ikay

Technical blurb from Audere here: - [url="http://www.audereaudio.com/TechDetails.htm"]http://www.audereaud...TechDetails.htm[/url] A passive varitone control does something similar using a stepped tone control with different value capacitors: - [url="http://www.certainbass.com/varitone.html"]http://www.certainba...m/varitone.html[/url] - [url="http://www.seymourduncan.com/tonefiend/guitar/a-modern-vari-tone-alternative/"]http://www.seymourdu...ne-alternative/[/url] I have an Audere in my JO4. Great little preamp IMHO and the z-mode adds real body to the sound. Yes it can be addictive! But I love the punch and clarity of a jazz so tend to use it on the 'standard' z-setting most of the time.

There was a bound version on ebay UK not so long ago - can't find the original listing but I think this was it - http://www.worthpoint.com/worthopedia/ibanez-artist-bass-1976-276355996

Here are a few links with pics - nice looking bass: [url="http://flatericbassandguitar.blogspot.co.uk/2010/09/ibanez-old-and-new.html"]http://flatericbassa...ld-and-new.html[/url] (see fourth pic down) [url="http://www.ebay.com/itm/1977-Ibanez-Artist-Bass-Guitar-2620b-Made-Japan-Rare-/280884276438"]http://www.ebay.com/...e-/280884276438[/url] [url="http://www.talkbass.com/forum/f126/fs-feeler-very-rare-vintage-1977-ibanez-artist-878745/"]http://www.talkbass....-artist-878745/[/url]

Here's an eq chart for the 3-band SR preamp [attachment=125488:Stingray5-EQchart.jpg] This link may also be of interest - [url="http://forums.ernieball.com/music-man-basses/42214-stingray-sound-examples.html"]http://forums.ernieb...d-examples.html[/url] It gives a detailed comparison of various Stingray eq settings along with sound samples for several; different SR models

This link might be worth a look - http://www.talkbass.com/forum/f38/music-man-sound-pickups-739218/

[quote name='apa' timestamp='1355913205' post='1904236'] Placing the twin Jazz in the MM position is OK but would one ofn them still be in the Jazz position!!!! [/quote] Not quite. As stoker says, the stingray pup position falls between the 2 J pups. See measurements below for comparison. These are measured from the centre of the 12th fret to the centre of the polepieces in mm. MM Stringray 5 - 332 neck coil / 356 bridge coil Fender Jazz (60s spacing) - 277 neck / 367 bridge Fender Jazz (70s spacing) - 277 neck / 377 bridge Fender Precision - 281 G D coil / 309 A E coil

Some comments here to get you started: [url="http://basschat.co.uk/topic/151628-what-gauge-strings-do-you-use/"]- http://basschat.co.u...ngs-do-you-use/[/url] [url="http://basschat.co.uk/topic/82233-different-sounds-from-different-gauges/"]- http://basschat.co.u...fferent-gauges/[/url]

See this post on Talkbass - http://www.talkbass.com/forum/f18/calling-all-yamaha-trb-owners-will-fit-585529/ I think these are the ones - http://www.stewmac.com/shop/Tuners/Bass_tuners/Individual_Gotoh_Compact_Bass_Tuner.html

The TalkBass link doesn't answer the specific question on modding the cap values but does discuss the function of the bright switch so may be of interest. - http://www.talkbass.com/forum/f15/trace-elliot-v-type-tube-preamp-question-201756/

[quote name='neepheid' timestamp='1354799998' post='1890505'] Jedson? [/quote] +1 looks like a Jedson tele bass - [url="http://www.pbase.com/merlenmeyer/jedson_bass"]http://www.pbase.com/merlenmeyer/jedson_bass[/url]

Try contacting Yamaha UK technical support and ask if they can supply you with a replacement tuner - Tel 0844 811 1116 (Mon-Fri 9am to 5pm)

Somewhere that can do live recordings of a 6-piece local covers band for a demo. Looking for an engineer wiith an ear for the jazzy/bluesy end of the spectrum rather than rock/metal and who can get a good 'live' studio sound. Some overdubbing and cleanup likely but will keep this to a minimum. Can anyone recommend anywhere?

[quote name='wateroftyne' timestamp='1353574687' post='1876113'] The 'View new content' button is the way... hit that, and you're presented with all the new posts on a shiny plate. :-) [/quote] Hmm, thanks I'd missed that button. All the new posts are jumbled up together though. Would be nice to be able to filter this by forum, although I guess that would be the same as visiting the individual forums! I just found the 'last post date/time' marker on the old forum homepage a useful way of quickly scanning which forums had new posts since I last looked.

Ped, on the 'forums' home page it used to indicate the date/time of the last post against each forum. Now it just indicates the number of topics and replies. The last post date was useful as a quick way of scanning which forums had been updated since you last looked. Any chance of resurrecting this? Or maybe I'm the only person who found it useful, in which case please ignore!

String tensions for Thomastik flats (and rounds) are listed here if that's of any interest - http://www.thomastik-infeld.com/guitars/levels/products/stringfamilies/out/jeb.htm

Could be a twisted string. B strings are more prone to this than the other strings as they're usually a pretty tight fit at the bridge and can easily develop a slight twist when installing. Try this - loosen the string until the ball end at the bridge is free to move (wiggle it a bit if necessary). If it's twisted then it should untwist itself. Then retune and see if any improvement. When installing new strings try and make sure the ball end at the bridge isn't bnding and is free to move and find it's own natural (untwisted) position before tuning to pitch.

5ers are generally designed for a low B (BEADG) but will usually be capable of being strung with a high C instead (EADGC)

[quote name='JapanAxe' timestamp='1353174981' post='1872459'] Loads of Godin guitars on the website [/quote] I can see loads of Godin guitars but no basses (or maybe I'm not searching the site correctly)

[quote name='Dingus' timestamp='1353173319' post='1872429'] ... the outer strings in effect recieve less relief from the truss rod ... [/quote] Now you mention it I guess they do (although I hadn't thought of it like that!). It's all to do with the outer strings not running parallel to the centreline of the neck. When the strings are splayed out in this way, the radius of curvature of the neck in effect creates a 'bump' that the string has to pass over. Take something with a really tight radius such as a broom handle for example. Pin a string at one end (the 'nut') and then again at an imaginary bridge further down. Providing the string runs parallel to the centreline of the handle the action can go as low as you like. Move the 'bridge' end of the string slightly to one side though and the string will quickly bottom out as it passes over the 'hump' created by the curavture of the handle. Of course, if the board is completely flat the action can go as low as you like and you don't have to worry about any of this. Just one reason to buy an ACG!

Godin A4/A5 SA? Would be interesting to be able to demo synth access. Marleaux is another brand I'd like to see.

[quote name='Dingus' timestamp='1353165173' post='1872306'] I was wondering if the difference in action between the Lakland and your 72 Fender could be to do with the difference in the fret work on each bass as well as the radius? [/quote] Yes, I'm sure the fretwork does also have something to do with it. The JO4 has an exceptional neck (it's an early one from 2002 so pre Plek - in my view a positive!). The '72 still has its original frets and has been played a lot in its life. A classic workhorse bass with all the associated mojo. The frets have been dressed a few times and are getting a bit low. It's a great player but does require a slightly more forgiving action the the JO. I had a Noel Redding Jazz until a couple of years ago which also had a 7.25" neck. This had narrow vintage frets which were in very good shape but the neck still needed a little more relief and a slightly higher action than the JO. Basic geometry comes into play here. The narrow nut on a Jazz means the strings are splayed out towards the bridge (a little more than on a Precision). The top and bottom strings in particular are therefore running at quite an angle to the centreline of the neck. Doing this on a neck with a small fixed radius means that the outer strings will choke/buzz (around the middle part of the neck) if the action is too low. The larger the fingerboard radius and the more parallel the strings (ie. wider the nut), the lower the action will go before choking/buzzing. A compound radius also helps with a low action.

I have a 72 J with 7.25" radius and a Lakland JO4 with 10" radius. By way of comparison, I can feel that the '72 has a slightly more curved board but in general terms I find them both as comfortable to play. The bigger radius and flatter board is a bit more comfortable when playing further up the board and above the 12th fret. I can also get a lower and faster action on the JO than the '72. As I like a fairly low action with very little neck relief my general preference is for a larger radius (10"-16"). Having said that the '72 suits a more medium action and the 7.25" radius somehow feels 'right' on a bass of this vintage. All other things being equal though, If I was buying a 'modern' bass I'd go for the bigger radius.

Just sold my Epi Allen Woody to Etienne. Absolute pleasure to do business with. Thanks Etienne and enjoy the bass!

Taken from the FAQ at www.professorstring.com: [b]"Why are some bass strings tapered?[/b] There are two popular theories that suggest a tapered design is better than non-tapered. The first theory suggests that having too much mass at the string's fulcrum point (the bridge saddle) effects performance, particularly stability and clarity. In theory, tapering eliminates the problem. The second theory suggests, by eliminating the windings from seating on the saddle, tuning performance can be improved. In theory, tapering also eliminates this problem. Is any of this true?...you be the judge." A tad inconclusive I have to admit! I don't use them regularly myself but on the occasions I have I've found the string to ring a bit more clearly than non-tapered. Perhaps something to do with the tapered part giving a cleaner break angle over the saddle.