PlungerModerno

Great basses. For the price insanely good. Will grab another, but will probably have different neck fitted. The neck being a little too chunky on an L2500 was the only reason I sold mine.

+1 with the safety talk. Hot water (50 Celsius or more) Will heat up the can pretty fast, if it covers most of the can. I'd recommend a much cooler temperature 25 degrees say - that way the can isn't close to breaking, but it get's close to optimal temperature. I've one to hand that says 10 - 32 degrees celsius. I wouldn't recommend using very old, dented, or heavily rusted pressure vessels. Definitely don't heat them up!

Looking very nice - the grain even matches well... A lot sweeter looking than a plastic plate!

OK - I'll bite: The VOX headstock makes me queasy. I also find the Fodera Headstock on page [s]1[/s] 2 pretty awful. The B string is just placed in an absurd position. my 2c.

Thanks for the feedback. After browsing the photo album showing off the gorgeous work of Mr. Eastwood, I was reminded of an alembic, like the Stanley Clarke arrangements: I guess the SWB-1 is using the short scale, reasonably light headstock and neck, broad and uncontoured body - and crucially, a fairly heavy bridge - a little like the alembic arrangement. Come to think of it the SWB-1 has a double cutaway body like the alembic - but unlike the alembic it has an extended upper horn - the strap button is a at least 3 frets closer to the headstock... Given the alembic has different woods and dimensions (The stanley clarke is usually 30.75" scale) the comparison isn't perfect. P.S. FWIW, I'd have the Kahler as a £200 ish custom order option - most customers will be happy with a simpler, cheaper, high mass bridge. Of course if you can find a great trem for £150 (or less!) that you'd be proud & confident to put into what is, after all, a bass with your name on it - well it's your call isn't it. I know nothing about bass trems so I'll let those who do discuss the specifics. I have only heard good things about that kalher unit however. Here's a nice vid I remember watching of a trem enthusiast who's a kahler fan: [url="https://www.youtube.com/watch?v=aYfihKzF7j0"]https://www.youtube.com/watch?v=aYfihKzF7j0[/url]

Bass 2 sounds a bit "thicker" to me - but they both sound great, with a little EQ I could probably get either two pickup bass to cover a wide range of tones. Both nice, IMO the richwood has a very nice Jazz Bass sound - in a good way. Suprising for a budget shortscale, at least to me. I have plans to try making a medium scale neck for a Jazz of mine - I may make the 32" 30" at this rate!

I'm in the same boat as ikay - I like a lot about the SWB-1 design - especially the tone with those DiMarzios. However I have a question about the upper horn. If the SWB-1 is to produced at a modest cost - wood weight consistency will have to be more flexible than the Eastwood beaut. I know the look might be compromised, but a "long horn" or extended upper horn version, or option, might allow for lighter woods in the body (or greater ranges of body weights) without compromising either the ergonomics, fret access, or the instruments balance. My 2c.

Looking great - the grain is much clearer and sweeter under that finish. For the cover . . . How about a brass sheet, cut to fit, with walnut veneer glued onto it? Did a quick search, it's not excessively costly: [url="http://www.ebay.co.uk/sch/i.html?_from=R40&_trksid=m570.l1313&_nkw=brass+sheet&_sacat=0"]http://www.ebay.co.uk/sch/i.html?_from=R40&_trksid=m570.l1313&_nkw=brass+sheet&_sacat=0[/url] And it's conductive (not nearly well as copper, but should work just fine for shielding).

Gorgeous. Nicely done.

Rotosound Swing Bass Nickel round wound:

From here: [url="http://www.mike-sabre.com/Models/DDiPiazzaModels/DDPFretlessBridge/ddpfretlessbridge.html"]http://www.mike-sabr...lessbridge.html[/url] It looks like the saddle has three adjustments, not 2 as is traditional. I'd imagine the four set screws allow the saddle to tilt to give as much or as little forward tilt as desired to dial in the "Mwah" or fretless tones. Super cool idea. . . but I'm not sure if the intonation adjustment is complicated by this? EDIT: I also found this design: [url="http://www.eyb-guitars.de/Eyb-English/DDP-Bridge.html"]http://www.eyb-guitars.de/Eyb-English/DDP-Bridge.html[/url] Side locking is mentioned - but I'd need to see one working to know how it works!

Very nice . . . If the finish turns out well you should have a gorgeous piece of work - and one happy player! I very much like the accent on the upper horn, and the grain of this piece of wood - nice, without looking like a coffee table!

[quote name='deksawyer' timestamp='1425987508' post='2713026'] I've stuck a post in the leftie section, but I might get a better response here. There's a Jaydee Stingray clone for sale at Bass Direct and Mark has informed me it was made sometime in the 90's and I was wondering if it was a one off, or whether John made a few of these. He's unsure what pickup/electrics are in it... Any Jaydee experts able to shed some light? thanks D. [/quote] I saw it on bassdirect - Looks great, probably an incredible bass with JayDee Quality. Almost makes me wish I played lefty.

[quote name='Kev' timestamp='1425972113' post='2712799'] So, my big block of claro walnut has arrived from California, and looks like it is big enough for a 1 piece body and a 1 piece neck! [/quote]

We'll be waiting on those pics, with growing envy...

As has been mentioned there's a few things to consider: [b]1. String gauge.[/b] Thicker strings need less winds on most tuners. I always want to see two full wraps or more on the post... but I undo the string and clip if overlapping starts to happen. [b]2. Tuner type.[/b] Haven't tried restringing a headless, or one of those fancy locking tuners (sperzel make 'em?) - what I do know is the regular fender tuners have big tuning posts which work great, while the smaller tuning pegs (like on my ibanez) are fiddlier to restring - especially with thicker, stiffer strings. If you switch out strings and want to reuse them, the smaller tuning pegs are much harder on the strings. [b]3. headstock type (tuners and headstock).[/b] A tilt back headstock (like an ibanez SR neck or a warwick) is very forgiving of variable break angle across strings - as long as there is a couple of winds it should work great. Fender type headstocks have little or no headstock angling - meaning winds can effect break angle hugely (doubling or tripling it depending on the tuner and the headstock). I find getting the string as low on the E and A tuning pegs a bit of a chore, but worth it. I usually don't need to clip the A string.

If it's had very little wear, and is all original - I'd say It's extremely rare. I don't know enough about old 'Rays to say definitively. Whenever I see something that mint looking I always wonder about refinishes etc. Some basses just sit in a studio, or a collection so I suppose some of them must be real.

From here [url="http://www.bassstringsonline.com/La-Bella-Deep-Talkin-Flat-Wound-Single-String-Build-your-own-Custom-String-Set_p_1726.html"]http://www.bassstringsonline.com/La-Bella-Deep-Talkin-Flat-Wound-Single-String-Build-your-own-Custom-String-Set_p_1726.html[/url] - They could be Labella's I'm thinking! Not sure otherwise. When I see blue I think of chromes, but those look more like Roto nickel rounds, judging by the silks!

[quote name='Funky Dunky' timestamp='1425818742' post='2710987'] Yeahitwasthebatterypleasedon'tshoutatme. thankyou. *scurries away embarrassed* [/quote] Everyone, or at least almost everyone, overlooks the obvious from time to time - If you've never had an active bass before, it wouldn't even be that obvious.

Just like inlays, binding tends to go on while the neck is being made. Stickers probably won't work as well as with the block inlays - the edge of the fretboard get's too much wear... How would a painted binding suit? a black or white strip, carefully applied over the necks finish, then sealed behind a couple of layers of clear coat could . . . work, be cheap, and not require a load of retouching, refretting, routing or other expensive processes - If you do it yourself you may damage the neck, and if you get someone do it, it could be a lot of hours work (x2 times the cost of a refret maybe?) If it were me I'd look at either stickers, paint, or a new neck! all the best with it anyway!

Loverly!

[quote name='Gareth1' timestamp='1425231816' post='2705356'] Hello all! I have a Stu Hamm Fender Urge II that I bought in 2003 new. Does anyone have any idea what it would be worth now if I sold it on? [/quote] Sorry, no idea about a specific value - but it'll largely depend on condition (e.g. slight use, mint, or well worn etc.) as well as originality (does it have the original pickups and the like).

I don't think this is a daft question - it opens a real can of worms regarding the precise definition of active and passive elements of an electrical system. From what I understand, most active basses are passive pickups with an active on-board preamp. A lot of EMG's are low impedence pickups - which from what I gather generally need battery power to produce a usable signal and are so considered active. From what I gather given how we generally record and listen to bass (compressed, EQ'd, and processed by either a pedal board, amp preamp, speaker cabinet, or recording equipment) the difference between active and passive isn't that critical - if it sounds great, it is great!

Not in london, but the creamery [url="http://www.creamery-pickups.co.uk/"]http://www.creamery-pickups.co.uk/[/url] did custom work for a fair price & short wait times. All the best with the pickups!

Sounds pretty serious . I'd take the neck tilt out of the question - With the neck heel flat in the neck pocket, without shims or the micro tilt set screw changing the angle - with the neck dead straight (with or without full string tension) you should get an idea of the setup possibilities. If there is a 2 mm or more gap at the 12th fret with the bridge saddles at their lowest a neck angle change is advised. I'd try a shim rather than the tilt screw for all but the smallest adjustments. Using a straight edge on the neck you should be able to find any high frets.