brensabre79

I thought it was interesting. Maybe not as interesting to some as a fake Rickenbacker being modelled by an inbred yokel, or dare I say a blatantly counterfeit Fender (isn't this a daily occurance?) but there are folks on here who would be interested in a nice bargain bass. I don't think a week goes by that someone doesn't recommend a VM Jazz to somebody looking for a good quality budget bass. I thought the point of the eBay section was to point out eBay auctions stumbled upon that might be interesting to other people on here. Please correct me if I'm wrong and I'll get back to applying Fender decals to Encore P-Basses for your enjoyment and pleasure

Thanks TurnitUp It could well be a loose transistor, but it could also be about 10,000 other things unfortunately. I've had an amp with a repair guy for over 6 months now with a mystery whining noise. He still hasn't figured it out and when I saw him in the pub the other day he said he'd pretty much rebult the thing with new components and its still whining away! As its a Trace Elliot you're lucky because they are UK based and from what I've heard very helpful. You might want to ask them if there are known issues that exhibit this fault. If its not crackling when you fiddle with the pots its probably not the pots. You could get your brother check each solder join in there (it will take some time), there may be a loose connection or dry joint in there. But really you would be best getting someone who knows about how amps work to look at it.

[quote name='Dave Vader' timestamp='1336145194' post='1641652'] Fair point, I shall pioneer this dumb idea, using gaffa tape and string. [/quote] Thats the entire contents of my toolkit

The problem with comparing the sound on a record is that the whole mix is compressed so the level of a single instrument within that mix will vary considerably depending on what else is around it. The classic example with bass guitars is where it ducks out of the way of the kick drum (also called masking), then as soon as the sound of the kick drum fades (very quickly) the bass guitar takes the tonal space. The result is a perceived sound with attack and sustain that come from two different instruments. Without putting the entire band through the PA - like at a big gig (and even then its unlikely) you're not going to recreate this effect, even through a big rig. The bass you're listening to on a record has more than likely been compressed a number of times in a number of ways. 1. through the amp/pedals at recording 2. Studio compressor to go to tape (if its an older record) 3. Tape compression (again old stuff - yes tape does compress the sound!) 4. individual compressor at mixdown coming off tape 5. Grouped with other sounds (e.g. guitars) at mixdown 6. Final Mix compression - (usually multi-band these days) 7. Mastering compression 8. Possibly compressed going through your system too depending on the gear and how loud you've got it.

Hi there! Could be a number of things. First thing I would try is getting some switch cleaner into the controls and the sockets. If you're not sure of what you're doing opening up amplifiers then you'd better take it to someone who is. Theres a sticky I think at the top of this section where you can find a recommended tech near you...

+1 for the pocket

Yes Gotoh stuff is good quality. Some Fender ones are Gotoh actually. I'd avoid the 70s ones that come on a Geddy Lee bass though, these are replicas of the early 70s ones and they can rattle, not sure why they are perfectly good otherwise.

There's a really good resource for compressors [url="http://www.ovnilab.com/"]here[/url] I use a Markbass because the valve actually does the compressing (unlike many which just have a valve preamp coupled with a SS compressor). I looked through many on here before I shortlisted a few to try and chose the MB for me. There's some really good info on the site though, well described and impartial...

Yes they will still hum, but they won't buzz if you shield them properly

[quote name='Ou7shined' timestamp='1335977406' post='1638965'] I can't see too well on my phone but couldn't it be that the headstock end is blanked off and the adjuster is legitimately at the heel? [/quote] Or possible the headstock end is the adjustment (because its a copy) and there is a gap in the scratchplate for genuine heel adjustment necks...

Oh man, I'm sorry to hear that.

I've fitted a 5 position rotary switch on my 70s Jazz because on its own the BPU was just too thin. So now I can blend in the neck at 50% vol just to add some fullness to the sound. Works well because you get the mid heavy BPU sound but it still has enough weight to hold down the bottom end. Similarly in pos. 2 I can give the NPU a bit of attack with 50% BPU. Works like a blend pot but is instantly switchable.

You could try a PM to [url="http://basschat.co.uk/user/121-oldgit/"]OldGit[/url] on here, I think he has a P Bass lyte diagram.

My 70s Jazz does this, its not well shielded, most basses aren't unless they have been modified. Your Warwick is probably no exception. The thing to do is get some copper tape off eBay and line the pickup and control cavities with it, then solder the edges together and solder a wire between the copper and the earth. This forms a faraday cage around the pickups and controls which deflects interference. I did this on my Musicman (even with humbuckers it picks up all sorts) and it is dead quiet now (except when I play it obviously), same for my MIM Jazz. I'm going to do the same on my 70s Jazz when I get a weekend without gigs! It works very well. I don't know why manufacturers don't do this. Just be careful to make sure that none of the bare metal of the controls/wires touches the copper or it might short it out, there should be enough clearance though unless you've stuffed an aftermarket preamp in there.

I think its a Wilkinson bridge. I have one of these on one of my MIMs, its a poor man's Gotoh but not bad. I'm more concerned about the truss rod adjustment access - i think the only Fenders that have it at the headstock end like that have the 70s bullet trussrods and on a 70s Jazz neck that would also mean blocks and binding.

Like you, I can't be arsed to find the link. Basically some company that makes hideously shaped basses and guitars got the arse about someone on BC selling a 30 year old instrument privately because it bears more than a passing resemblance to their design. The company in question and in particular thier owner are renowned for aggressively protecting their trademarked hideous design. As a result nobody can advertise an allegedly trademark infringing instrument, even if it was made before the trademark existed, and its a private sale, for a couple of hundred quid. or something like that. Anyways, this aggressive behaviour has resulted in the various Fake'n'bakers to increase in value due to the fact you cannot find one on the net anywhere! Nice one John

ditto, I think the 'LF' models have thicker cone material, so they lose sensitivity. This means that they would need more watts to get them to put out the same volume. So in some cases you're better with a more sensitive speaker with lower power handling as you won't need as much power to get the volume out of it...

Have a look at the Eminence website page on the Delta speaker ([url="http://www.eminence.com/speakers/speaker-detail/?model=Delta_Pro_15A"]here[/url] I think). There should be a cabinet design PDF to download. This will give you the optimum volume of the cabinet the speaker is going in to. If you know the metric volume of the Carvin shell it will help in comparison. Its simple to do, just measure the inside dimensions to work out the volume (or measure the outside but don't forget to subtract the thickness of the wood). Also measure the port size. It may be that a different model speaker is better suited to that cabinet, or you simply have to adjust the port length for the new speaker. If you use a speaker in a cabinet not designed for it the results can vary incredibly. So either it will have a huge resonance at a particular frequency, or the speaker won't be working very efficiently so the loudness is affected. You might find that it works brilliantly, but its definitely worth investigating before you push the button and end up with a boomy, quiet cab!