hides all that underneath?

Badbird II (when it's ready) - old school bridge with separate tailpiece? Babicz three point replacement? I chromed up my NR Thunderbird a while ago and fitted the Supertone - but used the same size tuners as before: If your beef is with the O-ring like plastic bits but don't want the annoyance of reaming out the holes (and the rather crowded space for the elephant ears) there/s the Schaller M4 Lights. http://guitar-parts.biz/hp524876/Bass-Machine-Heads-M4-Light.htm?ITServ=C2b606fe2X14f946e014dX66a7 Did I not mention them to you before with regard to LP basses?

Gear snobbery one day, reverse snobbery the next.

[quote name='Grassie' timestamp='1441046335' post='2855646'] Or maybe I'll carry on making instrumental electronica, putting out on Bandcamp to have it routinely ignored by the global internet community (www.bonnevillemusic.bandcamp.com if any of you are slightly curious) as I have been doing for some time now. [/quote] Well, hopefully you'll feel a little less ignored now EDIT: not a sympathy purchase BTW - I enjoyed the tunes, they reminded me of my old ProTracker days, only more polished with better samples and effects.

Why limit yourself to one? If there's no room for a switch then why not use a push/pull (or push/push) pot to give you the option of both?

[quote name='JTUK' timestamp='1439902045' post='2846614'] It means 'fine'... which is a bit dismissive, to be honest. He couldn't think of a proper compliment so maybe he didn't rate it..so 'fine' and 'solid' kind of insults you but you're not entirely sure.. [/quote] The word "fine" has different meanings depending on context and emphasis. Fine wine usually means excellent or outstanding rather than acceptable. To further muddy the waters, up in the North East of Scotland, the word "rare", pronounced correctly has the same positive connotations as fine as in wine. Even though the thing you are describing is commonplace and not rare in the slightest

I'd have no problem with my playing being described as solid

Reaper does not satisfy the ease of use criterion. Nor does any DAW I've had the displeasure of encountering. I get a headache from just looking at it for 30 secs, never mind trying to figure out how to use the damn thing

I play in an originals band. We have to argue and cajole venues and promoters into giving us 50 quid. Yay, I feel so looked after. If by "looked after" you mean grudgingly been given a great honour by allowing us to play then yeah, I feel we've been "looked after".

If I stop having fun, or fundamentally disagree with how it's being run, or even if I feel I can't put enough into it then I'm off. I have I don't just jump into the first band that offers me a gig either. If it feels wrong, walk away.

[quote name='CH161' timestamp='1439509547' post='2843536'] A couple of slivers of maple - from a battered old drumstick for example - one in either side of the hole. You can then pour in some super glue - but really no need. Just trim off the excess sticking out of the hole. Just screw in against the maple slivers and you'll be good to go. Toothpicks are not always strong enough wood - depends on what they're made of - you just need the compression. Bits of maple works. [/quote] We're still struggling to wean people off of matchsticks and you come away with this? You want the moon on a stick you do!

I feel almost embarrassed to report that I occasionally get praise in my band for my bass playing, which I am rather uncomfortable with but have learned to accept awkwardly.

We've finally got off our butts and recorded something. Our debut EP is called Rearranging Deckchairs and is a 5 song collection which we recorded in 10 hours or so at Captain Toms Music in Aberdeen. It's our first ever official recording, we're really pleased with how it came out and we'd be ever so grateful if you could have a listen and maybe give us some feedback which we can use for the next time. Thanks in advance! BC: https://theinevitableteaspoons.bandcamp.com/ Spotify: https://open.spotify.com/album/1r0604U9YPiqGnJjfH7LKF iTunes: https://itunes.apple.com/album/rearranging-deckchairs-ep/id1027437642 And no doubt in a plethora of other online places.

I've had a listen, and overall I found it a pleasant listening experience. Songs are hooky and there's some interesting stuff going on in there (like the bouncy, squishy bass in the intro/outro of Dominoes). Recordings seem well mixed/balanced and crisp - I can make out most of the stuff that's going on and am able to pick out individual things to focus on. The overall sound of the songs is from a past era that I can't quite put my finger on but I'd hazard a guess at early to mid '90s, somewhere between Stone Roses and Britpop - no problem with that, it's an era I "matured" to and I look back on it fondly. I thought I heard a stuttery moment or two in "On the Job", not awful ear scraping errors just some hesitant timing or something where things just didn't quite line up 100%. Apart from that though, I enjoyed the tracks, and thanks for sharing them

I enjoyed the track, it has good energy and is certainly propulsive. It's not music I often listen to so I can't comment in any great depth, but I can see people moshing away to this (or at least vigorously nodding their heads). I'm not a technical guy but the cymbals seem kinda ringy, swooshy sounding at times, I don't know what that means though. I think the bass is a bit low in the mix - I had to turn up the bass on my sub a bit to hear some of the interesting stuff that you were playing around the minute mark. But then again, you are asking a bass player for his opinion about how much bass there should be in a mix, perhaps not the best type of person to ask Song sounds tight and well rehearsed. Good work, I say.

It isn't a fact.

[quote name='Stefanogregori' timestamp='1438693233' post='2836429'] Ok, so I took the bass apart so it could be prepped for painting. You could say I was disappointed to find it is made of laminated wood! However, I am not going to let this stop me as I thought it sounded OK before I knew this fact! I managed to find a replacement for the bridge. It is not a direct replacement so I need to choose whether to use just the saddles or the whole of the new bridge. This may effect my choice of colour for the body-any suggestions? [/quote] Black and gold, didn't do the JPS Lotus any harm...

Small update and hopefully the end. I rewired the tone/mid controls with log taper pots. Big whoop, you can't see that. But you can see the (somewhat amateurly) restored Mallory 374 dial plate which now sits under the transfer switch... A very kind soul on the Gibson forum sent me one which was a little scuffed and scraped so I masked the numbers and tidied it up. Too scared to make it 100% smooth across the numbers for fear of sanding/polishing too deep, but not noticeable at a distance.