JPJ

[quote name='HowieBass' timestamp='1423404023' post='2684359'] Well, like I said I can't SEE anything like a ground wire connected to the output jack but that's based on a pretty grainy low res image... [/quote] That makes two of us Unless the original 'tech' thought he could rely on the shielding acting as the ground?

After another upstairs gig it really is time for me to admit defeat and put the SM1500 out to grass. Looking at alternative high power bass heads and the Carvin looks like it ticks all the boxes having near identicle feature set but at only a quarter of the weight. Anybody using this amp or any of the other BX series heads?

Yes, I tried flats but I couldn't get the growl I was looking for until I restrung with rounds.

[quote name='LukeFRC' timestamp='1423304614' post='2683239'] way I see it.... if you use that body shape, same shape headstock, put the pups in the same place, and the knobs... then that's a direct copy. If you use that body shape, different headstock, different knob position.... then it's not going to be mistaken. plus if you did get the thunderbird shape and want to improve it you would make it slightly smaller... and then add a top horn..... [/quote] This is where I'm pretty much at at the moment. Thunderbird shaped to about 2/3's length (wider mid-body than the Overwater) then a top horn similar to a Jazz bass and a bottom horn that is sort of halfway between the Overwater and the Thunderbird. I'm also thinking of a square edge to the body like the T'bird rather than the radius of the Overwater. The body will have a raised centre section on the front (flat on the back), tapered wings, Thunderbucker pickups, Thunderbird style control placement, edge mounted jack socket. F style neck with modified headstock (no design as yet), possibly four strings or five, can't decide at the moment

So it's been almost a fortnight, how you getting on with the T'bird?

So just to round off this topic, I finally got to use the combo in anger last night at rehearsal. Five piece rock band setup and whilst the two guitarists were using the rehearsal room Marshall combos rather than their own rigs, the TC coped without breaking sweat. I did find it difficult to dial in the pre-gain to stop the peak light from illuminating too much with my J-Retro equipped active five string bass, but once I got there, I didn't need to do a whole lot of tone shaping to get a good solid bass tone. Volume-wise, it was plenty loud enough (didn't get past 5 on the master) and whilst it doesn't shift air like a 4x10 or 6x10, with PA support you could confidently gig this combo.

[quote name='Fishman' timestamp='1423095693' post='2680841'] Thanks chaps - i'll get the 654 bit and see how it goes - i'll post the results if it works out OK! [/quote] Don't be tempted to freehand the cut though, make yourself a template!

I've been looking at the HB T'bird as a basis for a project. The spec says mahogany body and neck (like the Gibson's) and whilst its set neck construction rather than through neck (like the later Studio Gibson's) I'd be getting a whole bass for about the cost of the timber here in the UK. Rip out the cheap(er) pickups and electrics, throw in some Thunderbuckers and I'm thinking it could be a good alternative to a self-build. Ok if I need to tweak the neck or finish the frets as at that price you can hardly complain can you? .

I don't know the internal layout of the AG500, but its possible that the input socket is surface mounted to the preamp circuit board. Over time, the action of plugging in and unplugging leads could have caused a crack in one of the solder joints causing the scratchiness and crackling. Sounds like you need to visit your friendly local amp tech.

I've just picked up a TC Electronics BG500 2x10 secondhand. It's one hell of a lot of combo for not very much money.

Sorry to hear how this has turned out. Hopefully you'll be able to get the project back on the rails and fall back in love with what will be a stunning bass. Mind, that gold flake can be a bugger to spray so I'd make sure that your next 'luthier' has the correct spraying equipment to do this properly. I shall be following your progress as I really fancy a set of those Thunderbucker 66's for my next project and I'm keen to hear how you get on with them.

Thanks for the input folks, I'm still unsure but today I plotted the Overwater shape on top of my earlier Thunderbird drawing, both are to the same scale. As you can see the Overwater is a much smaller bodied bass than the Thunderbird and whilst it sort of follows the Thunderbird outline at the bottom end, by the time you reach about one third along the length of the body, its substantially different. Food for thought as it should be possible to come up with a body shape that pays homage to both designs without directly copying either of them. [URL=http://smg.photobucket.com/user/JPJ/media/IMG_1306_zpsn5gnxqwk.jpg.html][IMG]http://img.photobucket.com/albums/v208/JPJ/IMG_1306_zpsn5gnxqwk.jpg[/IMG][/URL]

Question for all the self-builders out there: Do you ever stray away from building a certain body shape because it feels wrong to use someone else's design? To explain my question, I've recently been considering a 'Fenderbird' for my next home build and have got as far as drawing up the body plan. Looking at the drawing it's plain to see where the legendary neck dive comes from and that got me thinking about the alternatives. Being a huge Overwater fanboi (I own two already, neither of which will be leaving my possession whilst my heart is still working) I'm drawn to the Original series body shape that, for those who don't already know, adds a top horn to what is basically a Thunderbird body shape. The problem is that even on the secondhand market, an Original series bass is well out of my budget. Now I could quite easily modify my Thunderbird body plan to replicate the Overwater, but whereas I have no issues building either a Fender or Gibson shaped bass, the thought of doing the same with the Overwater seems morally wrong to me! Perhaps it's the thought of Chris May jumping I his car and hoofing it the short distance over the A69 to rap me firmly on the knuckles for even contemplating such a act of IP theft/copyright infringement that's putting me off. I know we had a similar debate on here over on the Limelight thread regarding the use of Fender logos, but that was in a commercial context. Am I alone in this or does anyone else consider the issue of design ownership before getting the router out?

That sir, is a man sized rig. When does the stadium tour kick off then

[quote name='lonestar' timestamp='1422630240' post='2674877'] i wish that I had some money. i'd be interested in the 5string aspiration elite. Anybody tried one ? Shame they're no longer being made [/quote] I tried one of the early Aspiration fivers and my only complaint at the time was that the neck, particularly the join between the maple and the rosewood was a bit 'sharp' to the hand. Other than that the Aspiration compared favourably to my UK built Perception.

[quote name='Rumple' timestamp='1422533936' post='2673745'] Have you tried this before? does it give a nice aged look? [/quote] Personally, I wouldn't bother with the tinted nitro. Firstly, it could react badly with the modern plastic of the scratch plate and secondly, it will almost certainly flake off in later life. My preferred method of ageing a scratch plate is wire wool to reduce the sheen concentrating hardest on the areas where picks and finger nails would come into contact (above and under the E & A strings just in front of the neck pickup).

[quote name='AgentCooper' timestamp='1422485817' post='2673412'] Real excitement is awaiting a delivery from my own fair County. Mojo Pickups of Halifax are building me some of their (anything but) standard 8/8.6k Ohm Pre CBS spec beauties (Bobbins were done on Monday). At same time Marc uses Crazyparts.de TVT CTS Pots in his harnesses so going to have a Vol/Vol/Tone loom done and try a 0.033µF Paper in oil Cap. Lush ! [/quote] Mojo Pickups are certainly the business. I fitted a set of three of their lipstick pickups to a friends Squier Bass VI and they were amazing quality units.

I was also watching that one on the 'bay but a chronic lack of funds meant no bidding from me :-) Congratulations on scoring a lovely bass.

[quote name='spyder' timestamp='1422210397' post='2669900'] Really gassing for a Mike Lull T Bird or an original Gibson. Credit card just needs to be spanked. (g) [/quote] That makes two of us, although I don't think I need the extra 20% of the Mike Lull JA model In fact, I have this week drawn up a body plan for a Thunderbird body as I contemplate building a Fenderbird. I really should finish the Stingray first though

I always find its a balance between neck relief and bridge saddle height. Too much relief will make the bass difficult to play in the 'money' area around the 5th & 7th frets. As the buzzing is only at the first and second frets, I'd leave the relief alone and try raising the bridge saddles a quarter tun at a time.

Having just scaled out a Thunderbird plan I know that the stock bass is long, but 20% extra?

[quote name='Muppet' timestamp='1422097994' post='2668631'] That's shocking. You got me worried so I checked inside my BG250 combo. Happy to report that theres some damping in there. It's the same white 'fluffy' stuff that's also inside my Markbass combo so I assume it's ok. Next step, check the RS cabs...... [/quote] Pleased to hear that!

[quote name='Billy Apple' timestamp='1422036957' post='2668117'] Outstanding presentation from the man from Orange [/quote] He only needed to add that 'this one goes up to eleven' and he'd have had the job in Spinal Tap

First off, I'd say 'performance' follows practice and regular gigging. Once you get comfortable with the material, your band mates and playing in front of an audience, you'll find you have more mental time to think about your moves and facial expressions. Secondly, most places we play have such small playing areas that as a five piece, movement is strictly as required and co-ordinated. Thirdly, if you all enjoy what you are doing, then just smiles and silly faces between band members allows more audience 'contact' than playing with your bass behind your head whilst doing the splits ever will. If you don't enjoy what your doing, no amount of sharp moves will disguise the fact that your just doing your job.

Having just had a look inside my BG500 combo, I hope they've remembered to fit some damping in these new cabs