neepheid

I'm not sure there is such a thing as a left handed bridge. Just string it up "upside down" and readjust your intonation accordingly (reverse the position of the saddles as they are now. If your badass has grooves cut then you should physically remove them and swap em round too so the grooves match up with the intended string (swap E with G and A with D). Hopefully everything will line up ok.

As a relative oldie I would say that I generally don't try to offer people "the benefit of my experience" unless it's asked for. Let the music do the talking.

I don't know who makes Hartke bass strings and I don't care - I love how they sound, how they feel, they have no silks and they're ridiculously inexpensive

Electronics? Not much. 1 split Precision style pickup, 1 volume control, 1 tone control, 1 output jack. Passive.

They can go poke themselves for using a courier that charges me almost double for postage because I live north of Edinburgh? I'm on the f'n mainland! Get it right up ye.

I am going to have to re-investigate these - I tried one in a shop a while back and left rather unimpressed. Must have been the amp, because I've seen a few vids now with these basses sounding rather good.

It's impossible to pin down, and my opinion is just as valid/invalid as the next person's, therefore I won't bore you or further muddy the waters with it.

I've only played (I mean noodled) for about 5 mins so far this month. To be fair, I was away on holiday and I quit my band when I came home, so I haven't really been in the mood.

Why would I need one of these? Do you use one in case of having no amp? Feed the output of this into the desk/PA and hope that whoever is operating said equipment can give you something back in the monitors?

Ditto - why do you need to remove it? It's designed to fit over the top of the front insert. I did have a problem on my RD where the front insert was the same size as the others. I ground out the recess in the bottom of the bridge with a Dremel until it fit over the slightly larger insert.

Play what you like, on what you like. I did raise my eyebrows once at a player who took a Warwick Infinity to an open mic night and thought it was a bit showy-offy but now I'm thinking "whatever makes him happy" and "a bass is a bass at the end of the day". I don't know if any of my basses are considered "fancy" (they're certainly erring on the unusual) but I take whichever one I feel like to whichever gig I feel like. The material I'm playing at the time has no bearing on deciding which bass to take, because apart from the fact that I don't (and can't) play "fancy" stuff, I honestly believe that apart from a few serious listeners and a few bass geeks in the crowd, no-one else really gives a monkey's which bass you're playing as long as they can hear it and feel it. The only exception was when I played at Belladrum festival this year - I took a somewhat ratty Yamaha BB300 with me on the grounds that it didn't cost me very much and it wouldn't be more than slightly irritating if it got nicked/lost/broken.

[quote name='Big_Stu' timestamp='1347485890' post='1801631'] Oooh - an SG-Z - I was amazed when they first came out - kept the magazine review of it for a very long time and was SO close to getting one, but the ex-SWMBO said it was too like the custom I'd just got. Are the taps original? I didn't notice them before. [/quote] Yeah, the coil taps are standard. It's pretty subtle, but it's nice to beef up the bridge pickup in series and then balance it out with having the neck pickup in parallel or single coil.

Glad (for me) and sorry (for you) to report that I've had no problems with my RedSub BT5110 (the same combo as yours, with a different badge on it). I've had it since the start of March and I've used it at numerous gigs and even more rehearsals, driven it pretty hard on its own in the combo at practises and used it out of the combo with my cab and it's never let me down. I hope you get your issues resolved to your satisfaction.

It's worth noting that there is a band called The Dangleberries who are a well established (since 2001) band in Scotland who seem to appear at just about every festival there is up here. While they aren't my cup of tea, I don't believe that they are the band (read - loosely affiliated group of musicians who have ideas beyond their capabilities or readiness) that is being referred to here. Link: [url="http://www.thedangleberries.com/"]http://www.thedangleberries.com/[/url]

I epoxied the lifting inserts in an Epi EB-3. That told them. Just remember to not put glue on the bit where the bridge wire touches the insert nearest the controls.

The only one I've had a major aversion to is Gibson's "Fireburst", which can be pretty horrid (IMO):

Tanglewood Elfin? [url="http://basschat.co.uk/topic/49584-tiny-bass-porn/"]http://basschat.co.uk/topic/49584-tiny-bass-porn/[/url]

[quote name='lozbass' timestamp='1347363705' post='1799757'] I've never really understood the opprobrium heaped upon the Gibson 3 point bridge (though I can agree with 2 of Neepheid's 5 factors - personally, I haven't had a problem with stripping, individual height or stilt confidence). I find the bridge on my Ripper (I've had it since '79) to be a very solid unit with no sustain/resonance problems. The only real issue for me has been saddle drop-out, and possibility of the bridge unit coming away from the height adjustment bolts when re-stringing: if you're aware of this potential problem, then you should't experience any difficulty. [/quote] Well, I've had to swap around at actual saddles to get things just right on one, it was a gold saddle when the rest of the bridge was chrome, I referred to it as the bass's "gold tooth". I had to epoxy the inserts into the body on an EB-3 - kept lifting out under string tension - not all the way out but you know - just worryingly enough. My objections are design based - I shouldn't have to do all this. I shouldn't have to physically swap bridge saddles from other bridges to get the string height to my liking. I shouldn't have to burn silks off strings before I fit them. I shouldn't have to mind how I go when I restring. I shouldn't have to check to see if I still have a saddle after a string breaks. I certainly shouldn't have to epoxy the very things that keep the bridge in the body. A bridge is an anchor point for my strings and as such I expect it to be securely attached (read: directly physically coupled to the body). All these things to me are unnecessary and should have been rooted out at the design stage. The only reason the two point bridge morphed into the three point bridge was to address the two pointer's tendency to tip forward. Gibson didn't fix anything else and at this point in time with all these new models appearing with the same old three pointer show no signs of bothering their backsides any time soon.

[quote name='LukeFRC' timestamp='1346844542' post='1793884'] this of any interest to anyone? [url="http://www.gumtree.com/p/for-sale/1978-gibson-g3-bass-for-sale/1000795531"]http://www.gumtree.c...sale/1000795531[/url] [/quote] Heh, that was my G-3.

I was discussing this the other day on another forum, so here are the top five reasons why the three point bridge displeases me (and I love me Gibsons, I do): 1. The whole thing falls off if you remove all the strings. 2. I have had the threaded inserts pull out of the body on me when string tension is applied. 3. It's on stilts and it gives me the same confidence that a house on stilts would. 4. You can only adjust the height of the bridge in three places, there is no (easy) means to individually set string heights. 5. When installed (top loaded), the ball end of the string is so close to the saddles that the silk (or ratty end bit of unsilked strings) can go over the saddle, particularly on the E string. I don't claim to know what that might do to the sound, but it looks bad, and I wouldn't tolerate silks over the nut so why should I tolerate it at the bridge saddle? I really don't understand why they persist with it. Yes, it works as a bridge, but all these design flaws (as I see them) just really irk me. Supertone for me all the way, except on carved tops.