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[quote name='PaulKing' timestamp='1438631030' post='2835972'] I just read that back. Actually a remarkably accurate summary of getting on for a decade of online discussion in one post. [/quote] Totally agree. It is what you make it I remember rockabillybass, sadly now gone. The waybackmachine has snapshots of it if you want to look.

This must be an 'outbreak'. I have also started using my DB on the same mission (adventure) in the last month or so. Have tried Silver Slaps (which I like) but just put my old Spiro Mittels on - probably not ideal for slap. I have found Pete Turland on you tube a good starting point with explanations. Chris, if ever Hot Club of Cowtown play Aber again it is a must to see Jake Erwin. The biggest issue for me at the moment is piezo vs schaller magnetic. Piezo with Silver slaps (or anything non magnetic) sound good but feedback is an issue. Magnetic pickup sounds good but the spend to find suitable low tension strings is daunting.

Good advice above, take it to a good luthier. My G&L bought s/h 28+ years ago was vastly improved by a visit to a luthier. Uneven notes on G string magically disappeared, the bass revealed its true potential.

I have a custom built Shermann cabinet 15" 6.5" mid and horn with flat response (I missed my Barefaced Big One that I traded for a Dubster so had this built). Until I got used to it I found it was very forward and unforgiving of poor technique and punished clacky piezos. They are a great company to deal with and will build what you want (at a price). The difference (to my ears) between Barefaced Dubster and full range cabinets is not that vast. I appreciate I am 'getting older' but my hf range is still good to 14-16 KHz. Do you need a flat response cab or a cab that makes your basses sound good? they may not be the same item.

I looked at the same issue when my laptop with firewire died and I wanted the flexibility of a laptop rather than PC. From what I found out (Google / Internet) the firewire to USB converters are not up to the job. In the end I bit the bullet and bought a new USB based recording box. Am interested if you find anything.

Eminently possible. Just depends on your guitar building / woodworking / finishing skills. As a minimum you will probably need some new kerfing. Enjoy

I enjoy my Warwick corvettes (3), have not really noticed neck dive using wide (grippy) leather strap. Then again I enjoy playing a range of basses and appreciate the differences. If you want neck dive I can suggest Gibson SG / EB bass but even this can be conquered. In terms of bang ber buck Corvettes are a steal at the moment.

[quote name='HowieBass' timestamp='1438017481' post='2830897'] It looks to me as if it's been defretted and filler put into the gaps........... It's ok to have open pores in the surface of a fretboard/fingerboard and light wear from strings isn't a disaster. [/quote] Agree with this judgement. The string wear appears to be liveable with, if the gaps concern you that much a luthier will be able to fill them with a mix of ebony dust and suitable glue. The other option is a new fingerboard. Warwick replacement necks, sit down and take a sharp intake of breath.

Following Howiebass' suggestion, unplug battery and measure resistance between battery clip terminals. Also measure the current draw with each pickup disconnected in turn, then both. This will give some more indication where the issue lies.

As mentioned before listening to yourself with a long lead will help. A radio connection is even better since you can get further away. Getting someone else with good judgement to listen at a distance when the venue fills with people can be useful if you have not reached the mixing / sound engineer scenario.

Innovation DB strings from Phil. Excellent communication and they arrived as fast as possible. Many thanks.

Observational powers of the Jedi by [font="helvetica, arial, sans-serif"][color="#282828"]SubsonicSimpleton If it stays in tune and has an action that you are happy with then all is good. Cosmetic issues can be annoying, it is also possible to 'forget' them with time and just enjoy playing it.[/color][/font]

I have one (now fitted with emgs) as a bass that 'does not matter'. Stolen or damaged it is so cheap it does not matter. Good quality assembly, slim and very playable neck. Grain shows through nicely on the red finish. Long top horn makes for good balance and it is light. At £20 is an absolute giveaway.

With the old bridge I resorted to drilling the anchor hole to a wider diameter - a little bit at a time. It is such a design defect that it might be worth approaching Warwick and asking for a new tailpiece. You might get lucky.

Gets better and simpler all the time In my defence I did mention duplicates (which would emerge in computation) however you have expressed it much more elegantly and succinctly.

[quote name='TimR' timestamp='1436447391' post='2818220'] Why don't you just list the overtones on each string so you have three sets nG, nD, nA where n is the number of tones in each set. The total number of chordal tones will be 12 x nA x nD x nG. Only a limited number of them will be traditional western chords. I don't see a mathematical solution to this you'll just have to solve it by brute force. [/quote] Agree there may not be a full mathematical solution, but partial solutions which will help devising algorithms to aid brute force solutions. On the initial boundary condition of 5 harmonics, using your calculation give 12x5x5x5 = 1500 possibilities, some of which will be duplicates. With a bit of internet research the following emerges, 'Michael Keith "From Polychords to Polya: Adventures in Musical Combinatorics," computed that for the equal tempered scale there are 351 essentially different chords'. I just wonder if set theory might provide solutions but my mathematics is not that sharp any more. Off to think a bit more, reaching for brute force implement which will be the quick way.

[quote name='Oscar South' timestamp='1436354187' post='2817345'] I'm looking at the combination of 3 open overtones and one stopped tone acting as a root. I'm not considering what stopped notes/overtones are reachable because the harmonics occur in multiple points on the string and don't need to be stopped, so you can just leave them ringing and then hit the root ... [/quote] A good point about not being concerned about reachable root notes - obvious really, don't know how I missed that. I am getting the mathematical problem solving itch

[quote name='Oscar South' timestamp='1436316504' post='2817072'] Thanks for the couple of links guys, very interesting stuff to read and take on board. Correct that I'm essentially figuring out every possible variation of three natural overtones in combination with a stopped tone (on any of the four strings) and defining what harmonic structure it forms. I'll also organising them into keys and plan to touch on expanding the practicalities of the shapes.. I've done most of the deriving and am just filling in (many) blanks on spreadsheets currently. [/quote] As far as my understanding goes (and I am still not sure I fully understand) you are looking at the combination of a plucked string (the stopped tone) and combination of the available harmonics? The availability of harmonics is presumably limited by finger reach. I would be interested to know the methodology you have developed to find solutions. My first step would be to start with the available harmonics since these are defined both in frequency and position by the the frequency and length of the string. I would then mathematically define what frets (and thus frequencies) are physically available in the proximity of the harmonic. It would then be possible to program a solution to generate the combinations. These would have to be limited to sane (physical number of fingers, location of fingers etc.) conditions. An interesting problem

[quote name='HowieBass' timestamp='1436293542' post='2816853'] Unfortunately I'm also scratching my head here wondering what on earth this is supposed to be about. Are we talking Fourier transforms? [/quote] Fourier transforms +1 answer So much I have forgotten in the mists of time.

[quote name='Oscar South' timestamp='1436268994' post='2816529'] I'm working on a ridiculous and overblown study at the moment: I'm attempting to exhaustively isolate, define and practically organise every possible harmonic combination of bass guitar overtones played over a fundamental root. [/quote] Can you explain in more detail what you mean by 'harmonic combination'. To my way of thinking as this stands it is a Physics / Maths problem.

I am hoping Entwistle release the EB pickup aftermarket. My plan b involves one of their blade humbuckers (which will fit the cavity with a bit of baseplate filing) and a plastic insert between the bobbins to screw the polepieces in. I am working on this at the moment, if it works well it will be a seriously cheap upgrade.

[quote name='SingleMalt' timestamp='1436120219' post='2815153'] Anyone know how the pick-up in the special compares to original EB-0/3 mudbuckers? [/quote] From my EB2 owning days (nearly 35 years ago), the output is noticeably less (measured with oscilloscope in both cases). Very hard to comment on tone kit is so much better these days. There is a fair amount of internet info on this comparison.

Dimarzio Model one requires some woodwork - the pickup is just a bit too wide for the sg bass slot - I went down this route but decided not to take the chisel to my bass. Novak looks good but the price could be steep. With 190USD plus 50USD postage plus duty plus VAT plus the infamous Post office 'customs handling charge' you might end up with £220 FOB.

Same problem with mine. I solved it with some 2mm ish plastic. Drilled holes to allow pole screws through and then epoxy glued the plastic to pickup cover (inside). Mine rattled even with foam packing method thus the more drastic solution. As above a disappointing way to mount a pickup and the polepieces do nothing other than look the part, so no adjustment for string balance issues. Entwistle have made an EB type pickup but have not yet seen them as aftermarket items. It is a great thing to play, especially with small hands.