neepheid

While it's not possible to accurately measure (or even accurately define) the effect that a certain type of wood will have on the final sound of an electric bass, I'd be surprised if it amounted to 10% - and I'm being generous because it is an unknown quantity and I don't want to put anyone's nose out of joint. Far be it from me to say that anyone is wrong to do so but personally speaking I do not care for the endless, cyclic "discussions" about the minute details of the effects that different woods may or may not have on the sound of a bass. It is as much background noise to me as the effects would be statistical noise, if they ever could be measured - especially when one considers the fact that different cuts of wood even from the same tree never mind the same species won't be exactly the same at a molecular level. It's like nailing jelly to a wall.

Just do it. If you're capable of playing along with your OH then you're good enough to play along with others - and if you're not, the adrenaline and determination to succeed will kick in and you will very quickly be good enough (then be looking around for your next challenge).

I got my RD Artist last September for a smidge under £1100 delivered. And if I had the cash to splash then I'd have an original RD Standard to accompany my Artist, not one of these.

If you can find 'em...

I don't find threads like this are particularly helpful or healthy. You're entitled to consider it banter, just as I'm entitled to consider it bitter, cat-calling nonsense.

Here is my BB family (soon to be broken up though - BB614's for sale) A 1986 BB300 and a 2005 BB614 -

If someone says something nice to you it seems only sensible to thank them - regardless of whether or not you agree with them. File under "mmm, this is delicious" and "thank you for the lovely gift, you really shouldn't have". I always thank them for the compliment and thank them for coming and say how glad I am they enjoyed the show. If it's an actual bass player you sometimes get into a chinwag about gear etc. which is always good fun. I may not be the world's best bass player (and don't suppose I ever will), but at that particular point in time I was the best bass player playing on that stage

[quote name='Ou7shined' timestamp='1339498252' post='1689236'] And you know mine. We still on for a wee A/B sesh tha morn? [/quote] Aye, sounds good. See you about quarter past 12?

No pressure: (photo taken from Fly Guitars website - [url="http://www.flyguitars.com/gibson/bass/RDartist_techinfo.php"]http://www.flyguitars.com/gibson/bass/RDartist_techinfo.php[/url])

[quote name='Ou7shined' timestamp='1339497426' post='1689210'] Oh aye? Spill the beans. .... or is it the one I already know about? [/quote] Nothing to tell, you know of all my recent and in-progress transactions

Was it this? http://basschat.co.uk/topic/35505-advantages-of-an-18v-pre-amp/

[quote name='Leon Transaxle' timestamp='1339279526' post='1686399'] Nice job. Where did you get the scratchplate from? [/quote] I think I got it from the states on eBay.

I'd be tempted to try and rescue that if I wasn't about to buy other stuff.

I replaced one with a lipstick strat pickup (whichever one was wound the most), looked really neat and sounded pretty good too: And most recently, had a Fender single coil P pickup put in one.

Another thumbs-up for the HA3500. Used one for a few years with an 8ohm Ashdown ABM410T and then moved to a 4ohm Zoot ZB410. Excellent results with both, but the Zoot is slightly over half the weight of the Ashdown

Here's a piece of the puzzle: [url="http://www.ebay.co.uk/itm/270993954221"]http://www.ebay.co.uk/itm/270993954221[/url]

I have never been in what I would describe as a "bass shop". All we get up here are music shops (read: mostly guitars) with the tiniest of nods to the fact that basses (and bassists) exist.

Aye, 'cos that's what the world needs - another butcher of precious rare guitars and basses. A Coronado Bass being parted out? For shame.

Also, I would steer clear of these sprung loaded jack plugs. The regular ones are fine and designed for the socket. The spring loaded ones apply extra pressure which really isn't necessary.

[quote name='Gust0o' timestamp='1339061354' post='1682958'] Yours have the Moog circuit, Neep? [/quote] Hell yeah it does. It's totally bonkers, but it can be used tastefully Or you can turn it each way in its maximum direction, play a scale repeatedly and record it! [url="http://www.ifb.co.uk/~matthew/mp3/RD%20soundclips/"]http://www.ifb.co.uk/~matthew/mp3/RD%20soundclips/[/url]

Set the volume, treble and bass controls on the instrument at 75-80% of their travel. There is plenty output, you don't need to set everything on 100% and it gives you some wiggle room should you need it (like for balancing the volume between series and parallel). Keep it passive - I really find the active thing (which is just a line boost, nothing more) rather pointless given how hot it is anyway. According to your signature you use an Ampeg SVT3 Pro. I feel a bit silly and like I'm being cheeky and telling you how to operate your own amp, but I'll ask the questions anyway. Have you tried using the -15dB pad switch (even if the L-2000 is in passive mode) to give you more travel on the gain control? Have you set the gain while plucking strings as hard as you are likely to for your playing style so that it's just tickling the peak LED? Also, resist the urge to fiddle with the bass! There are a lot of switches and stuff to play with but your best bet is to work out in practice/rehearsal what sounds best and then stick with it. I know it's rich coming from someone who modded mine to give me even more options (single coil mod giving me the inner coils) but my favourite sound is when I'm using both inner coils together (in a parallel fashion) - it's kind of like having a third pickup in between where the two actual ones are. It rarely moves from that setting. Hope that helps, and please don't interpret the above as condescending, I'm only trying to help because these really are fantastic basses and I'd hate for your judgement of them to be coloured by a negative experience which might not be the bass's fault.