Prosebass

[quote name='Thunderthumbs' post='324724' date='Nov 8 2008, 11:13 AM']So how's everyone going to recognise each other on the day then? A prize of absolutely nothing for the best idea [/quote] How about a red poppy ?

[quote name='Protium' post='324923' date='Nov 8 2008, 06:40 PM']Thanks The handles are from Blue Aran: [url="http://www.bluearan.co.uk/index.php?id=ADH34062&product=Case!fslash!Speaker_Plastic_Bar_Handle!comma!_round_cutout&browsemode=category"]clicky[/url]. What sized enclosure are you thinking of building? Personally I'd go for an 8" or 10" speaker. Gona be using the Ashdown ABM head (which weighs more than the cab ). Not had time to play through it much apart from a volume test, but it's nice and loud and nothing has snapped, crackled or popped [/quote] What a bargain they are at that price, I have bookmarked them straightaway. I am using a 6" as I am after building a really small amp (10" cube) I am experimenting with a small 40 watt amp module and pre-amp unit that were £25.00 on ebay. The amp will have just a volume as I mean to use it just in the front room with my Korg ampworks. The other half hates having my gear in the front room so I think a 10" cube will just about sneak in. I am definitely putting one of those handles on the top of it, good link...cheers

Good work mate The side handles are excellent where did you source them from ? I was looking at using an Eminence 6" 300 watt driver for a little practice amp. Looking forward to the sound review. What amp will you be driving them with ?

[quote name='tauzero' post='324210' date='Nov 7 2008, 02:16 PM']I'm not keen on the Warwick Nobby either. I've rather gone off cricket bats in general, in fact. The standard approach to what you're trying to do it to have the body a little extended so it's about flush with the ends of the tuners, then put a strap button each side on the wings so the bass will stand up on them. Due to its tuners sticking out of the bottom, the Warwick Nobby has a special stand which, as far as I can make out, goes right up its bottom. On a more general note, I'd love headlessessesses to be more fashionable, then there would be more of a choice as regards neck profiles and body shapes. I'd really like a brace of 5-string headlesses, fretted and fretless, with neck profiles like my main gigging bass, rather than the thick neck of the 5-string Jack. Must try out a 5-string Status sometime to see if that's nearer the mark.[/quote] I have thought of several designs to overcome this including a "bull bar" around the tuners that is removable and even a golf bag type pop out tripod so the bass just stands up all on its own. The dedicated stand is the sensible way as it means the bass is simpler to build and less expensive. My design just looks so much better balanced with the body ending flush with the bridge end .

Firstly I would like to cite an example of how good I think this forum .....I have had messages wishing me well for the op I had today and thats first class from a forum. I think the layout is easy to use and straightforward and has all the features I need. As someone who initially joined to promote my business and then ended up as a basschatter it has far exceeded my expectations. I have met a lot of funny, sincere, knowledgeable and honest guys and girls and tBBC, and worry if expansion and bling may spoil things ? A separate section with a professional shopfront for business's may be an improvement rather than a "forum section" as such. Speaking for myself I would be happy to donate a percentage of sales generated from basschat for what is after all free advertising. Would a facebook myspace type front page not mean a massively enhanced bandwidth requirement ? I for one hate the speed at which myspace pages load and I have a solid 8 meg download speed. Plus most people who are into that sort of thing ( I use facebook) have already got that facility. I think the present simplicity of the site is one of its good points. For increased revenue may I suggest a charity type auction page within the site where we can donate any bass related items with the postage costs direct to the person donating and the remainder sent to basschat for running costs. a little trust is required but that is certainly not an issue on the forum and you (the moderators) never need to handle anything , just the initial set up. But not for the recycling stuff like beds and sofas just bass stuff.If you want my input and ideas how to run it I'd be happy to help. And one last thing....ban cat pictures....and dog pictures.....and people who.....whoops wrong thread

[quote name='Bassassin' post='323612' date='Nov 6 2008, 05:54 PM']Good question. I remember these from last time 'round and still think the conventional bridge & guitar tuners stuck on the end is a half-arsed bodge which almost makes it look like it was knocked up in a shed. J.[/quote] ouch.....hard words for a Warwick....you will reap the wrath of someone saying things like that. It is hideous and I have just spent all afternoon designing around just that problem . I am using a combined tuner / bridge ala Steinberger and if I extend the body past the tuners it looks wrong. If I shorten the body the tuners stick out and you cannot stand it up without risking damage. A problem indeed...

[quote name='BigBeefChief' post='323598' date='Nov 6 2008, 05:46 PM']How do you put it down?[/quote] Why would you pick it up in the first place , it looks like some 17th century Lute....sorry but its not aesthetically pleasing to my eyes...

[quote name='waynepunkdude' post='323561' date='Nov 6 2008, 04:57 PM']I'm going to start my Stinkray project tonight (basically taking a Stagg ray and painting it green) now if I take the neck off and leave it off for a few days will I need to relieve the truss rod or just leave it?[/quote] You don't want to go relieving truss rods you can get locked up for that ! Take your strings off and look down the neck, if it looks like a banana then as a precaution loosen off the truss rod as the reverse tension when its free won't do the fingerboard any good. If it looks pretty straight leave it , it won't catch no harm.

[quote name='Protium' post='323576' date='Nov 6 2008, 05:21 PM']How much could you make one of these for (but fretted, passive plus a jazz bridge pickup)?[/quote] Pm'd

[quote name='Ice de la aqua' post='323368' date='Nov 6 2008, 01:00 PM']Hello, i have an original 63 Hofner senator bass. It has one pickup, however although it is the original one; it is broken, it doesnt produce the bass tone, only treble. I was wondering if there is any way of repairing it, or if anyone knows someone who can. If not, how to go about putting a new one in. It really plays beautifully apart from the pickup. Looking forward to hearing any advice. Thanks for reading.[/quote] Have you tested the pickup or is it still in situ in the bass and the output is only treble ?

Try this woman on ebay as I have bought Mahogany and American Walnut off her. She can also source wood to order if you want and she ships it quickly. [url="http://shop.ebay.co.uk/merchant/paseo246_W0QQ_nkwZQQ_armrsZ1QQ_fromZQQ_mdoZ"]Paseo on Ebay[/url]

[quote name='Buzz' post='322853' date='Nov 5 2008, 06:26 PM']28.0k ohm ? That's crazy output! Does it sound good?[/quote] The humbucker is a twin coil (obviously) and each individual coil is 14k ohms. These are big pickups with 4 magnets (2 to each side) with the coils at 90 degrees to the normal layout ,ie on their side. They are also heavy at approx 450 grams so 1 LB each. Output is also dependent on other factors and although these are 28k ohms the output is similar to Musicman or Precision pickups which are in the 12-14k ohms range. As a general rule of thumb the lower the DC resistance the more treble response / higher the better bass response. The pickup also suits its position as I was after a smooth rounded punchy sound without the rasp of a precision pickup or the clangyness of a Jazz sound. A Jazz single coil would not sound right in a position so close to the neck as they are generally suited to highs and mids. A Precision pickup would probably of sounded similar to the Humbucker in this position but would have looked wrong. As an attempt to get the sound I was after it has certainly worked but it has a very specific sound and if you like a Jazzy cutting sound (Jaco/Geddy) then this is not the bass you would choose. [attachment=15657:IMG_0705.JPG] You can see the sideways on coils here.

Just received a neck from Chris , no fuss transaction, nice one mate....

Have you got any pictures ? what size is it ? cheers...

Just finished this bass and it has turned out rather well but I'll let you all judge that yourselves. The remit was an inexpensive good looking fretless that was a little different. I mooted the idea with a fellow basschatter and if he likes the outcome will hopefully buy the bass. Specification. Body, Jazz Style in Black Gloss Basswood Neck, Maple Fretless Slim Jazz dimensions 34" Scale Pickup, Artec Humbucker 28.0k ohms adjustable pole pieces Chrome Hardware, Elephant ear tuners, Fender style Bridge (heavy duty) Modified Jazz Scratchplate Hand-made bell plate in 3mm Perspex 1 x Vol 1 x Artec Exp unit . 9 volt active variable boost. Fully copper shielded I always use wide masking tape to protect the finish and draw on center line / scale length and position of parts. [attachment=15607:019.jpg] Scratchplate is modified / trimmed after the pickup position is finalised [attachment=15608:018.jpg] After routing cavities I always seal the wood with a quick drying spray paint. If the worst should happen and the bass gets wet at least the wood has some protection. [attachment=15609:013.jpg] Copper tape shielding is preferable to conductive paint. It costs less, is quicker to apply and can be soldered to. Also remember to run a ground wire between separate cavities that are not electrically connected with the shielding tape. [attachment=15610:011.jpg] Humbucker is a snug fit. Adhesive foam is fitted to its underside to afford some shock protection. Note copper shielding to sides of the pup. When the cover is fitted the pup is totally enclosed and excellently shielded. [attachment=15611:010.jpg] When drilling any holes in a body, especially a painted / poly coated body it is essential to chamfer / countersink the holes. I have recently seen expensive basses (£650.00 plus) that do not do this with resulting damage to the finish. As the screw enters the hole the screw thread will lift any coating and if it is brittle will snap bits of it off. Cut the chamfer gently by hand and not with a power tool. [attachment=15612:012.jpg] Remember to shield the underside of control plates and scratchplates if over a cavity. I even put copper tape under metal control plates as copper is easier to solder ground wires to. [attachment=15613:015.jpg] Try not to solder ground wires to the back of pots. It looks a mess, makes replacement harder and excess heat can damage the carbon track and contact. Try to set the controls out to keep the wire runs to a minimum. [attachment=15614:017.jpg] One thing I hate is the size of screws supplied with tuners. They are generally too small, they can snap and the heads can strip. I always use oversize self tapping screw with a huge head and chunky diameter. Always remember to drill correct sized pilot holes (the diameter of the screw shaft) and drill to the depth of the screw to avoid any wood splitting problems in the future. [attachment=15615:008.jpg] Finished fitting with "chunky" screws. A general point with screws is that a lot of inexpensive hardware is let down by very poor quality cast screws from the far east. They are easily recognized as the threads are generally very rough. I always try to find a good quality steel or brass alternative. [attachment=15617:014.jpg] A small hint on cleaning is to use methylated spirits with a lint free cloth. It is excellent for removing adhesive and evaporates off, leaving lovely psychedelic patterns as it does. It is very inflammable so use well ventilated and don't smoke. As always test a small area of the finish to check there is no reaction. Don't be temped to drink....it tastes awful. [attachment=15623:016.jpg] The finished Bass [attachment=15618:006.jpg] [attachment=15620:007.jpg] [attachment=15621:005.jpg] [attachment=15622:001.jpg] The tone is like a cross between an early Precision and an EB-0. Very percussive and tight. Although not bright in a Jazz sense it has a very clear tone. Output is high and due to the correct shielding is very quiet. Action is set at 3mm and it plays very nice , the neck has surprised me in that it feels much nicer than a rosewood board. To the moderators....if you think this belongs in the tips or technical section or elsewhere then feel free to move the post

[quote name='Buzz' post='317209' date='Oct 29 2008, 12:32 AM']Might get away with a dob of superglue on the end of a thin metal rod, prop it in place and allow to dry, might allow enough leverage to pull the end out.[/quote] Good lateral thinking but superglue needs really flat surfaces to be effective . I would go for a blob of araldite and leave it for 6-12 hours and then try to pull it out.

Just spotted these [url="http://cgi.ebay.co.uk/Compact-bass-bin-speakers-pair_W0QQitemZ280282062018QQcmdZViewItem?hash=item280282062018&_trksid=p3911.c0.m14&_trkparms=72%3A1301%7C66%3A2%7C65%3A12%7C39%3A1%7C240%3A1318"]CABS[/url] and thought they would be useful for someone. They are in Harrogate and are £30.00 BIN. I am tempted to go and get them but know if I turn up at home with them will probably have the riot act read me. He also has some dual concentric 2 x 12's at £40.00 BIN so £70.00 for a full set of PA speakers, bargain

I hope this thread will develop as I for one like headless basses so much I am developing some at the moment. To take the portability one step farther I am working on a 28 1/2" scale headless model with a slightly smaller body than standard and another one that will make a Steinberger look bulky ! To keep string tension high I am using 115-95-75-55 string sets which aids the action as well. I am hoping to get the whole package in a case 32" x 14" which looks tiny at the side of a full size case. I have even though of putting a 40 watt amp and 2 x 6" bass drivers built into the case for a totally portable set-up weighing in at around 10 kg's any thoughts welcome.

[quote name='noelk27' post='320536' date='Nov 2 2008, 10:19 PM']No, I can’t agree with that. Apart from the fact that the Stradivarius studio made more than just violins, the instruments they made were unique. They were unique, not because of the woods selected, or the craftsmanship employed, although those played a part, but because of the way in which the finishes were applied. The studio developed a type of coating and a method of applying that coating that allowed the woods to breath, and not smoother the instruments tone. What they realised was that the final layers of finish had a profound influence on the tone an instrument would produce, and they did something that no other studio did with their coating process. Add to this that the instruments they manufactured were produced in very limited numbers, and you have your answer. I have no experience of playing a Stradivarius, but through RSNO know of someone who has- a leading player, in whose opinion the instrument she played vibrated in a way that no other instrument she’d played before had ever done. As for vintage basses, at it’s simplest, what people pay for is character. Forgetting that the numbers produced were much smaller than today, that the tolerances in manufacturing were wider, that the finishes had an influence on the characteristics of the woods, and that the woods themselves mature, people pay for character.[/quote] I have read that the wood had a major influence on how good a Stradivarius sounded. It has been researched and found that the wood used in them was from a period were the winters were mild and sunny and the summers cool and wet. This meant that the 2 annual growth patterns (winter and summer) were very similar so the wood had a very even consistency in its growth rings. I think the manufacture and coatings just added to this. As an acoustic instrument this is of paramount importance compared with a bass which essentially is a lump of wood / plastic with a pickup on it. How good an instrument is has little to do with its value. In 1981 I bought a Hofner S7B bass. I bought it from Barretts in Manchester and I actually went in the shop to buy a Wal. On comparing the basses the Hofner was better made, nicer to play, sounded better and had a better pickup and electronics. I still have the Hofner and would be lucky to get £200 for it whilst the Wal would be in the £800-£1000 range. I would gladly buy Jaco's old Jazz for $75,000 dollars rather than spend the money on a car or 6 custom basses just because of the Mojo / Kudos associated with it and the fact it will be an investment. Old Fenders of all ilks are the same. Some of the basses I make will blow away a Fender for half the price but they will never have that logo on the headstock. The nicest sounding Precision I have played was a mid 90's Mexican model and the best Jazz a 76 Model. I have played late 70's Ricky's that I though were terrible things akin to playing with rubber bands and have found some £89.00 copies to be really nice basses. So basically, Name, Age, Kudos, Mojo , Actual Quality ......seems to be the order of the day with older basses.

Most lined fretless necks are off the same production line as a fretted bass so the lines are were the frets would have been. With correct intonation you will find your fingering is just behind the line. Fingers are much thicker than a fret so if you put the middle of your finger on the fret line you will be sharp. If your finger is between the fret lines you will probably be fingering flat. I find many fretless basses are set up wrong with regard to intonation and the player adapts to playing in tune by ear. When I set up one of my fretless basses I first set the scale length to exactly 2 x the distance to the 12th fret line or if not lined I put masking tape on the neck and draw the 12th fret in. To then set the intonation I use a credit card to hold the string down exactly on the mark of the imaginary 12th fret and adjust the bridge to set the set string length accordingly. If time is taken and correct string length is obtained you will find that your fingering will be consistent over the entire fretboard. One of the problems with the Ashbory is due to the very short scale. At the upper fret lines you only need to be 1-2mm out on your fingering for it to sound terribly out of tune, obviously this is less of a problem the longer the scale gets. Play through a good chorus pedal and you'll never notice....