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[quote name='The Goatreich' post='666030' date='Nov 26 2009, 12:14 PM']I've been offered discount with Picato strings and was wondering whether anyone has and good or bad experiences with them? They're cheap as chips, which is what worries me, but in order to take advantage of the discount I need to buy in bulk, so don't really want to spend that much money if I'm going to end up with a load of sets of strings I don't like. I've always used Rotosounds Swing bass 5-string and got on very well with them, but they are very expensive.[/quote] I've had an endorsee account with Picato for some years and have always been very happy with them. Generally use nickel rounds, various gauges on 4s and 5s, passive and active. Well balanced tone to my ears and as durable or better than many other brands I've tried. Fantastic value and very friendly service from the folks down at Treorchy

[quote name='richrips' post='832418' date='May 9 2010, 06:23 PM']Just checked out the link for the technical paper. Fascinating stuff. I like the idea of putting a load bearing member beneath the fingerboard at the inertial cedntre of the forces acting on the neck, rather than rely on wood, with its weird respnses to temp/humidity.[/quote] Are you aware of the Bunker Tension Free neck? More info here [url="http://bunker-guitars.com/articles/tension-free.html"]http://bunker-guitars.com/articles/tension-free.html[/url] and patent doc attached. [attachment=49335:Patent_US7326838.pdf]

[quote name='richrips' post='832179' date='May 9 2010, 01:46 PM']The truss rod is usually situated just beneath the fingerboard. It's job is to counter the bending effect of having strings under tension on one side of the neck. To do this it provides a tensile force of its own.[/quote] The attached technical paper from Fender exploring an improved neck and truss rod design may be of interest [attachment=49310:Guitar_neck_design.pdf]

[quote name='alanbass1' post='830296' date='May 7 2010, 08:06 AM']If you have a rack my favourite is the DBA160A - very easy to use and very transparent[/quote] +1 on that, I've just acquired one and it's studio quality gear, very well thought out controls and you can see exactly what's happening to your signal

I need to change the effects loop on my LM III from parallel (factory default - goodness knows why) to series. I have a service manual for the earlier LM II which shows how to do this - it's a very simple mod and just requires two jump connnectors to be changed, one on the preamp board, the other near the rear panel send/return sockets. Unfortunately the circuit board in the LM III is a little different from the LM II. Does anyone out there have a service manual or circuit diagram for the LM III or instructions on how to make this mod to the LM III? Thanks

The LMIII effects loop is factory wired in parallel - OK for some effects but not ideal for others such as a compressor. I have details on how to change it from parallel to series by adjusting two jump leads inside the amp but would prefer a mod that added a parallel/series switch. I contacted MarkBass who advised that it was not possible to add a switch, only hardwire it for one or the other. Just wondered if anyone out there knows different and has managed to add a parallel series switch to an LMIII or can recommend a good amp repair person who could advise or make this mod?

[quote name='alanbass1' post='818847' date='Apr 26 2010, 08:19 AM']Don't dismiss 12" cabs. I use a pair of Bergantino 1x12's and they are great as well as portable - huge sound[/quote] +++ a pair of Bergies is a great way to go, fantastic depth of sound and easy to lug around. I use mine with an LMIII and it's a no hassle great sounding rig. Not cheap but the best gear investment I ever made

The following may help (taken from [url="http://forum.ibanez.com/Default.aspx?g=posts&t=69722)"]http://forum.ibanez.com/Default.aspx?g=posts&t=69722)[/url]. Other factors affecting tone include the gauge of the wire (as well as the number of turns) and the winding pattern (which affects capacitance and harmonic content). Manufacturers can determine the amount of output and tone a pickup has by altering two basic things: 1) The strength of the magnet. A stronger magnets creates a stronger magnetic field, and when that field is disrupted by the vibrating guitar string, a greater amount of flux is produced, generating a stronger signal. An unfortunate side effect of the stronger magnetic field is string pull. Extremely strong magnets can actually attract the strings and kill their vibrations, killing the sustain of the pickup. 2) The amount of turns of copper wire or the type of wire. Increasing the amount of copper or increasing its size will increase the resistance (impedance) and the inductance of the pickup, resulting in a higher output . A result of increasing impedance is the attenuation (loss) of highs in the signal. "Overwound" pickups are usually very bass and mid heavy and lack highs. Pickup makers will experiment with these two factors (along with others) to change and create the sound of a pickup. For example, manufacturers will often use higher output ceramic magnets to retain some of the highs of their higher output pickups since the increased magnet strength will allow them to use less copper wiring, attenuating less of the highs. One common misconception about pickups is that magnet have a direct effect on your tone. This is not true!!! The "Alnico magnets are warm, Ceramic magnets are harsh" theory is madness!! The role a magnet plays in the pickup is to create the magnetic field. The strength of the magnetic field determines the pickups OUTPUT, and different magnets can have different strengths. Tone is determined by the diameter and amount of copper wire, which creates the amount of inductance on the pickup. Remember, the higher the inductance and impedance, the less highs are put out. Magnets can have a small impact on some of the characteristics of the notes you play. For example, ceramic magnets have a higher output, which will generally create more punch and a sharper attack. Alnico magnets (depending on the type, there are 8) are usually weaker and have a softer, smoother attack, and may have a "spongy" feel. However, this has no effect on the amount of lows, mids, and highs sent out by the pickup, which is defined as tone. There are warm ceramic pickups and harsh alnico pickups out there. Other factors affecting tone and output include construction of the pickup - eg. single coil (generally brighter and lower output) or humbucker (generally darker and higher output).

Just bought a DBX160A compressor from Nick. A real pleasure to do business with. Shipped to me very quickly, a great bit of kit and exactly as described. Many thanks!

[quote name='bubinga5' post='808371' date='Apr 16 2010, 01:30 PM']Hi people...im maybe looking to wire my pickups on my jazz bass into series, as im looking for a bit more lowend...has anyone done this..if so could they give explain what i need to do...for a dummy.. what will i lose in tonal options by doing this? thanks[/quote] Just noticed a Fender S1 series/parallel push switch and wiring diagram on ebay here [url="http://cgi.ebay.co.uk/FENDER-S1-SWITCHING-COMPLETE-ASSEMBLY-FOR-JAZZ-BASS_W0QQitemZ350341640101QQcmdZViewItemQQptZUK_Guitar_Accessories?hash=item5191fd2fa5"]http://cgi.ebay.co.uk/FENDER-S1-SWITCHING-...=item5191fd2fa5[/url]

Wiring diagram for adding a series/parallel switch here - [url="http://www.guitar-mod.com/wiring/j_series.gif"]http://www.guitar-mod.com/wiring/j_series.gif[/url] Thread from TalkBass about the J series mod here - [url="http://www.talkbass.com/forum/archive/index.php/t-262.html"]http://www.talkbass.com/forum/archive/index.php/t-262.html[/url] When in series both pickups are 'in circuit' and on one vol control so you lose the tonal nuances of adjusting bridge/neck pickup balance Gives a much beefier sound and more output but a bit one dimensional if just hardwired in series. Adding a series/parallel switch gives you all the options

[quote name='Jigster' post='808471' date='Apr 16 2010, 02:48 PM']...not a Stingray, already got a 4 and the jury is forever out on it. I like em, but... so what else? never tried either sanberg or lakland, but have a hunch they're akin to the compressed Ray sound?[/quote] Yamaha TRB5 gets my vote. Has a naturally more open and rounder sound than the SR5 but you can dial in some bite when you need it with the two pups and 3 band eq. Great bass (as is the SR5)

[quote name='obbm' post='805551' date='Apr 13 2010, 11:42 PM']My SR5 is 17mm at the bridge, 8.5mm at the nut[/quote] Just measured mine using some digital calipers (how anal is that) and string centre [B] to centre [G] at bridge is 70mm which is 17.5mm spacing. Same measurement at nut is 38mm which is 9.5mm spacing.

Specs of the TRB4 can be found here: [url="http://www.yamaha.com/yamahavgn/CDA/ContentDetail/ModelSeriesDetail.html?CNTID=215&CTID=5068000"]http://www.yamaha.com/yamahavgn/CDA/Conten...mp;CTID=5068000[/url] The original series TRBs are superb basses (I have an early TRB5) and generally considered to be better than the later TRB II series. I had the choice of both when I bought mine and played them back to back - the original had much better tone and just felt more responsive and 'organic'. The II is still a very good bass but look for an early one if you can.

The main things you need to watch out for are significant swings in temperature and humidity. This goes for whether it's being stored for a few months or just out on a stand in a room somewhere. Some basic things to avoid are leaving it anywhere near a radiator, in an attic or in a garage as all these areas have massive swings in temp and hum. I have several basses and keep them in their cases when not being played but they all get a regular airing and check over. I have the radiator in the room where I keep my basses turned down low (or off) to avoid sudden blasts of central heating. If you're not going to play it for a few months then detune by a semitone or so (but not too much). Unless it's in a temp/hum controlled environment the ambient temperature will inevitably vary a little from day to night and when the temp drops the strings will contract and put more stress on the neck - detuning a small amount just provides some leeway for this to happen.

[quote name='BassBod' post='802722' date='Apr 11 2010, 04:11 PM']Sorry if my wording wasn't clear - I don't put wax on the fretboard! I only use the Birchwood "gunstock" wax on the back as a final sealer (but only a tiny amount, wiped clean again in a few mins). Good point about the Warwick finisher/wax - unlike many others that doea a good job on the back of the neck without leaving any stickiness and also doesn't have any of the health warnings you see on the Birchwood products[/quote] Sorry BassBod, I misread your post, it's happening more often the older I get

[quote name='captain black' post='799978' date='Apr 8 2010, 04:49 PM']Looks like one of the older Highway 1's to me. Year's probably about right for it.[/quote] Duh, I'd forgotten that Highways were made in the US. I'm easily confused, please ignore this thread

How many things can you spot wrong with this ...? (apart from everything) [url="http://cgi.ebay.co.uk/Fender-Jazz-Bass-USA-American-Standard-2004-original_W0QQitemZ300414631359QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item45f21b7dbf"]http://cgi.ebay.co.uk/Fender-Jazz-Bass-USA...=item45f21b7dbf[/url] er as pointed out below it's a Highway model with skunk stripe and no through body stringing etc, sorry about that ...

[quote name='Grambo' post='799565' date='Apr 8 2010, 10:16 AM']Having just finished yet another gig racked with neck/shoulder pain due to my ridiculously heavy PB, I think she needs a new home Trouble is - what is she worth? The instrument was fitted with EMG's in the 80's (IIRC) and is otherwise original, but "well gigged" - little dings everywhere and the chocolate brown finish completely worn off an area on the left side of the body. She has a black scratchplate, maple neck (no bridge/pickup gaurds) and she looks great! - a bass with history. The serial number - S872933 - suggests that she was made in '77/78 and I would welcome any suggestions as to how I might establish a fair value. I know it's a long shot but someone out there may have bought/sold a similar bass recently.... Any ideas? [attachment=46736:100_2321.JPG][/quote] You can enter details of your bass on this website - [url="http://www.may-studio-music-lessons.com/vintage-guitar-values.html"]http://www.may-studio-music-lessons.com/vi...tar-values.html[/url] - to get the value. Haven't tried it myself but may be worth a go!

[quote name='BassBod' post='798198' date='Apr 6 2010, 11:36 PM']I think its best to only use "lemon oil" on the fretboard - lemon oil (or tung/danish) on the back, followed by the gunstock wax (small amount) as a sealer. I cleaned one up recently, it works well but is hard work if the fingerboard has got very dirty. I like oiled necks, but I would think about a thin satin nitro coat on the fingerboard - they get dirty very easily.[/quote] I contacted Ernie Ball about cleaning a maple neck last year and they were very clear that wax should NEVER be applied to the fretboard. Their reply (from John Quinn - [email protected]) said this: "For a Maple Fretboard use high grade lemon oil to clean and only Tru oil to seal (DO NOT USE WAX). Ernie Ball Wonder Wipes do a very good job maintaining the Fretboard." Gun oil (eg. Birchwood Casey Tru-Oil) is used to seal the fretboard. The back of the neck can be cleaned and sealed in exactly the same way but is then followed by rubbing in a very small amount of gunstock wax to finish it.

Nick, Musicman guidance on cleaning and maintaining necks can be found here: [url="http://www.music-man.com/faq/music-man-basses/how-do-i-maintain-the-neck-on-my-new-music-man-bass.html"]http://www.music-man.com/faq/music-man-bas...c-man-bass.html[/url] Clean with lemon oil (both maple and rosewood) and then finish with gun oil (you can buy the recommended Birchwood Casey Tru-Oil on ebay). Don't apply gun oil to a dirty neck or it will seal the dirt in. If the lemon oil won't shift it then use very fine sandpaper and then finish with gun oil. This all works by the way, I've done it with mine! Ian [quote name='Old Horse Murphy' post='797788' date='Apr 6 2010, 05:18 PM']This has probably been asked a million times but I can't find anything by serching the forum. What's the best thing to clean a dirty maple Musicman Stingray neck? I've read wonderful things about Murphy's Oil Soap but can't find anywhere to buy it in the UK (and I should know!) Any help would be much appreciated[/quote]

Clarky, if you're after an early P and don't mind a refin might be worth getting in touch with sixshooter to see if his lovely 59 P is still available. I think it might be - [url="http://basschat.co.uk/index.php?showtopic=68691&hl=59+precision"]http://basschat.co.uk/index.php?showtopic=...hl=59+precision[/url] [quote name='Clarky' post='796131' date='Apr 4 2010, 11:50 PM']This guy has a good reputation on eBay (bambibau) and one BC'er has mentioned him positively (albeit I got a very rude reply when I put in a cheeky bid for one of his other basses!) He admits this is a re-fin but states that all else is original. But the neck looks strange to me (the date stamp says '63 but the dots don't look dark enough to be clay, more like white plastic; the headstock which he admits is "thin" hasn't aged much, especially around the decal). Maybe it is legit? Its certainly a beautiful thing. What do the BassChat Fender 'tecs think? [url="http://cgi.ebay.co.uk/1963-Fender-Precision-Bass-Sunburst-OHSC-Rare-Ash_W0QQitemZ250604900710QQcmdZViewItemQQptZBassi?hash=item3a59375166"]http://cgi.ebay.co.uk/1963-Fender-Precisio...=item3a59375166[/url][/quote]