BigRedX

[quote name='jazzyvee' timestamp='1479389450' post='3176163'] I've used "Stereo" on a couple of occasions though my implementation does not use a crossover to split frequencies, my bass has the option of a descreet output from each pickup. This allowed me to use a separate outpbuard preamp for each pickup which then went into a QSC stereo power amp. The sound engineer decided to get DI outputs from each pre-amp and also mic'd both cabs a 4x10 and I think a I used a 1x15. On stage I can't say It sounded dramatically different to a mono implementation but out front the engineer had a field day. For convenience I prefer a mono rig but if I someone else was to carrying the cab's and rack I would try it out more. :-) [/quote] That's not stereo at all, but 2-channel. Stereo requires you to have to ability to be able to "pan" each sound source two any position or mix between the two amp and speaker sets.

[quote name='1970' timestamp='1479385414' post='3176106'] How come? [/quote] It's all to do with phase and how stereo panning makes the cutting head of the vinyl lathe move within the groove. Stereo bass content results in large vertical movements of the cutting head and consequently the playback stylus (if you get that far) which results in skips. Essentially everything under 100Hz needs to be mono panned dead centre. You can sometimes get away with this by significantly reducing the overall volume at which your record is cut, but no-one really wants that. Anything out of phase will cause the cutting head try and move in two different lateral directions simultaneously. That simply isn't going to happen. Of course none of this affects digital media, but with more and more people releasing their music on vinyl, bass panning and phase is once again an important consideration. Most stereo effects have a huge emphasis on both panning an phase differences. That's what makes them sound big, wide and impressive. The thing with bass frequencies is that without the benefits of good headphone to clue you in, they appear omni-directional and therefore all that effort is lost.

Besides there's already a pre-amp on your amp.

Nothing wrong IMO with a course that has "lighter workload", as it might actually give you time to digest and properly understand the information you are being given. After all isn't that the point of further education, that you should learn how to think for yourself rather than simply regurgitating what you have been taught. I was on one of those 9-5, five days a week university courses in the late 70s and the information overload was a significant contributing factor to my failing the year and leaving.

[quote name='hairychris' timestamp='1479319709' post='3175642'] Aesthetics, basically, but it does have a physical side-effect. As someone who's owned a number of guitars with reverse headstocks, it makes a difference with tension when it comes to bends. More string behind the nut = an easier bend, so the treble strings are stiffer, bass are looser. Note this doesn't change the string's tension for tuning, just for bends, and with regular gauge strings it's not hugely noticeable unless you're doing extreme stuff. [/quote] The word you are looking for is "Compliance". I suppose it's all down to your playing technique, but personally I already find the lower strings from a standard gauge set for both guitar and bass too floppy for my tastes therefore, I would avoid anything that was going to make them more so. I'm using 10-52, with a 56 for low E for my guitars in drop D and still feel that I could go a bit heavier on the bottom three. Likewise on the bass, if making up custom gauge sets wasn't so hideously expensive I would be experimenting with finding a slightly heavier A and a much heavier (or stiffer) E and B with a standard 40G, 60D. I own one guitar with a reversed headstock, but it's also fitted with a Floyd Rose locking vibrato and nut, so there aren't any compliance issues for me. On the bass I find that the typical 4 in line headstock puts the furthest tuner just out of comfortable reach, so I wouldn't want to be doing anything like flipping the headstock over to make it even more difficult for me.

[quote name='LayDownThaFunk' timestamp='1479298960' post='3175404'] .130 Lo Rider. [/quote] IME you have match up the strings with the bass. What sounds and feels great on one bass doesn't automatically work on another. I couldn't get on with Lo Riders on any of my 5-string basses, but LaBella Steels and Warwick Red Labels work perfectly well for me depending on the bass. Unfortunately the only way to find out is to try them all for yourself.

[quote name='JTUK' timestamp='1478711331' post='3171124'] Bearing in mind a bridged amp of 800w will only do 400w per side. You don't get 2x400w=800w This is the problem with bi-amping which introduces sub in the equation potentially which is really the last thing you want, IMO. Nice idea, but in practice, no advantage at all. [/quote] Bi-amping has nothing to do with stereo, and IME is actually very useful if you run an effects heavy sound. Having used a bi-amped system for most of the 90s, the ability to run effects that adversely affect the bottom end of your sound such as chorus, flanger and distortion, just on the higher frequencies is amazing, you can run quite extreme effects settings and still retain plenty of bottom-end presence. The crossover frequency for this is much higher than a PA type tops and subs set up, so you don't run into those kinds of problems.

[quote name='thegummy' timestamp='1479159569' post='3174460'] Even if it was a Fender Custom Shop Esquire? [/quote] The only good thing about a CS Esquire is that I could sell it to some mug and buy something good looking and more comfortable to play with the money. There's nothing wrong with a single pickup for guitars - my first guitar only had one, although that was because I could only afford a single Di-Marzio when I was building it, and my current favourite guitar, the Hallmark Wingbat, has just the single P90 style pickup by the bridge, but still sounds great. I'm not so sure about basses though, all the ones I use at the moment have 2 or more pickups.

But just how important is a degree in music when it comes to getting a job playing your instrument? I work in a different creative industry (graphic design) and on the whole the importance of having a degree when it comes to getting a job in any of the design studios where I have worked has been minimal. In fact I can't think of a single graduate that any place I was at, that was taken on based on the fact that that they had a degree. Those that that did had all been at the company before on work experience in some capacity and the skills they demonstrated during their work experience time was deemed to be far more relevant than any qualifications they might be aiming for. Several of the best graphic designers I have worked with came straight from school on work experience and never left.

[quote name='Grangur' timestamp='1479238374' post='3174998'] BTW, BRX, you have a good eye for fonts. I'm impressed and appreciate the input. [/quote] Thanks! Although as I'm a typographer (amongst other things) in my day job, I really ought to know my typefaces! I see what you mean about the serial numbers, but even on your example the MZ3 are a slightly different serif typeface to the rest of the serial number. I suspect it's down to the way that the original decals are produced, and I wouldn't be surprised if the second part of the serial number is laser printed Gimp is a great program, although I would suggest that if you are still up for doing this yourself, then it might be worth downloading a trial copy of Adobe Illustrator CC and getting to grips with bezier curves.

Is that second photo a genuine Fender decal? If so the typeface for most of it looks like variations of Helvetica. The actual serial number is two different typefaces: a serif face for the MZ6 and a sans serif for the rest of the numbers. And apologies for the bluntness of my initial post in this thread. I was under the impression that the decal you were showing was one that you had bought from somewhere I was somewhat shocked that such a poor imitation was being passed off as an acceptable substitute. BTW what program are you using to create you artwork?

You could try drawing up the letter forms. In fact if fender are using a bespoke custom font, that's what you might have to do.

That decal doesn't look anything like the one it is replacing Just from a quick glance the "Serial Number" text is too big and doesn't have enough leading. The ® for both Fender and Precision Bass are the wrong typeface and wrongly positioned. The Precision Bass text doesn't look like the right typeface either.

Line 6 Bass Pod and Linn Adrenalinn.

Five in a row for big bass tuners just doesn't work IMO. The G-string tuner is already a big stretch for me on a Fender-style bass so adding another one is not going to make things any easier. I prefer 3+2 or 2+3 on headstock designed especially to fit a 5-string bass, and not something that's been cobbled together from the 4-string version.

Have a look at my thoughts on Sentric Music in the second half of [url=http://basschat.co.uk/topic/294501-publishing-and-song-copyright-good-places-to-go/page__view__findpost__p__3166544]this post[/url].

[quote name='SICbass' timestamp='1479124150' post='3174056'] Wouldn't tuning with temperature variations be a bit of a nightmare? [/quote] IME from owning an all steel Born To Rock Bass, the tuning is actually more stable because the body and the strings (made of similar materials) act more evenly to changes in temperature compared with a wooden bass.

If you ask for 2 effects why can't I select 2 effects in the Poll? Also why is Flanger paired with Phaser when they are are completely different effects, but Chorus which is a reduced functionality Flanger listed separately?

Does the world need yet another Fender clone?

Once you've adjusted the controls on your bass and your amp to get the right sound to complement the rest of the instruments in the band it doesn't matter what bass you are using apart from how it looks.

I would suggest that you go and sign up at the [url=http://www.mosriteforum.com/forum/]Mosrite Forum[/url] where you'll definitely get expert advice about the feasibility and costs of doing a restoration, or if you decide it's not for you, then no doubt someone there will buy if off you.

[quote name='Cato' timestamp='1478801020' post='3171789'] I'm not even sure that the neck is on the guitar when they do it. [/quote] So how do they do set neck and through neck instruments?

[quote name='TimR' timestamp='1478767542' post='3171422'] There are very few bands able to deconstruct a song and write their own arrangement. Those that can are refreshing to listen to. [/quote] Surely being able to do this is basic musical skill that should come shortly after figuring out how to pluck and fret a note. Otherwise it's just a question of "monkey see, monkey do" which isn't really music.

IIRC from the interview in International Musician, Mr Birch had some very strong views on bolt-on necks and none of them were favourable.

IME theory only gets you so far. If you want to be properly authentic then you need to listen to lots of music of the genre.