HowieBass

The signal carrying central conductor has an outer covering which is then covered by the braided shield before we then have the outer, possibly coloured sheathing. I reckon if anything is going to contribute to cable capacitance it's the rubber/plastic between the central conductor and the braiding rather than the outer sheathing.

Just in case anybody hears of or gets offered anything from this £30,000 haul... http://www.bbc.co.uk/news/uk-england-manchester-30414007 ... the items stolen were a Yamaha drum kit, Roland and Novation keyboards, Fender amplifiers, and three guitars - a black Fender Telecaster, an orange sunburst Washburn Augusta and a black Epiphone Les Paul. Various guitar stands, cables, effects pedals and percussion instruments were also taken.

I think this is becoming a bit of a pantone-mime... ... I'll get me coat.

I'm guessing there would be the difference due to potential phase reinforcement or cancellation of the harmonic partials in just the same way you get with conventional parallel wiring. Am I right in assuming that pickups in series present the combined impedance of both so in effect you have the equivalent of an overwound coil and the reason for the thicker (muddy?) sound is that you have something like a 250K pot connected where you really ought to have perhaps a 500K? I suppose you could try to engineer something like a 250K resistor which gets connected with the pot when you go into series mode?

Ask Adam Ben Ezra... http://youtu.be/0N2UOxkcs8w

At this point I'm going to have to say "Colour me dubious... "

[quote name='BeardyBob' timestamp='1418194323' post='2627772'] oh, so you're not interested in my results? [/quote] Cable capacitance makes a difference - good cables with low capacitance pass essentially all of the signal (and in particular the high frequencies) whereas poorer quality cables with higher capacitance attenuate the higher frequencies. A passive tone control employs a fixed capacitor with a potentiometer to roll off high frequencies which is why you don't want to add another one (in the form of a poor quality cable). That's why some cables sound better/different to others, so capacitance is important as is how well shielded they are and the integrity of the jack plugs. But yeah, has to be black for me...

[quote name='stingrayPete1977' timestamp='1417861905' post='2624617'] They haven't? Unless you meant like this? [attachment=177975:bass head body.png] [/quote] The Delano pickups are upside down compared to the right-handed model, most instruments with named pickups have the writing readable with the bass oriented bridge at the bottom, neck at the top. On that leftie you'd have to hold the bass neck down to read the name - I suppose it's done because the MM style pickup has asymmetrical mounting ears and the left-handed bass body is shaped and routed as an exact mirror image of the right-handed version.

Your speaker looks like one pictured on this website http://www.ampaholics.org.uk/vintage%20speakers.htm they might well be able to tell you more about it and its value.

I've thought for some time that neck wood and construction ought to have more of an influence than body wood and many of us already know about dead spots and how changing/adding mass to the headstock can move dead spots around (or hopefully eliminate them). I read (and have found) that there is a dead spot on the Cort Curbow neck on the higher A# for older basses with single piece maple necks (my Tanglewood/Cort Curbow 5 exhibits this to a degree with shorter sustain at that position) and that this was lessened with three ply maple necks on later versions. I also agree about fingerboard material affecting tone too; I've heard it with maple and rosewood faced necks demonstrated in a video that appeared in a thread on here, maybe influenced by the way the frets couple with the fingerboard material?

Great looking bass - a nice early Christmas present then! Happy NBD

If you want Marshall then why not contact the company themselves and see if they'll provide a dummy head and stack seeing as it'll be a case of product placement? http://www.marshallamps.com/

Have you tried chaining the detune (acting as a subtle chorus) and reverb effects with it yet? I find the Zoom B9 equivalents work well with my fretless bass.

What you'll be learning to begin with are a few different patterns of notes for each bar and the complete pattern of 12 bars can start with various notes depending on what key the song is in. To start with play whole notes with 4 to the bar (counted as 1,2,3,4) but as you gain in ability you can play faster runs (such as 8 notes to the bar, counted as 1,and,2,and,3,and,4,and). There are variations on the note patterns but the relationship between the bars usually follows something like A,A,A,A,B.B,A,A,C,B,A,C where the A, B and C letters denote bars/patterns (not the actual notes you'd be playing). There are many different ways to construct bass lines for songs - have a look at this http://www.dummies.com/how-to/music-creative-arts/music/Bass-Guitar.html

I'm well acquainted with the track but I'd no idea the gang behind it looked like that - great stuff

You'll still need an extension cab to get 500W out of the Fender Rumble 500 V3; as the combo alone it puts out 350W. However it's said to have a great tone and a very loud 350W from something so compact and light.

You might have a guitar playing the same line as the bass?

[quote name='stingrayPete1977' timestamp='1417806930' post='2624269'] Well mcnach will be along to tell you to get a John East 3 band which would be cool but I think a guy on ebay sells the 2 eq quite cheap, theres not much to them really. [/quote] Is that the Retrovibe Stinger preamp? http://www.ebay.co.uk/itm/NEW-Retrovibe-Stinger-Classic-MM-Stingray-Bass-EQ-pre-amp-2-band-pre-EB-circuit-/281130564526 Is it better than the stock SUB preamp?

Nice looking bass, I see they even 'reverse' the pickups compared to a right-handed instrument. Happy new bass day!

I'd say the more likely explanation of the variation in blue is down to the white balance of each digital image - a common issue encountered when it's left to the camera to decide what type of illumination is present (when left set to AWB - Auto White Balance). One image looks a lot warmer than the other (the one you like, that's the one I'd get too) but until someone sees an example 'in the flesh' it's hard knowing which is closer to the truth.

As I mentioned earlier you might need to boost the mids to hear yourself in the band setting.

If it's just started happening and you haven't had the grounding fault with those basses previously (and that could be what the hum is by the sounds of it) then I'd suspect a fault with the earth to the amp - try a different power lead or have a look in the mains plug itself (if it's the type you can open up rather than the moulded on variety) to see if the earth has come adrift. You could also try the amp plugged into a different mains socket just to eliminate that too.

Well it's true that heavier gauge strings are reputed to be louder but I've usually used either a 40 or 45 for the G and can't say I notice any difference in volume (though I always have matched sets so the rest will follow suit). I reckon you'll get more volume by adjusting the pickup height. By the way, are you using the same gauge strings on your other bass? Good luck with the experiment anyway!

Hmmm, well if you're playing in front of music tutors at degree level I'd hope one of them would be able to pinpoint the issue; no harm in asking - plus if it's anything like my visual art degree I'd have thought you'd have a group crit afterwards where you could also pursue the topic. After you've satisfied yourself that you have an even volume across all strings I'd look at beefing up your mids and maybe cutting some bass for when you're playing in the group situation - that ought to help you hear yourself better.

I agree with Mike regarding checking up on your condition - you'll also certainly help yourself with lighter gauge, lower tension strings and your bass set up with a properly cut nut and a low action.