geoffbyrne

BB415? G.

[quote name='zapp' timestamp='1387826076' post='2316217'] I've just got home after buying the rather loverly Candy Apple Red Valenti Jazz from Richardd. I can only confirm some of the other comments from fellow forumites that have played this bass. Easy to play, great neck, sounds fantastic passive or active etc etc. I'm quite pleased with myself Now to find a suitable amp to level the walls with..... [/quote] I've played that & you're right - it's lovely! Health to enjoy it. G.

Take the Cort! G.

Back in the day(!!!) we used a Selmer Goliath cab which had an 18" Goodmans in it rated at, I think 50 Watts & was 16 Ohm. A bundle of joy to carry around! G.

If you want someone to do it & you are in the Leicester area, I can recommend The Guitar Shop in Ibstock. They did a superb job for me on a jazz box and it came back with an obscenely low action. G.

[quote name='FlatEric' timestamp='1387531751' post='2312925'] I've played several, over the years and the best, by far - for me, is this one. Medium scale, wonderful tones and 8 separate saddles - intonation is bang on. Cheers. [/quote] The Ibanez Studio Bass ST980 is the one I was going to suggest but FlatEric beat me to it. You won't find a better-built instrument. They come up on Ebay occasionally. I have a 1979 Ibanez Studio ST105 guitar that is absolutely superb - unfortunately almost never played. G.

My 3 Yammies all have decent B's, thank goodness, and they are all 34" For me, it's about the break angle both at the bridge and the nut. The sharper the better - and tapered strings, I believe, help too. I also think that necks with a lot of relief seem to absorb the lowest frequencies, a bit like a bow, so I'd say minimal relief. G.

You adjust the relief via the truss rod. You adjust the action by raising or lowering the bridges and by getting the nut at the right height. The salient point is where & if the strings start hitting the frets when lowered. If the strings are hitting the frets right down at the dusty end, there is probably too much relief & the bridges are too low in an attempt to compensate. If the strings are hitting the frets near the nut - say 5th fret - then there's a backbow - to get over this you have to raise the bridges very high. My fretless took a while to get right. The Bass Doc put a fretless fingerboard on my neck & it took a period of time for it to adapt to string tension & get the truss rod right. There was a bit of choking around where the 9th fret would be. It took a few goes with the Allan key & about 8-9 days of settlement before I got the fingerboard/neck flat. I had to cut the nut down a bit & only then did I adjust the bridges to see how low I could get the action, now that the strings weren't choking on the fingerboard. I now have a nice low-ish action which plays cleanly with my fingers & I can get mwah when I use my thumb. I could cut the nut down more yet. I've found I don't like a *very* low action. To me, when a neck is straight or *almost* straight (as recommended by Dan Erlwine in his book), there is a different feel - difficult to express, but the neck feels much more stable/stronger to me than with a noticable relief. Get the neck almost straight (again, Erlewine quotes Fender that at the 17th fret there should be 3/32" ±1/64" string height above the fret), then get the nut height correct - again, Erlwine recommends that when the string is stopped down between the 3rd & 4th frets, there should be about .01" between the string & the 1st fret - roughly .02" ±.002 unstopped , then you can follow up by adjusting the bridge heights to taste. Of course, all this depends on the fact that the frets are all level!!!! It's amazing the difference a decent fret job can make to getting a decent action. Also, the bottom frets wear with constant playing & the dusty frets stay the same, resulting in the bridges being progressively raised & the action getting higher. G.

How many rigs can deliver that anyway? G.

....are they all P/J or is there a single 'bucker model like the 4 string? G.

G.

I have a BB415 with a John East pre installed - as you say, the pups are already hot and with the active pre, the output is immense. To get any headroom at all, I've resorted to putting the Master Vol full up & using the gain to control overall volume - this allows me as much headroom as is possible with the combination. G.

Live in Wishaw, like CC as I've known them since they opened their first shop in Park Road. I've rehearsed all over the shop - Berkley, Lofi, One Eyed Dog in Motherwell etc etc. G.

Recently Howard put an unmarked fretless ebony fingerboard on my BBG5 and I can thoroughly recommend this if your budget allows. G.

http://basschat.co.uk/topic/135-impedance-etc/

Titebond, just in case you need to take it off sometime - if you use superglue, taking it off might take some wood with it. G.

Always pleased to help! G.

Yes, I found that entry, but the mentioned store doesn't trade here nor am I inclined to ship from the USA. I think a good snoop around B&Q is now necessary. G.

Yes, but you'd need something like a 25 or 50 Ohm pot rather than a 250 or 500. G.

Axes 'R' Us? http://www.axesrus.co.uk/Grub-Screw-Alpha-Concentric-knobs-p/hc003.htm No postage. G.

I thought this would be along the lines of 'Midsommer Murders'.......... G.

I once broke a bass string because I wasn't paying attention & tried to tune a D up to a G. DOH! G.

It's not just in music. My wife has a Private Pilot's Licence & one day we went over to trhe Glasgow Flying Club to buy a new chart. Although she was the one who asked for the chart & the particular designation, the guy only looked at me and spoke to me. I directed him to ask my wife, but he continued his practice much to my, and her, annoyance. We never spent money in there again. G.

I'd like to make some skid rails for the back of my cab. Nothing proprietary seems available. Any recommendations/thoughts? G.

Many thanks to you, Ian for the photos, and to Ou7shined for fixing the ribbon cable. Without both of you this wouldn't be working again. Geoff.