neepheid

When this thread first started, I hadn't even set foot on a stage! I make a point of making an effort to look smart - shirt, tie, often a waistcoat, smart trousers. My only concession to rebellion is that I wear one of my wacky pair of Vans on my feet. You can't be completely seriously dressed - you look like you're going to a funeral, a job interview or court or something

[quote name='erisu' post='595542' date='Sep 11 2009, 11:47 AM']Excellent! Cheers for the pointers! Making it a usable x2 volume and x2 tone pots electronics seems like a headache I did think about using the Rickenbacker diagrams to by-pass the pickup selector and even a Gibson diagram but hmmmm.... it's all abit fiddly for me soldering an extra tone pot when I just turn up the tone for both pickups anyway... Im edging to go for just a V-V-T config. to save time (and also less chances of me messing up the soldering) The seymour duncan standard jazz diagrams are simple enough to follow and it gives me a master tone control (leaving the extra tone pot as a dummy) over both pickups anyway. What are the advantages of having V-V-T-T compared to just a standard V-V-T anyway?[/quote] I would say that the advantage of a separate tone for each pickup would be to mellow out independently the bridge pickup. Passive tone controls only cut treble to various degrees after all. With a single master tone, you're logically applying that one tone control to a single pickup - being the summed total of pickup volume 1 and pickup volume 2. With VVTT, you can have a separate preferred tone for each pickup then blend them as you like with the two volumes. It is more flexible. VVTT is how my Epiphone Les Paul was wired in stock configuration (before I EMGed it) and is how my DeArmond Starfire is currently wired (but with an additional 3 way pickup selector and separate master volume)

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I only have unpopular basses

[quote name='Ou7shined' post='595311' date='Sep 11 2009, 01:28 AM']Well, if your passing through Aberdeen give us a shout and we can go for a pint and chat bass - specifically 50's P's. Come to think of it, I'll be down your neck of the woods (ish) at the end of Oct for the Moffat bass bash.[/quote] I think I will redo my sig with those tiny pictures of my basses, I've seen a few people do that and it looks better than heaps of text.

The closest thing I can think of is a Rickenbacker - but you'll have to bypass the 3 way switch (wire the pickup output direct to the pot in question as if the switch wasn't there) and the stereo/mono jack stuff (just join both outputs from the two volume pots to the hot output of the jack). [url="http://www.seymourduncan.com/support/wiring-diagrams/schematics.php?schematic=rickenbucker"]http://www.seymourduncan.com/support/wirin...ic=rickenbucker[/url]

I (usually) buy cheap then mod. The trouble with my mods is that I sometimes spend more on the mods than I did on the original bass - prime example is my Epiphone Les Paul (Not So) Standard - got it for about £170 then spent about £200 putting EMG stuff (2x EMG-HB and an EMG-BQC) into it It does look and sound pretty though! Having said that, my last two purchases have been a 1978 Gibson G-3 and an incoming Traben Chaos Attack 4 (new), so I guess that's my reputation out the window!

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Welcome to the forum I'm in a band and I know naff-all about scales. I'm not advocating that (in fact I would like to remedy my shockingly low grasp of music theory), but merely pointing out that it's not a pre-requisite.

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I wouldn't go so far as to say it's ugly - unremarkable perhaps...

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Wizard P/J Combo (Big) - [url="http://www.wizardpickups.co.uk/shop.asp?category=Bass&page=2"]http://www.wizardpickups.co.uk/shop.asp?ca...Bass&page=2[/url] Seymour Duncan quarter pounder - [url="http://www.seymourduncan.com/products/basslines/progressive-1/sjb3_quarterpou/"]http://www.seymourduncan.com/products/bass...jb3_quarterpou/[/url] and [url="http://www.seymourduncan.com/products/basslines/progressive-1/spb3_quarterpou/"]http://www.seymourduncan.com/products/bass...pb3_quarterpou/[/url] Delano looks interesting with those huge pole pieces - [url="http://www.delano.de/products.html?&cHash=ddc58fffeb&tx_smtdelano_pi1"]http://www.delano.de/products.html?&cH...x_smtdelano_pi1[/url][cat]=1&tx_smtdelano_pi1[series]=6&tx_smtdelano_pi1[strings]=5&tx_smtdelano_pi1[system]=45 and [url="http://www.delano.de/products.html?&cHash=54bcaec391&tx_smtdelano_pi1"]http://www.delano.de/products.html?&cH...x_smtdelano_pi1[/url][cat]=1&tx_smtdelano_pi1[series]=5&tx_smtdelano_pi1[strings]=5&tx_smtdelano_pi1[system]=34 I can only speak for the Seymour Duncan split P in passive, had plenty of output and growl for my ears. I've used a bridge J quarter pounder, but it's hooked up to a 2 band EQ preamp.

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T-Cut or Safe-Cut

Right now for me it's all about my Gibson G-3. mmm

[quote name='Ou7shined' post='588767' date='Sep 3 2009, 03:55 PM']Actually I think he made the right choice. Especially when you see it in the flesh. :brow: [attachment=32108:51a.jpg][attachment=32109:51b.jpg] I tried the white one on but nah black is definitely the way to go. It doesn't come over too well in pics though.[/quote] Damn you and your buying things which are already in the UK!

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Recently I've been doing some exercises from a book ("Left Hand Gymnastics for Electric Bass") and I've been noticing that I have a bad habit of putting one finger on top of the other (often finger 2 on top of 1 and sometimes 3 on top of 4) when I fret a note - like it needs a help to get down or something - clearly something that started early on in my playing. I don't think about it, it's just kinda happened as I've learned. I need to unlearn this! Any tips on how to eliminate this from my technique, other than watching my hand like a hawk and forcing those fingers apart with sheer willpower until it becomes automatic? There are some two finger exercises later on in the book (I diagnosed this problem with the single finger exercises), would concentrating on exercises involving fingers 1 and 2 (or 3 and 4) help separate them?

Sold Stuart my Fecker Imprecision bass recently. Good comms and prompt payment, can't really ask for much more.

Couldn't find a feedback thread for this guy, so I'll start the ball rolling. Andy bought my Takamine acoustic bass recently. Good communications and arranged for me to drop it off at a local branch of his work and got it delivered that way, which saved me a lot of hassle. Top notch.

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[quote name='Kev' post='586373' date='Sep 1 2009, 11:20 AM']think they have one of these in rikaxxe music in bristol, think its a different colour to this though and a 5 string. It played very nicely Is this the one with the huge bridge in the body?[/quote] Yeah, I saw a Chaos 5 (the base model) in Satin Black Wash with flamed maple top in one of our local shops, but I think this is the nicest looking one of the bunch. Yes, it's the Chaos internal bridge - all the extra mass of the ones which are usually splayed on top of the body on most Trabens is concentrated in a slug of metal underneath the main bridge unit. More info here: [url="http://www.trabenbass.com/chaos_bridge.php"]http://www.trabenbass.com/chaos_bridge.php[/url]