BigRedX

[quote name='Andyjr1515' timestamp='1464043105' post='3056126'] I know what you mean, but almost certainly the new cavity will be bigger all round than the old one, so it will all be routed out anyway. [/quote] Bigger? I await the next development with interest!

[quote name='casapete' timestamp='1464033502' post='3056006'] ...maybe they're a bit late to the lightweight amp party. [/quote] IIRC the very first class D amp I ever came across was a Peavey power amp some time in the early 90s. This can't be the first one they've made specifically for bass?

[quote name='Leftfret' timestamp='1463874655' post='3054725'] (Be honest all you Rickenbacker 4001/3 and Gibson EB players - you all come back to the fold sooner or later) [/quote] Come back? I never went there in the first place. My first bass was a Burns Sonic, and after that I got an Overwater Original. Full disclosure: I did own a Squier VM Fretless Jazz once - it was fine in the shop but in the band context I couldn't get on with it at all and after 3 months it got replaced with a Pedulla Buzz. If the only options were a P or a J bass I'd go back to playing synth.

[quote name='Andyjr1515' timestamp='1464016517' post='3055768'] There are still some scary bits to do, but fewer than there were! This evening I'll glue the infills so that I can route the bridge and stop-tail recesses tomorrow. If those go OK, there is only one really scary bit left - the control chamber. I can start the finishing process before I need to do that to give me plenty of time to think through exactly how best and how to do it. [/quote] I was surprised that you didn't fill in the existing control cavity completely while the back laminations were off, with a view to routing a new and more elegantly shaped one.

[quote name='Sammers' timestamp='1464036342' post='3056051'] I seem to remember that you can specify almost anything you want if you pay for a master builder. Check out Tye Zamora's Fender as an example, it's pretty out there! [/quote] That's the Alien Ant Farm bass? That's only "pretty out there" because he got Fender to make something that was a long way out of their comfort zone and IMO it shows. For me the whole point of picking a luthier or manufacturer to make your custom instrument is because they are already making something similar, hence my request above. However I've just had a look at the current [url="http://wpc.077d.edgecastcdn.net/00077D/custom_shop/quote_guide/2015/2015%20Fender%20Custom%20Shop%20Order%20Form%20(rev%20ii).pdf"]Quote Sheet[/url] and the options are pretty limited. It might be possible to have something like a long scale 5-string Starcaster Bass as a Masterbuilt option but there doesn't seem to be any way of finding out for sure. In the end it would probably be simpler to buy a standard Starcaster bass and get a decent luthier in this country to copy it with my modifications.

I need some new headphones. They don't have to be fantastic, they are going to be used when I'm listening to music or watching TV on my iPad. However I do have some fairly specific needs. 1. Earbuds DO NOT fit in my ears. I've tried many different designs at all sorts of price points over the years and none of them fit in my ears. Either they fall out or they simply don't seal well enough to eliminate any background noise. So please don't recommend me any earbuds. 2. They need to be small and lightweight. The huge headphones that are currently popular are simply too big for me. Not to mention the fact that they look like those crap headphones from the 70s. All that is missing is the curly lead! 3. Must not be too bassy. I find anything with even an average amount of bass tend to make the soundtrack and sound effects in TV programmes louder than the dialogue to the point where I can't understand a word that anyone is saying. 4. They should not have a headband that goes over the top of my head. I'm lucky enough to not only still have hair but also a hairstyle. I don't want anything that will mess it up. Many years ago I had a pair of Sony sport headphones that had a band that clipped over my ears and went around the back of my head. These were my ideal headphones for my needs and I've been looking ever since for another pair the same. The current Sony range has [url=http://www.sony.co.uk/electronics/headband-headphones/mdr-as700bt]this model[/url] which looks like it might be a suitable replacement, except it appears to be bluetooth only. I don't need bluetooth. IMO it's completely unnecessary. I'm perfectly happy with a wired connection, and also it won't run down the batteries in my iPad so quickly. So does anyone know of a pair of headphones with a similar design to those above that don't deliver too much bass and are wired?

I really like the sound of the neck pickup on my MiK Starbass. If it died I'd be replacing it with one exactly the same.

It's easy for the Terrortones. Drums in the middle, guitar and bass either side (it doesn't matter which) and Mr Venom in the middle. So long as there's room at the front for the guitarist's small pedal board, my Line6 Shortboard and the theremin, and space for me and the guitarist to stand, we're good. Mr Venom spends most of his time in the audience so he doesn't need much room on stage.

How custom is the Fender Custom Shop? For instance could I order a 5-string long-scale Starcaster bass in CAR with a CAR neck?

Be very careful even if sanding, as this can IME generate enough heat to cause the binding to delaminate from the body.

[quote name='EliasMooseblaster' timestamp='1463751392' post='3053853'] Do excuse me if I've asked this before, but has anybody tried converting one of these to a baritone guitar? Only, doing a bit of spec comparison with Squier's VM Baritone Jazzmaster (which also seems to be quite well-regarded), it seems they have the scale length, but the Bass VI has more tonal variety, is slightly cheaper, and the trem would probably be of more use on a baritone guitar than a bass. Not that I'd rule out buying one to use as a bass; I just have an intermittent but nagging curiosity about baritone guitars. [/quote] Depends which Baritone tuning you want. The general standard is 28" scale for B and 30" scale for A with the appropriate strings. I have a HB 28" scale baritone guitar and even with the heavier D'Addario set (14 - 68), I still think the low B and E strings are a bit floppy. However I favour a 52 for low E on the guitar (and 56 when tuning it down to D) so my tastes might not be typical.

The LaBella strings have come, but unfortunately I'm going to be busy all weekend so I won't have time to do anything with them until next week. The plan at the moment is to remove the old strings and shim the neck before fitting the new ones. When I raise the bridge to compensate for the new neck angle should I raise the whole bridge or the individual saddles? Then I'll give the bass a proper setup. There's a bit of choking on some of the strings higher up the neck and the relief seems a little too much right now. I'm suspecting I'll need to tighten the truss rod a bit more to compensate for the LaBellas? There's a message on the Staytrem web site saying it is down until Tuesday 24th. Anyone know what that's all about? How does the Staytrtem bridge improve matters? I'll report back with an update once I've done all that and see how the bass has hopefully improved.

[quote name='rmorris' timestamp='1463737001' post='3053684'] Sorry - meant t reply to this earlier but it got lost... So I looked up the EMO E520 and it seems to be a passive (transformer only) design. From that it would seem that your output from the Theremin is wired the 'wrong way round' ie signal to GND/Screen ? So with the active input Behringer DI the signal is grounded hence no signal from DI. With the EMO it sounds like it has a ground lift switch in the 'lifted position'. Used like this the transformer input cares only about the differential at its input and is oblivious to the polarity. There will be an output from the transformer - it will be 'phase reversed' but you can't tell that in isolation. [/quote] That's an interesting thought regarding the signal polarity of the Theremin. I'll have to open it up and check. The external PSU looks as though it's earthed. Should there be electrical continuity between that and one side signal wiring from the Theremin? However the output jack is attached to the metal front panel along with all the other controls so I would have thought it would have been wired up the right way round. Having said that IIRC it's only when we have to use it with a Behringer DI that we have a problem. Were normally happy to use whatever DI is being supplied by the PA and only get out our EMO if they are short on DI boxes or if the engineer is getting no signal at the desk in which case it always turns out to be a Behringer DI. The EMO does have a ground lift but it is switchable and although I would normally have it in the lifted position, the Theremin is usually set up by Mr Venom and so there's no guarantee that it is always like that. If you are correct about the Theremin would disabling the ground lift on the EMO also kill the signal?

Is your P Bass absolutely awesome in every way except for the fact that you think the sound would benefit from adding a J pickup? If the answer is yes then it's probably worth doing. If not you are much better off looking for a bass which already has both P and J pickups fitted. There are plenty out there at every price point.

[quote name='jacko' timestamp='1463733365' post='3053642'] I always get my strings from Mike Griggs' ' Strings and Beyond' in the USA. He often offers free shipping. last week I received a set of DR black beauties (5s) and a set of daddario Chromes (5s) for a total of £51. Incidentally, I never seem to attract any import duties - has the limit gone up? [/quote] No you've just been lucky. What is the value marked on the customs form?

[quote name='RhysP' timestamp='1463732779' post='3053633'] BigRedX has, or had, one of these basses - it might be worth asking him. From what I can remember of the couple we had in the shop back in the 80s they came with Schaller bridges. [/quote] I had the Hondo copy, which came fitted with a copy of the Schaller 3D bridge.

Well not quite - it's a Squier VM Bass VI, so not exactly a Fender and hardly a P or a J Bass. Anyway first off the most important bit for a forum - some photos: [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Squier%20Bass%20VI/DSC01543_zpsjylepume.jpg[/IMG] [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Squier%20Bass%20VI/DSC01545_zpsjeqowmmu.jpg[/IMG] It's Olympic White with a red/brown tort scratch plate. The neck is maple with a rosewood fingerboard, white binding and fake MoP block inlays. Scale length is exactly 30" the same as the original Fender Bass VI. String spacing is 35mm E-E at the nut and 11mm between string centres at the bridge. Three single coil pickup each with its own on/off switch. The other controls are master volume, master tone and the "strangle switch". There's the Jag-style bridge and vibrato. First impressions: It's a tight fit in the box, so it's a good thing that Musik Productiv double boxed this one for shipping as I doubt it would have arrived unscathed without the extra packaging. I like the colour - this version of Olympic White has just a hint of creaminess about it and isn't horribly yellow like some examples I've seen. With it being a poly finish it has a better chance of staying that way too. The dark red tort scratch plate goes well with it too. As you can probably set from the photos I haven't removed the plastic film from the scratch plate of the pickups yet. The fitted strings are horrible. The low E in particular is very floppy and set too low so it's rattling all over the place. Otherwise the basic set-up straight out of the box isn't too bad considering. All the octaves are in tune with the harmonics. There are problems with how it plays as supplied but none of these can be fixed without disassembling the instrument. There also seems to be a bit of confusion regarding the gauges of the strings fitted. According to the Fender website it comes with a set of .025 - .095, but from what I can see all the actual Bass VI sets made by Fender are .024 - .084. Certainly, comparing the fitted strings to the ones on my Burns short-scale bass (G-E .040 to .090) the E definitely feels lighter and more compliant. I've ordered a standard set of LaBella Steels for the Bass VI (.026 - .095), so I'll see if these compare. The other issue with the floppiness of the strings is the shallow break angle at the bridge and for the G to E strings at the nut. [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Squier%20Bass%20VI/DSC01554_zpsnjjivcsw.jpg[/IMG] The strings have only between 1 and 2 turns around the machine head posts which for the lower strings isn't enough to get a sharp enough break angle. For a non-angled neck I would want at least 4 turns around these machine heads for each of the G, D, A and E strings to get them down far enough. Again this is something that can be sorted out when I fit the new strings. [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Squier%20Bass%20VI/DSC01548_zpsulscu0vz.jpg[/IMG] Also the gear ratio on these machine heads seems a little bit low for the bass strings. I can live with it at the moment, but if I decide that I'm going to be using this a lot and especially if I gig with it then I'll be investigating some replacement machine heads with a higher get ratio. Overall the neck feels more like a long guitar neck rather than a short bass neck, although it's considerably deeper than all of my guitars and feels deeper than most of my basses. Despite also being a guitar player, I'm finding the string spacing a bit tight on the neck compared to my guitars which all have a wider nut (37mm minimum). I'd forgotten how narrow the necks on traditional Fender-style guitars can be. The white binding on the neck is a nice touch, but the side dot marker positioning is a bit strange as it's half on, half off the binding. I've never come across this before, all the other instruments I've owned that have fingerboard binding the dots are just in the binding. Some of the block markers don't appear to be centred on the fingerboard, but this might be an optical illusion cause by the relative thicknesses of the highest and lowest strings. I'll re-evaluate this when I get the strings off. The other problem area is the bridge, which has quite a bit of play in its position and can easily be rocked back and forth. This might be a useful feature on a guitar if you are playing MBV type stuff, but has no real place on a bass IMO. I'm going to shim the neck so that I can raise the bridge to get a better break angle. With the supplied strings there doesn't seem to be an issue with the intonation at the moment. I'll see what happens when I fit the supposedly heavier LaBellas and and raise the bridge. So, what does it sound like? Well my initial thoughts are that the sound has far more of a "guitar" character than a bass even though I'm playing in the same register as I would on a bass guitar. Because of the tight string spacing there is a tendency to want the play guitar chords, but this is generally a bad idea as the sound becomes mushy and the notes in the chord indistinct. Chords are best on 2 strings, and maybe 3 if I'm playing in a higher register. The centre pickup is reverse wound reverse magnetic polarity, so it is humbucking in combination with the neck or bridge pickups. All the pickup combinations give usefully different sounds. Right now my favourites are neck and middle and bridge and middle. I'm sure though, that I'll re-evaluate this when I actually use the bass in a band situation. The volume control is pretty smooth for a passive circuit, but the tone control does very little until the final part of it's travel at which point it applies a fairly extreme treble cut. That will need looking at in the long term. The sound between the strings is a little unbalanced at the moment. I like the A and D, but the low E is unsurprisingly flabby and the top three strings are currently sounding a bit to brittle and guitar-like. Hopefully this will be something that the replacement strings will help to sort out. The Strangle Switch is a strange control. At first I don't really like what it does to the sound, but playing with my Bass Pod settings and adding a bit more dirt than I would normally and boosting the upper-mids slightly and it suddenly makes sense. The extra drive compensates for the volume drop and the bass cut makes everything a bit more defined. For the sort of music I'm playing on this instrument it definitely benefits from a touch of chorus or flanger to give that post-punk feel - instant Joy Division or Cure. Also a brighter distortion sound than I would normally use on a bass sounds good. Finally the vibrato. TBH I don't really know what it's doing on this instrument. I like vibrato systems - all my guitars have one fitted, but on the Bass VI it's so subtle and unresponsive, that I can't see the point to it. Maybe when I change the strings and the bridge break angle it will start working better. Overall? It's been a while since I owned such a relatively cheap instrument. Apart from my HB Deko Baritone guitar, everything else I play on a regular basis costs considerably more than this bass. So I can't really expect it to be as well set up and playable straight out of the box. However IMO a lot of the problems are design related and considering that the Bass VI first appeared in 1961, and that manufacturing processes for budget guitars have improved considerably since then, it's more than a little disappointing to find that there are still issues with the instrument that could and should have been fixed by now, especially considering that the worst ones are directly related to the type of strings and how they are fitted. New strings should arrive any day now, so I'll shim the neck and raise the bridge when I fit them, and report back. Right now it's a potentially interesting bass let down by a few things that could easily be fixed in the construction and assembly stages.

[quote name='RhysP' timestamp='1463675681' post='3053313'] If you are using it to set intonation get yourself a Peterson strobe tuner. [/quote] +1

[quote name='paul_5' timestamp='1463574727' post='3052439'] but it sounds like you just want to move the Logic app and its associated plugins and resources. Not sure how well that would pan out. [/quote] Which is why in my original post I suggested a fresh install of the OS and the music apps on the external drive. Boot from that drive when the OP needs to use the computer for recording and boot from the internal drive for everything else.

[quote name='ras52' timestamp='1463573988' post='3052432'] Not so... AU is just one of several plugin formats that your DAW may or may not support. E.g. I use Studio One and Pro Tools: Studio One will work with AU and VST, while Pro Tools works with AAX. [/quote] Not if you are using Logic like the OP. Plugins need to be in AU format.

[quote name='RockfordStone' timestamp='1463570015' post='3052383'] i don't know how it works on mac, but on windows it saves the VST file in a file called VST's. i just move these to which ever location i want, and then in the DAW just point it to search for VST's in that folder. only issue ive had with that is that sometimes the pc will reassign the external hdd a new ID (eg K drive instead of L drive) when i reconnect it. [/quote] The Mac works in a completely different way. All audio plug-ins where they are effects or instruments need to be in AU format and go in either Library/Audio/Plug-Ins/Components (the main Library folder) or ~Library/Audio/Plug-Ins/Components (the user Library folder). This makes them automatically available to any application that is capable of using them - not just DAWs. It might be possible to point some DAWs at alternative locations for the plug-ins but it is unlikely to be the case with Logic as being written by Apple is far more closely integrated with the system software than others. To the OP why do you want to keep your plug-ins off the main drive? I can understand having the recorded audio files on an separate drive (in fact this is the recommended procedure) but why do you want the plug-ins there too?

[quote name='Mykesbass' timestamp='1463512856' post='3052020'] 70's - Disco. Bloody wonderful [/quote] 70's - Disco. Bloody awful! ;-) However glam rock, punk and post-punk were fantastic!

I play in a band that does psychobilly gigs. If there is a crowd it is almost guaranteed to be rowdy.

Are you going to be playing that in a rockabilly band? The scene can be quite conservative and your bandmates and other bands may turn up their noses at anything that doesn't say "Gretch" on the headstock. On a slightly more serious note, I wouldn't consider anything that doesn't have a vibrato unit, so that rules out the guitar in your first link. Our guitarist used to have an similar model Ibanez Artcore. The thing to watch is that the vibrato unit doesn't have the bar at the front to hold the strings down. The advantage of this is that it is less like to go out of tune as quickly with enthusiastic vibrato arm use, however the downside is that the break angle of the strings over the bridge is very shallow and if you are a reasonably aggressive player the strings will be forever popping out of their saddles. Ultimately you really need to try these guitars for yourself. IME the things that make a good rockabilly guitar - big hollow bodies and Bigsby style vibrato units don't always suit heavier styles of music. You'll need to decide which is the best compromise for everything you want to do. IMO the Artcore looks the part and sounds pretty good although I'd prefer P90 style pickups, the Epiphone might be more versatile.

[quote name='Manton Customs' timestamp='1463524715' post='3052113'] It'll be the string binding in the nut slot. It's too tight, so get a tech to file it. [/quote] Or at the string retainer. I had exactly this problem with a Squier VMJ - the string windings would catch against the edge of the string retainer which meant that it was impossible to get the G string in tune since it would click into the next position either slightly flat or slightly sharp.