neepheid

I feel quite lucky reading some of this. We're in the end of a terrace, so no-one to one side. We have a converted roofspace so the only thing directly below the bedroom/music playing area is ... us. To the other side there is a wall, a stairwell and another wall before hitting neighbours. As long as we keep the door shut, we've had no complaints. We've asked neighbours before if they get annoyed by my wife giving singing lessons, me receiving bass lessons or occasional acoustic get-togethers with the piano but no-one has said it's been a problem. Or put more simply: We're the one in blue. X marks the spot

Another OBBM devotee here.

Send it with the neck detatched, might be easier to find a smaller box?

[quote name='spinynorman' post='1271359' date='Jun 16 2011, 12:59 PM']I honestly can't see the point of the Hipshot replacement, I've got 2 Rippers with the original 3-points and they've got the best action of any basses I've had. And intonation is perfect. The Talkbass link looks like good advice. A couple of extra tips would be - use a wide-bladed screwdriver, otherwise you'll wreck the slots; if you're having trouble turning the screws, slacken off the strings a bit, and make sure you are adjusting each screw a bit at a time in turn; if the saddles fall out, they are helpfully numbered 1-4 underneath (at least on my Ripper they are); keep the front of the bridge higher than the back, otherwise the rear posts may pull out.[/quote] May I offer an alternative point of view? Intonation was never the 3 point bridge's problem, it's the lack of individual string adjustment. On the the three point bridge on my Epi Les Paul Standard, I've had to substitute a D saddle from another bridge in place of the G saddle because I can't fit a Supertone on the carved top without some major surgery. The way it worked out I just couldn't get the G string at the height I wanted without negatively affecting the others. The higher saddle on the G gave me a position which worked out across all strings. On an Epi EB-3 I had, the pole pieces were out of alignment with the strings where the 3 pointer was pulling them. The Hipshot made that problem very easy to sort with its string spacing adjustment. Another problem with the three pointer is that the ball ends are caught so close to the saddles that silked strings can have their silks going over the saddle, especially on the E string. I have not conducted any studies into the negative effects of this, so excuse me if I simply regurgitate what I've heard - being that such a situation is to be avoided. Now you've been very lucky with 2 basses where everything has come together nicely, but it's nice to have the ability to make up for any minor variables in the construction of basses. The three pointer doesn't give you anything like that flexibility, and believe me sometimes it is warranted and required. I'm not going to get into any witchcrafthorseexcrement about what it did for the tone of the instrument. I have my opinions. It definitely added a bit more weight at the body end of the bass and slightly improved (for me anyway) the neck dive of a long scale SG shaped bass. With the Hipshot you don't lose the highly convenient top loading, and the saddles don't fall out when you're changing strings (come to think of it neither does the entire bridge assembly eject itself if you remove all the strings). The intonation adjustment screws are accessed from the bottom rather than having to fit a screwdriver through/around/between your strings. You don't need to worry about the height of the front relative to the back either. It is a highly evolved direct replacement and if I may be so bold vastly superior to the original in every detail.

The Squier Standard series P is actually a Jazz necked PJ. I think it's been discontinued now though.

[quote name='Lozz196' post='1269801' date='Jun 15 2011, 10:51 AM']Don`t get me wrong, I agree with your post entirely - it`s wrong to sell insurance for something that is not covered. I was just quoting the "how we wriggle out of it" excuse that would be shoved at the customer, lumping the blame entirely at their doorstep.[/quote] Rubbish, isn't it? I hope they get the book thrown at them in the fullness of time.

[quote name='Lozz196' post='1269586' date='Jun 15 2011, 06:55 AM']Yes, the responsibility to establish whether the item being sent is covered rests solely with the customer. And if you choose to not establish that, they will still accept your cash. Whether or not that is fair, well as Big Brother says "youw decide!"[/quote] My main point is that the service as it stands is wholly unsuitable for posting musical instruments, be they in a hard case or not. However, I disagree with your assessment of this insurance situation. It is absolutely not fair. Why is that situation any different to self employed people being mis-sold PPI which would never pay out? The banks (eventually) got a hiding for that one. Mis-selling insurance didn't work out for the banks, so why the hell should it be an additional source of revenue for ParcelForce?

[quote name='basskit_case' post='1268219' date='Jun 14 2011, 08:54 AM']I usually send by CityLink or Parcelforce and have had no problems thus far. However I always pay for insurance despite the fact the basses wouldnt be covered when not sent in a hardcase! I thought I would look to see what insurance is offered for guitars if not sent in a hardcase, first company I spoke to was Parcel2Go and was told that they cannot accept a guitar for delivery if it is not in a hardcase. Can anybody reccommend a courier that will insure a guitar when not in a hardcase?[/quote] Please think carefully before considering Parcelforce in future - they won't even cover instruments in a hard case beyond the base insurance value for the service chosen - but will happily charge you at the Post Office for insurance that will NEVER pay out.

[quote name='Earbrass' post='1268333' date='Jun 14 2011, 10:36 AM']I'd also be looking at [b]which one would be most likely to sell quickly and for a good price.[/b][/quote] That's not the Warwick then

[quote name='Evil Undead' post='1267756' date='Jun 13 2011, 07:19 PM']Hey Gaf! How's it going dude? It's horrible isn't it? My dilemma is this. I have my much treasured Warwick Corvette $$ (in avatar) - it's the best playing, sounding and most comfortable bass I've ever owned or played. When I first played it, it was almost like meeting my wife for the first time all over again! But it is, like you say, an expensive luxury. [b]I don't gig it because I can't stand the thought of anything happening to it (lost, broken, stolen, whatever). [/b] So it seems like a waste to just play it in the house. I have my Squier Precision (also in avatar!) which I really like a lot, and is good enough for a talentless amateur like me But I can't bring myself to sell the Warwick. Even though I really need the cash. I know I'd never find another EXACTLY like it in a million years. I know all its quirks and curves. Argh! I wish I didn't get so attached to things that are essentially just pieces of wood![/quote] If you're not using it much beyond playing in your house then it's a bit of an expensive boat anchor as far as your household finances are concerned. You'd be better off making it earn its keep, take it on the gig. Then you'll feel better about it sticking around. Look after it and you'll be fine. If it does pick up a nick or two here or there then at least they've been caused by you getting out there and playing music. I really don't get this "scared to gig bass X" thing - I have hopefully joined a band and I'm looking forward to going round all my collection at practices and gigs. Not only are they tools, but they're damn pretty tools and I'd be kidding myself if I didn't acknowledge the showing off aspect of owning interesting basses. I'm proud of my collection. I want to get tongues wagging. I like people coming up and asking me about them. No, they're not getting a shottie, unless I know them When it comes to sin, I'll take pride over avarice

Welcome aboard

[quote name='tommorichards' post='1265318' date='Jun 11 2011, 08:19 PM']I recently got a jazz bass, however, the 2vol 1tone thing i find a bit annoying, so i want to switch it to a blend/volume arrangement. I have all the knowledge to do this, however, although i can buy a 250k blend pot, with centre detent, off ebay, they seem a tad expensive for what they are, and i was wondering if anyone on here has one lying around after a bulk buy that i could purchase. Failing that, does anyone know of a UK store that does them for under £4 ish?[/quote] Best I can find is 500k blend pot for £3.50 inc. postage from axesrus.com - no 250k as far as I can see

I like trying new things, sometimes it works out, sometimes it doesn't. I've been through about 30 basses and found 5 keepers. Buying unseen at distance for the vast majority of these, and inevitably acquiring a more expensive taste as I go, I don't think that's a bad hit rate. I don't think it's a problem. I've never compromised the roof over my head or the variety in my diet over the heads of a bass.

Agreed that humorous spoof logos are the way to go:

[quote name='stingrayPete1977' post='1263386' date='Jun 9 2011, 10:37 PM']What did you think of them , it works both ways?[/quote] Yeah, seem like a good bunch of guys, I think I can play music/have beer with them no problems

I'm back. An odd rehearsal, no drummer so it was a bit loose. I'm going back for another rehearsal next week, so I guess it went well enough

I'm playing with a new band for the first time tonight. It's also the first time I've been in a rehearsal room this year - it's been far too long. I'm feeling a bit nervous, but I've got my head around most of the band's songs so we'll just have to see how it gels together. Had a wee last minute cramming session this lunch time at work I think I'm going to play it safe and take my G&L this time - I can gradually introduce them to the weirdness that is my stable of Gibsons if I get to join. I don't want to go in there all la-de-dah with an antique gold Gibson Victory and turn out to be crap! Dunno why I'm typing this out, I guess just to give some hope to people who have been [i]sans[/i] band for a while and wonder if they'll ever get back on the bike/horse/other analogous apparatus. The opportunities are out there, even if you have to wait for a suitable one to come along.

[quote name='Ou7shined' post='1262641' date='Jun 9 2011, 01:26 PM']Yeah you probably did jump the gun a bit, so what. That was only because you are facinated by the physicality of the instrument - the woods, the electrodynamics and how they interact and can be manipulated to produce different tones, dynamics etc. The end result is that you now have a greater inner knowledge of "the bass" than most learners/intermediates, you can do a decent set up and you are awash with "bass facts". All that's left for you is to figure out the musical side of the equation. By all means work on the fingers, keep up the lessons (I wish I'd had that opportunity back in the '80s and '90s) but also develop an ear for bass... and right up there with listening, is recognising the nuances of tone (not just the notes) and how you alter them with your different playing styles, and (relevant to this conversation) how that can be assisted by physically changing the instrument itself to help you get closer to the sound that represents you or the style of music you play. Nah man there's lots of love for the El Torro .... your collection needs an L-1500 that's the only Marmite bass G&L ever did. [/quote] Under the sheer weight of numbers one could argue that all G&Ls are under-appreciated Marmite bass? Try the Interceptor! Looks only a mother could love - imho of course!