JPJ

If we all had usernames based on gear brand mine would be 'GAS'

[quote name='chris_b' timestamp='1389358840' post='2333240'] Looks like I didn't type what I was thinking! Single, as in one unit for all strings, rather than individual bridges per string. [/quote] Ah yes, now I get it In that case I agree

[quote name='BruceBass3901' timestamp='1388750841' post='2325522'] I have the ACS PRO 17 moulded plugs (the £140 set) and I cannot recommend them enough. I'm afraid that I cannot say anything about the T3s, but if all you want is protection, the ACS PRO range is fantastic. [/quote] Me too and likewise, I can't recommend them enough. The only thing that takes a little getting used to is the isolation between songs - you still hear the audience but they are somewhat distant. The upside is you hear everything you play because nothing gets lost in the mush on stage.

[quote name='chris_b' timestamp='1389350345' post='2333075'] A single bridge unit will have more mass available to each string so I can see why it should produce a better tone and have better sustain. [/quote] Not sure I agree with this, the single bridges are not that big, I'd recon 1/5 of a badass or equivalent is more than the mass of one of these bridge units.

[quote name='Fat Rich' timestamp='1389346997' post='2333029'] Status use individual bridge pieces a lot these days, I had an S2 Classic 5 string headed bass that had a slightly "floaty" sort of tone and lacked that sort of grand piano oooomph I was expecting. So I put an ABM high mass bridge and it fixed it, gave it a little more sustain too. [/quote] That sounds like what I'm experiencing - food for thought!

What sort of shop was it, butchers or iron monger!

Last year I put together a bitsa fretless using one of those 'roadworn' style Vintage Icon bodies. At first I thought it was cool, and it certainly got plenty of compliments but the roadworn look is wearing on me now (no pun intended). The worst thing about the Vintage versions is that the paint isn't removed down to the wood but down to a rather ineffective wood look finish (think photo-flame). This year will see the body stripped and a nice black nitro finish applied that will be allowed to wear naturally with use.

Im surprised no one has mentioned the Spector Rex bass on this thread - far superior to the Epi ones imho and still retains the classic t'bird shape whilst offering a lot

I have an Overwater Perception with the ABM style one bridge unit per string type bridge(s). Whilst I love this bass, there is something missing from the tone and I can't quite put my finger on it. I'm beginning to wonder whether its the lack of cross talk between strings due to the individual bridges? To explain my warped thinking, I've tried neck through basses and found that I couldn't get away with them due to the more complex nature of the tone, which seemed alien to me having spent 30 odd years playing bolt on neck basses. This is the first bass I've owned with the individual bridges and I'm thinking that the lack of whatever it is that is missing is coming from the disconnection of the strings at the bridge end. Am I going mad or has anybody else experienced this with this type of bridge setup? All my other basses have variations on the Fender BBOT either in stock, hi-mass or Badass formats. Thoughts?

[quote name='FuNkShUi' timestamp='1388671127' post='2324571'] Thats a cracking looking bass. Do you mind me asking how much you think this cost you overall? Feel free to PM the answer. And also feel free to tell me to sod off!! [/quote] PM'd

Thanks for the positive comments guys. The recipient is very pleased with his present and this just goes to show that you don't need to spend fortunes to achieve a really nice looking and playing bass.

[quote name='Bill Fitzmaurice' timestamp='1388266660' post='2320288'] Your right, it's daft. You won't have equal power distribution to all the drivers. With six 8 ohm drivers you can wire them as series pairs for three sets at 16 ohms, parallel wire those sets for a 5.3 ohm total, which most amps will have no issue with. [/quote] Thanks Bill, too much time/sherry over the Christmas period always has me trying to solve problems that don't exist

I recently acquired an SWR Goliath Senior 6x10 cab with the intention of using this as a single cab solution for most of my gigs. Now this cab is pretty perfect save for the weight and this has got me thinking. A while back, I had two drivers go in a Goliath II 4x10 so I replaced all four with Eminence Deltalite II's giving a nominal 1000w of handling at 8 ohms. The big advantage of the change was the weight saving which is quite dramatic when compared to my other Goliath III. So I started to think about replacing the speakers in the Senior with neo-based alternatives and ran into a bit of a problem in that I can't find any manufacturer who offer a 6 ohm version (needed to wire for nominal 4 ohm total load). So, engaging a bit of lateral thinking, would having four Deltalite 8ohm 250w speakers wired series/parallel for a total of 8 ohms/1000w nominal, in parallel with a pair of say Deltalite LF 16ohm 500w wired in series (total 8ohms 1000w) work? My schoolboy physics/maths says that'll give a combined 4ohm 2000w, am I right? It's probably just a mad idea, but I'd like to have a plan in case one of the stock PAS drivers gives up the ghost in the Senior as with what's happening at SWR at the moment, I'm unlikely to be able to source direct replacements.

When Mrs JPJ suggested I should build a bass as a Christmas gift for our daughters long-term boyfriend it seemed like the ideal opportunity to contribute to the festive present purloining whilst doing something I enjoy down the [s]shed[/s] workshop. Little did I know that the day job was going to become quite so time demanding in the run up to Christmas resulting in said gift bass being completed at 1:30am on Christmas day! For obvious reasons I couldn't post the in-build progress shots anywhere for fear the intended internet-savvy recipient might become aware of the plan, so as the title says, this is more of a finished product rather than a build thread but as I'm rather pleased with the outcome I thought I would share it anyway. The body blank and neck were purchased from our very own Jabba_the_gut who had roughed out the profile of the P bass and pre-drilled for the bridge, neck, scratch plate and earth wire. All that was left to do was to form the forearm chamfer and gut cutout and round over the edges. Finishing-wise, I used Rothko and Frost grain filler, white nitro-cellulose primer (8 coats) and Graffiti Yellow nitro-cellulose top coat (8 coats). Flatted out by wet sanding to 2000 grit and then cut with Autoglym paint restorer before a final hand polish with Autoglym high gloss polish. The neck was finished using a nicotine tint nitro-cellulose lacquer from ToneTech. All the black hardware came from CH Guitars in South Shields [url="http://chguitars.co.uk"]http://chguitars.co.uk[/url]. Finally, the strings are a set of Optima Gold's that I've had in the gig box as spares for quite a while and the gold seemed an appropriate match to the yellow body. The headstock was finished in the same colour and a logo applied consisting of the recipients signature (surreptitiously obtained) and the words "Custom Bass" in Fender TV type font. The logo was made using some of that inkjet waterslide transfer paper you can buy from Amazon which I am pleased to report worked perfectly, the plus side being I can now manufacture many more logos in future So enough waffle, here are a few photos taken just before delivery. [url="http://smg.photobucket.com/user/JPJ/media/DSCN0463_zps89a0d8c3.jpg.html"][/url] [url="http://smg.photobucket.com/user/JPJ/media/DSCN0462_zps49dc9b2c.jpg.html"][/url] [url="http://smg.photobucket.com/user/JPJ/media/DSCN0464_zps866930f8.jpg.html"][/url] [url="http://smg.photobucket.com/user/JPJ/media/DSCN0465_zps88e091ce.jpg.html"][/url]

[quote name='wateroftyne' timestamp='1385296837' post='2286484'] +1 for Roqsolid. Brilliant. [/quote] +1 from me too. Got them to make up a cover for my Goliath Snr 6x10, really good quality cover - delivery time was a little longer than I was expecting but as this was the first Goliath Snr they'd done, I'll let them off with that! :-)

I've built a few, some more successful than others. Obey the basic laws of physics and you can get a really nice cab for not very much money with a much better driver than anything stock. Interestingly, you can disobey the basic laws of physics and still get a cab that works well, just ask Jorge Schroeder :-)

To get the best from bi-amping, you really need cabinets designed for the two different frequency groups. Simple 2x10 1x15 commercial cabs won't cut it imho. I experimented with bi-amping and concluded that the added gear and complexity wasn't worth it for the almost indistinguishable improvement in 'tone'. That said, our PA is bi-amped, using dedicated sub's and mid/tops (not the best by far, but good enough) and with a bit of careful eq'ing on the desk, I can get a massive punchy bass sound FOH that sits nicely in the mix, leaving my back line as a personal monitor. But for the majority of our gigs, even this is overkill as the back line is more than sufficient for FOH duties in the Dog & Sproat and other such venues that I don't bother putting my bass or the guitards through the PA.

Hi Geoff, Sorry to be late to the thread but had to comment after watching the first lesson. After years (lots of years ) on the electric, I'm dabbling in the world of double using a Stagg EUB as a low cost introduction. I have gigged with it a couple of times but really struggled with left hand pain. No wonder when I watched your first video on left hand technique! Collapsed knuckles and a bear-like grip of the neck was my stock hand position . Half an hour practicing the correct technique and no hand pain. Thank you for sharing your experiences and techniques - you might make a double bassist out of me yet

Bought a Warwick 4U flight case off Andy, fast (3 day) transaction, no problems here, a veritable gentleman and a credit to the forum.

Been using my Line 6 G50 for over three years. No issues whatsoever, receiver sits on top of my amp, transmitter has been dropped a couple of times and although beginning to look a little 'battle scarred' it still functions perfectly. I have wandered far from the stage on a few occasions (outside bike rally gigs) and have yet to reach the limit of transmission. The cabe length simulator (I thought this was a gimmick) actually works and makes a difference. Only gripe is a minor one, some 'cheap' petrol station AA's don't fit in the transmitter. Other than that its a solid and reliable bit of kit that I use at every gig irrespective of the size of the stage, in fact its almost more useful on small stages as your not permanently standing on your lead. Buy with confidence - these things rock!

The only guy I would trust to refinish an expensive instrument is this guy [url="http://www.dwilsonguitars.com"]http://www.dwilsonguitars.com[/url] He's local'ish to me and there is a lot of members on here who will vouch for the quality of his workmanship.

There was a trend towards bi-amp and even tri-amp rigs in the early eighties, my old Carlsbro Stingray Probass was bi-amp capable, albeit with a separate slave amp to drive either the top or bottom end, depending which way you wanted to configure it. Trace Elliot did a similar rig that could be tri-amped by including there (in)famous powered 4x5 bright box. In fact, thinking back, this is probably where the 4x10 + 1x15 setup came from. A well set-up bi-amp rig can deliver that 'full range' clarity that you describe here. However a badly setup bi-amp rig is like a badly setup PA system - it can sound atrocious especially if the balance between top & bottom end is wrong. I can also run my current amp as either stereo, or bi-amp (or bridged mono) but I tend to just run it bridged mono as I've come to realise that I actually 'like' the sound of my standard 'off the shelf' speaker cabs and that the 'colouration' that Barefaced and others seek to avoid is, to my ears anyway, quite desirable.