PlungerModerno

[quote name='charic' timestamp='1431952575' post='2776493'] Ahem... [/quote] OK - even for an ACG - that is gorgeous. I have to agree broadly with the nausea over nasty finishes. IMO 3, 2 or other combination sunburst, tobacco burst, etc - can be wonderful if it's done right, an pretty unpleasant if it's done wrong. Right: Wrong: IMO of course.

[quote name='Wolverinebass' timestamp='1431963435' post='2776659'] As a 12 string player, this is genius. It's worth noting that I can't stand single cuts, but this bass defies that rule. Top quality work squire! [/quote] I couldn't agree more - this single cut has a seriously graceful look about it, when looked at as it is or like I do with lefty's - checked out after being flipped. Here's a sample - [attachment=192279:Capture.PNG] Hope blablas doesn't mind me inverting his work in progress!

Very interesting - using Tru-oil as a stain and a finish . . . that gives me some ideas...

Nice work, and nice documentation of the process. I still have no idea what's up with that neck heel though! Should be plenty strong as long as the screw's don't line up with air! (seeing the reverse of the original neck heel - that won't be an issue!)

Don't know about the 45's - but I've a set of 40's (with 95 E and 125 B ) and they are medium tension on a 34" scale Ibanez bass. I find the 40 Elixir slightly tauter than a 40 D'Addario (both nickel plated steel rounds with 95 E's. The D'Addario XL's are a 4 string set so the comparison isn't complete). In short I'm sorry the strings aren't working out. Maybe it's best to switch out the strings, set it up the same and see if it is the Elixirs. If not, you can pop the Elixirs back on pretty handily (Warwick 2 part bridge makes it fairly simple). EDIT: B ) becomes if you don't leave a space.

+1 to the [s]moveable anchor[/s] (I meant floating thumb), and to the giving the 5er some time. I'd avoid playing too much 4's while you're getting used to the 5 strings. Enjoy, and be patient!

[quote name='blablas' timestamp='1431796824' post='2775117'] 12 string... I'd rather be safe than sorry. [/quote] +1 with the neck/body joint as it is (very ergonomic judging by the photos) there is not enough room for a traditional 3,4 or more bolt joint. Good thing this was planned in advance - the single cut body shape lends itself to extra securing bolts along it's extended upper horn (not really a horn, but you get what I'm talking about I think). You can't be too careful with a neck joint. It's never too stable or durable. I'd imagine in this case the joint will be up to the job & then some.

Seriously cool bass - can't help with identifying possible replacement parts - maybe the body was serviced in some way in '81 (electrics cleaned or serviced?).

How's about an Olympic white? That'd be my pick - provided the body doesn't have a nice ash grain pattern. If I could - I would have a nice ash body, or maybe a lightly flamed maple cap on ash, alder, or another lightish coloured wood. Or maybe not. A mahogany or walnut body could look sweet.

Cute bass. The dot inlays are less striking than the sharkfin inlays - I'm not sure I'd choose them - but the more contoured body could make all the difference. Enjoy!

+1 to the short & medium scale suggestions. Just like someone with particular weight requirements (in a bass that is . . .) - you'll have to be considerate of your limitations when selecting a bass. your best bet is to have a feel (of a bass that is) and see how it feels standing and sitting. As a beginner I'd suggest a fairly budget bass. 2 pickups is ideal for flexibility of tone - but if you find one with 1 or 3 that you like, don't let that stop you. If it sounds good - it is good! When it comes to humidity - A sealed finish should do better than an unsealed finish. I'd imagine a semi acoustic bass with F-holes and unsealed wood inside it will suffer a lot more with humidity shifts than a solid body instrument with intact solid finish. Another concern would be the neck - An unsealed neck or fretboard could cause issues. Unless someone has removed the finish on the back of the neck this will probably not be an issue. Unfinished fretboards like rosewood or ebony are usually woods with a lot of natural oils and resins that can tolerate humidity a lot better than say unfinished maple or pine. If it was me - I'd take a look at some well regarded basses with short or medium scales - like the ibanez mikro:

I remember this beautiful thing! Such potential. Hope things have worked out for it, and Kiwi!

That can happen to the best of us. Better to not cut enough than too much though. Odd that the cover flexes out when the pickup is inserted - I guess it's just how the plastic cooled after being formed.

Good stuff. Let us know how it turns out.

[quote name='chrismuzz' timestamp='1431634386' post='2773546'] Pretty much every heavy metal album ever released could do with a bit more bass... Iron Maiden are one of the only bands that don't suffer from this, and that's only because Steve Harris is the man in charge! [/quote] +1. If not a tweak of the level in the mix, then a more severe EQ of the guitars to let the bass roar.

The great thing about a 5 string is you can switch between BEADG and EADGC fairly simply (usually with a new nut and a setup). I've found the 34" scales I've had don't have the articulation on the B string I'd like to see. For that reason I've been considering 36"+ if I look at acquiring another 5 string bass. For fretted and fretless - I've found the heavier gauge of the B string a challenge. I'm still working on it - but I can see the advantage of the extended range - provided it can be played fluidly.

Search your feelings - perhaps a P bass is not where you want to be at this time. Maybe it's just a case of being in the right frame of mind, and finding a P with the right pickups, setup, strings and amplification for you to find a perfect storm of bassiness. Perhaps not.

Great track. Not sure how anyone could hope to improve that mix either - except for maybe a little bump to Ellefson's track to make it rock even harder in the mix.

Depends on a few things. For metallic strings (regular, uncoated, conductive strings) I think a good ground from each string to the main ground is best practice. With single saddles like: I'd think grounding each of them would be a good idea. With insulated strings, non magnetic strings (like the Kala U bass type), or basses that use non magnetic pickup systems (piezo, lightwave, or others), I think there may be situations where the bridge being grounded may make no [s]different[/s] difference.

Bizarre - Some pretty beautiful woodworking, judging by the photos. Only thing is, when it came to fit the bass hardware it didn't go quite so well. Countersunk wood screws to mount the pickup is just lazy, the pickup and bridge are, I suspect, mounted at an angle - or at the very least the uncarved wood is not shaped to the bridge or pickup outlines in a way you'd expect at this price point. Looking at the things the seller has on ebay - it's a pretty varied catalogue - carved guitar stands, acoustic instruments, electric instruments... All with some pretty heavy embellishment: Another bass: [url="http://www.ebay.co.uk/itm/BLUEBERRY-NEW-HAND-MADE-AND-CARVED-ELECTRIC-BASS-LANGCASTER-PICKUPS-/121494192734?pt=LH_DefaultDomain_0&hash=item1c499e425e"]http://www.ebay.co.uk/itm/BLUEBERRY-NEW-HAND-MADE-AND-CARVED-ELECTRIC-BASS-LANGCASTER-PICKUPS-/121494192734?pt=LH_DefaultDomain_0&hash=item1c499e425e[/url] It looks like a relatively ordinary bass, heavily modified as Bassassin noted on the floral bass in post #1. The necks may or may not be original to the bodies, and who knows about the hardware. Judging by the similar neck construction on both basses I'd imagine they share donors. The body wood could indicate they started life as pretty similar basses.

Crazy money for a guitar like that - especially with that finish. Looks like it's not aging too well. Serious crazing on the rear of the headstocks. Also signs of abuse. The notion that the signature makes it infinitely collectable is nonsense. Maybe worth a little more, or a fair bit to a fan, but that price is just silly. I would consider it overpriced at 1/10th of that cost. But then I'm not the market.

[quote name='Kempy535' timestamp='1431467544' post='2771771'] Yes you can. Pick ups them selfs are always passive. [/quote] 99.5% of the time yes - but some EMG's and others include a small preamp circuit on each pickup - making the pickup "active" by some definition. There is still a passive pickup within the pickup housing, but it's usually a low impedance pickup that benefits from an onboard preamp to keep signals at a level that'll work well with most preamps.

If it's rosewood - it's an extremely light piece. For pau ferro that's pretty normal - All in all a very nice fretless fingerboard. GLWTS.

How long ago did you purchase the amplifier? Was it bought new? In any case I'd look at contacting GK to see do they have a recommended service person. That way you wont void the warranty. If it's a few years old dropping GK a line won't hurt either. Sorry I don't have specific advice - it doesn't sound good but could be as simple as a part failure (e.g. capacitor or opamp).

[quote name='Paul S' timestamp='1431365299' post='2770542'] I like the idea of a single pickup but, as has been said, where it is makes all the difference. Too near the bridge and, for me, it gets too 'honky'. Too near the neck, like an Epiphone EB0 I had, and it gets muddy. I think the P is perfect spot for the sound I like. Yet, having said all that, I like the sound of the P/J or (some) other twin pickup set up when the middle position is selected, which must be aimed pretty much where I find a single to be honky. I wonder why that is? [/quote] When it comes to PJ or similar 2 pickup arrangements - the P or middle pickup is usually dominant in terms of output - and even when it isn't the case (where the J is overwound or very close to the strings) the J sound is fattened up by the middle pickup - which helps it sound less nasal. Also the mid scoop due to the pickups comb filtering (I think that's the effects name, not certain) helps "clear" the honky mid frequencies. Hence a PJ or JJ generally sounds scooped rather than nasal with both pickups on full. I think this is in large part due to the pickups being wired in parallel on most 2 pickup basses. Series pickups usually have a lot more mids - e.g. series vs. parallel setting on an L2500 I had. EDIT: ikay just posted a more informative post - see above!