Maude

Just to add to Grangur's excellent advice, I've found electrical work so much easier since getting a decent soldering iron. I used to use a cheapy 30 or 40 watt stick type but bought a digital soldering station when Maplin had them half price. The extra power means the pots don't get overheated. With a low power iron the posts act like a heatsink and the solder took ages to flow nicely, with more power the solder flows almost instantly and the pots stay cool.

Could the pole piece be pushed back into place from underneath and a spot of hot glue be applied to hold it?

I use a vast range of electric and pneumatic power tools in my job and hobbies, but I've never been near a bass with one. There's nothing on a bass that's so time consuming you need to use power tools (apart from refinishing but that's a different matter).

I may have missed it but has this thread run for two pages without mention of Lemmy? I wish I could sing and play, I can barely nod yes or no to someone without completely forgetting how to play a bass for a minute.

I use a PJB Suitcase (with the 4B extension cab) with my doublebass, using a piezo pickup. The amp is fine with the bass plugged straight in but obviously has no HPF. I do use an FDeck but purely to relieve the load on the drivers. With the Fdeck on its lowest setting the amp has no discernable volume or tone difference between plugging straight in or using the Fdeck, apart from that cleaner sound without the subsonics. It really doesn't need the buffer.

When a guitarist uses these leads the labels aren't to let them know which end goes into what, rather that when everything is connected it let's them know what the item is at each each end of the lead. There's nothing more embarrassing than sitting your guitar on the floor behind you and trying to bash out power chords on the amp strapped over your shoulder.

I'm wondering how the signal can only go one way through the lead necessitating the INST and AMP labels 🤔

I think the current sellers state of mind and perception of reality is more questionable.

I'm going to have to try these when I need a new set. Currently use D'Addario halfrounds as I like the high tension, smoothness and fundamental thump of most flats but need a bit of roundwound zing. I was worried about the tension of these but if they are the same as Chromes or higher then I'd be a happy bunny.

I use a Variax 😋 I seem to like what everyone else doesn't

I've had mine around the same time and haven't had the slippage problem either, and I use it predominantly with a Variax so a very heavy bass. I like the fact it's a bit slidey on the shoulder, that was a main concern when buying it. I hate straps that grip your clothing and drag your top over your shoulder, nothing looks worse than a sharp suit getting all rucked up, I do like to play with my bass at various angles though.

I'm going to sound like a pretentious d!ck but I really don't remember what I think when I'm gigging. I'm so absorbed in the moment that I think my mind is empty. Clearly I must be thinking about the performance but it's all a bit Jekyll and Hyde, I'm two different people on and off stage and don't really recall one when I'm living the other. Told you it would sound pretentious :D.

Don't put up with sh!t. Don't be unpolite and don't become arrogant but never put up with sh!t.

If we're going down the Shatner route, this one is brilliant, with a bit of help from Joe Jackson on vocals.

What do we call the ones that go on your fingers?

That looks lovely. What's going on in the soundhole, just a design or something to do with tone or projection?

They are amazing.

Of course the other problem with public transport is the public

Do they have the 'middle aisle of mystery' over in the states Aldi's as well where they stock all the random stuff?

Maybe the landlord was watching on bemused that you didn't think to politely ask them to move to another table, or offer to move theirs, rather than obstinately set up around them with the "it's not my job to ask them attitude". Maybe the people at the table thought if we're in their way they'll ask us to move, but the request never came. Not having a dig, just playing devil's advocate. Different folks see things differently.

Where I live there are few busses, if I got the bus I would have to change busses at the nearest town to get the bus to Plymouth (nearest instrument shop), a considerable wait between busses. All in it's about an hour and three quarter journey. The nearest train station is five miles away, so drive to the train station, pay to park and then get the train. Both of these journeys are considerably more costly and time consuming than just driving myself into Plymouth, half an hour by car. For some people, public transport really isn't an option. I worked out once that for a place I used to work at, if I left home at my usual time and aimed to arrive home at my usual time, using public transport I could be in work for one hour and twenty minutes rather than the usual nine hours. For some is just doesn't work.

Also the Hofner Club bass (presumably violin type as well) will get that sound with some eq-ing. The ignition, which is the cheapest is fully hollow with vintage sounding pick ups, the contemporary is about twice as much but has a centre block and modern sounding pick ups, the proper ones are silly money. The ignition is the one you want for that sound unless you want to spend out for a real one. My Longhorn seems too aggressive to get this sound. Obviously more bass and a fuller sound but the tone is there.

I had some terrible no name EBO copy, the body was about a centimetre thick and was virtually unplayable, I didn't know about setups then, also I only had a Marlin guitar amp. I joined a band and bought a green Yamaha Attitude Special from Manson's in Plymouth. It was a revelation. We sacrificed the EBO copy to the bass gods on a bonfire in the back garden in return for magical bass powers.

I'm sure it'll be the adhesive that's the problem. Our mandolinist had a stick on p/u a while back that had some special gum type adhesive with it. He couldn't find it and tried a double-sided foam tape pad and it was terrible for the sound. My theory is that the foam was acting like a damper and absorbing the vibrations. If your bass sounds the same acoustically with the new bridge then it surely can't be the bridge changing the sound with the p/u, can it?

Just bought a doublebass string from Dave. I paid in the evening, it was posted the following day and received the day after. Top stuff, thanks