brensabre79

[quote name='JTUK' timestamp='1344529654' post='1766092'] Understand your frustration but I would generally buy Quality amps out of warranty..so basically SH and then I would expect that quality to come to the fore if/when I needed it worked on. I have a very solid and sorted designer/engr who can make sense of anything, so as long as the core components are good...and therefore avoid cack kit for this reason... then it should be easy to fix..and easy to work on. [/quote] Problem is, these days as things get smaller and lighter alot of the technology inside has to be integrated stuff. Take your Car Stereo sized class D heads, produced by MarkBass, GenzBenz etc. etc. - They all have the same power section, built by B&O and supplied as a unit. If anything goes wrong with it even the manufacturer of the head can't really do anything about it other than replace the unit. More and more this is being designed-in to gear to save weight, time, money, space etc. Added to which they are being designed and built with machines that can do things people can't. It's the same with cars, you need a computer to fix them these days not a wrench. Some are even sealed units with a finite lifespan. If you want something that can easily be repaired these days you're going to have to make some sacrifice on the size and weight of the thing and cart around a large heavy box.

Can you measure the resistance between the two wires of each pickup? You should remove it from the circuitry to do this really so you get accurate results. Not sure how good you are at soldering..? The higher the resistance the louder the pickup. A normal Jazz pickup is usually about 7.5kohms but you can get replacement pickups that go way up to 15kohms or higher. A PBass usually comes in a bit higher as Lettsguitars said, an average of 9-10k. This difference is usually noticeable but slight. If your pickups are under 7.5k there may be an issue with the winding, or it could be that your P pickups are especially [color=#ff0000]hot[/color]! If there is an issue, you can either have the pickups rewound, maybe ask for them to be overwound to 10k, or just replace them.

If you really can't afford to go the molded route, the one type of generic ear plugs I have found that do work are called Noizezz. They come with 4 different sizes of molds to better fit your ear, into which you put the relevant attenuator, these attenuators are the same kind you get with molded plugs, its just that rather than molded, the plugs are sized. The reason they are good is that more-so than any other type of generic plugs you can still hear what is going on right across the frequency range and they can reduce by 25dB not just 15dB which makes a huge difference. I tried the molded 15dB ones and still had ringing after gigs, really these are for listening to music through a loud hi-fi, not at a gig, onstage. The molded ones, with maximum reduction is really the way to go. At present Tinnitus is irreversible. Period. There is no cure, only prevention. There have been some reports recently about treatments, these are basically lengthy conditioning programmes where your brain is taught to ignore the symptoms. It is not a cure, just a way to help you deal with the symptoms. And the top end frequency response of your ears is still damaged by the way. The reason your ears ring is that the tiny hairs inside your ears become fatigued with exposure to loud noise, when they do they fold over with tiredness which in turn sends a constant signal to your brain to tell it there is some noise going on. in extreme cases they fold permanently and even break. These hairs are only designed to pick up the higher frequencies, the lower ones are handled elsewhere in the ear, hence the high pitched nature of Tinnitus and the reason that the first thing to go when you start to lose your hearing is the high frequencies. Eventually, through long exposure the hairs do not recover from their limp state and there you have a permanent, irreversible ringing in the ears. University of Sussex are working on research to repair the causes of Tinnitus at the moment, and have been for a number of years, but breakthroughs are slow and a proper effective treatment is a long long way off, if it is even possible at all. Now let me ask you, do you think £150 for some decent ear plugs that will prevent Tinnitus too much money?

Yeah thats it, and you can bung a series switch on it as well f you're feeling adventurous! Don't ask me for the wiring diagram for that though!! There's lots on the interweb about wiring a blend pot the best way, wiring the volume as normal they are just all in a stack.

Yeah they exist, I have one on my Jazz bass they are deep though! And the East j-Retro has one too but thats much smaller than the fender one. This MEC one is something like it, but it has a switch on the bottom too... http://www.banzaimusic.com/MEC-M-88552-Stacked-Switched-Pot.html

+1 thats why I filled mine, when i got it the slots were empty and the action was high, turned out there was quite a curve on the neck and the truss rod was nearly maxed out. filling the slots with veneers did help alot. I didn't have any special tools or knowledge, just don't rush it and it will look like a pro did it I used PVA glue because it's what I had, its probably not the best thing to use as people have said it takes ages to dry but I always come unstuck when I use superglue - well actually quite the opposite, twice I have stuck my fingers together hours before a gig, not fun!

[quote name='Zenitram' timestamp='1344433156' post='1764392'] I suppose I want the easiest method that I am least likely to screw up. [/quote] I'd go with the filler option recommended above then, its one less thing to do.

NO it was a light colored wood, not sure if it was maple or beech, although I had a stained red one on the 12th fret. Nothing like in your league of craftsmanship, but it was fun. The frets had been ripped out when i got it but they had just left empty slots! on a 60s Fender too!!

I put a wood veneer into the slots on mine with PVA glue, pretty easy to do, only used one sheet of light coloured wood veneer, cut into small rectangles so they stick out of the slots slightly and sanded the whole thing down smooth - by hand without a block, plays a treat, but make sure the rosewood board is nice and thick, some of them are hilariously thin!

I think there is a Fender part for this, I'm not sure on the catalogue number though.

[quote name='Maude' timestamp='1344283567' post='1762309'] The only thing that really annoys me with multi pedals is when you want to just quickly adjust a sound, too many menus. [/quote] Thats where the Zoom B3 really excels actually, its like three little stomp boxes, with 3 adjustment knobs on each one. so you load up your patch and you can adjust it instantly, no need to save it either as it will just remember your adjustments next time you visit that patch. Works a treat for getting delays in time, or setting a level quickly etc. Its like the best of both worlds really. ...but I agree the Zoom stuff does look a bit cheapo to those who know!

Is the Spector active? could be either too much input from bass OR low battery in bass if it's active... Otherwise I would check the pedal is getting enough amps (not volts) as some are quite thirsty for power, they will work with less power until you push them, then they fall over and distort.

Pics would help, good ones with close ups so people can see whats going on...

If you've been at it with an orbital sander you've probably gone through the original sealer coat anyway.

Same here, I swapped most of my boutique pedals for a Zoom b2.1 then b3 because for a covers band where you need to sound like 30 different bass players a night (not that anyone else notices) its just easier to have presets that are a close approximation than to have all the right gear but spend 5 minutes between each song tweaking the settings! Delays always in time, chorus at just the right blend etc. etc. and one small box to carry around. Winner!

I don't see anything wrong with this. In fact with only one guitar its probably a good thing. I think the issue would be if you had two guitars each with speakers both sides it would be a mush because they are playing in the same range.

Agreed on the 'classic' effect. I used to have a classic car, i loved it, faults and all, but i would NEVER rely on it for work, including getting to gigs! That role always falls to my ugly but reliable and efficient diesel. Same goes for basses, amps and speakers - I trust superior engineering, ease of use and reliability over cool looks and classic kudos any day.

[quote name='Musicman20' timestamp='1344032674' post='1759109'] Maybe they just got lucky. I can think of plenty of examples in the art and design world where they got it right first time. [/quote] The Fender Precision for example... The only time I've used an 8x10 where I was happy with the sound was with an SVT head on a big stage. I think a lot of that 'classic' sound has to do with the voicing of the SVT amp combined with the Cabinet theres a tremendous amount of mid disguised as bottom end I think which is why they sound loud.

If I ever need to boost mids, apart from using the amp for more specific frequencies, with a 2 band pre on the bass its a simple matter of cutting the treble and bass a bit. So many people I know only ever seem to boost EQ on their active basses for some reason. As a sound engineer I have learned to use EQ to get rid of the frequencies I don't want rather than boost the ones I do.

You can get this fixed much cheaper than EBS have quoted. I would allow them a few days to get back to you, but you could try finding a local amp tech and ask if they don't mind having a look just to see if its a case of "oh yeah its this capacitor on the preamp, its a common fault, they cost 3p and it'll take me 5 mins to swap out". Or if its a case of "sorry mate, thats firkled, it needs the whole power section replacing, honestly I'd bin it" at least you know where you stand before you hack your combo to pieces and go and buy a cheapo head... Most decent Amp techs shouldn't mind spending 5 minutes with you to see if its worth looking at fixing. Could well be cheaper than other options.

Have a chat with Alex first. You might find the compact is more than adequate for your needs!

I can recommend the Super12T very flexible and loud! You will have to change your amp settings if you are used to a 'coloured' cab but you get out what you put in! Personally I run my Genz flat into it and get the sound I want playing lots of different styles of music. It's very different from cabs I've had before and it took a few gigs to get used to hearing myself so clearly! I would also recommend you contact Alex at Barefaced and discuss your requirements with him, because everyone will recommend what is best for them, wheas Alex will recommend what is best for you from his range. I don't think you'll go wrong with either S12 or S15, but the S12 is smaller. It will still take virtually anything your amp will chuck at it though!

Another +1 for the Shuttle here, but money no object you'll probably get more flexibility from the Streamliner, has both valve and FET preamps and valve EQ (Shuttle EQ is SS).

I would say if you are in any doubt whatsoever, at least go and see a luthier for a quote before you get the kitchen knives and araldite out - or it could go horribly wrong! I saw a photoblog online about someone who did this to an acoustic and they had to replace the blocks in the end because they did crack as they were lifting them. Depends on the material though, not sure if the Jag ones are plastic or abalone...

I've just had a look at the spec on these, they really have cut corners!! Seems like there's very little 'human' contact in the manufacturing process from the reviews I've read about sharp frets etc. But hey, its a Gibson, made in the USA for less than £300, can't complain really..