4 Strings

Sounds like this could be an issue. Alex says, "...this 8 ohm cab is sufficiently sensitive that it'll play loud with only a handful of watts." and this seems to be a theme on the website. I know there is a three way compromise for all speakers (depth vs sensitivity vs size) but I thought it was this which made Bearefaced cabs what they are. This is going to set me back best part of a grand and I lose all my cabs (probably to pay for just the Compact) hence the reassurance! I can solve the power issue eventually, but how about depth of sound?

Thanks all, keep it coming. The Hartke amp is 2 separate 250W amps in one so its 250W into each speaker (4 Ohm) and with a controllable crossover so I can filter frequencies and also balance volume between the two amps (each has two outputs too!) so I can solve the relative volume thing. However the max into one 8 Ohm speaker will be 170W which worries me a little as I don't understand the comments that these cabs need plenty of power but are 'louder' (ie more efficient) than other cabs. I'm also worried about 'barky' type comments. Is this easily rectified by a tweak on the eq or can little depth be found? I'm hoping for some depth to the sound to be possible. Although I'm not in the 'ROCK!' band anymore (my strap isn't long enough and I'm getting on a bit now!) I'd still like the combination to manage as its all I'll have. Yes I do have Jamerson fantasies, if I was really rich they'd extend to said Ampeg (can't be doing naugahyde!).

I'm thinking of selling all my cabs (which have accumulated over the years and taking up way too much house space and are mostly unused) and buying a Barefaced Compact and a Midget for the three rig combination. But despite all the goodness I've read I'm still nervous enough to ask outright. I use a Hartke 2.5 - 2x10 virtually the whole time, its been fantastic. Deep, warm sound and I have pushed it to 3 guitar rock band levels at gigs and rehearsals for 2-3 years with no complaints from it at all. Will the Compact do the job? Its also been my mainstay for my Motown band and all sorts of other less noisy things, will the Midget do the job? For big gigs I've put my Monster (Hartke 1800 - 1x18) underneath the 2.5 which has been an enormous sound (quite an experience actually!). Will the combination do the job? My amp is a Hartke HA500, the one with 2x250W and a crossover. Experiences appreciated. I know Barefaced do a 'not entirely satisfied' type service for return but once my cabs have gone, they're gone. (I'm not particularly a fan of Hartke, but they make the stuff I use most and its been an absolute blast, especially the 2.5, thoroughly recommended, but I will be pleased to use something made in the UK.)

That's a groovy idea, how about speaking to the Promethean people for a spare? I'm benefitting from a tilty stand at the moment, not what you want as I only use one cab mostly. But I wondered if having your top cab raised by being on the bottom cab would be enough and whether its natural dispersion would mean little difference being made by slight tilting?

Simple question; will passive pickups work with an active circuit? Building a Fenderbird, the pups I'm hoping to use are passive but I also have my eye on an active circuit. All help appreciated.

Thanks, my nearest PMT is Romford but I'm sure they have a van going between the shops. My friend is over 80 (spring chicken comments apply though!) so I'll have a chat with him first. It seems that the pup openings have been opened a little, which may mean the pup surround will no longer be possible. I'll be picking it up at lunchtime and so will know a bit more then. The bridge looks okay in the pic. Say, Muzz, why would you want a different body? Is it from nasty wood? Just to add Artec also seem to do an ideal preamp, it has concentric TnB pots so only needs 3 holes. Getting exciting!

Plenty of points on the third one!

I find its one of those things that if I think about it makes me panic and need to take a spare, but then, before I know it, some more gigs have gone by and the feeling passed. In all the bands I've been in only one guitarist ever takes one, not with them any more. His guitar ended being used permanently by the keys/guitarist as he never paid any attention to his guitar and kept breaking strings and not replacing them between rehearsals/gigs. If I did then it would be detuned if I had any detuned songs and just swapped when needed so to go with the OP question, yes go for it. If you need it as a spare just retune.

Great thanks for all the encouragement, the Muzz axe is truly the job, that routing is especially excellent! How much did he charge? Same number of frets so hopefully any variation in longitudinal positioning can be taken up in the bridge adjustment. I've already come across the Artec pups in my search and they look interesting, I'd really appreciate knowing how you get on with them. Do you know what dimensions they are? I'm wondering about a MM pup for the bridge position. I know it won't be the same without the MM preamp and will require a bit of additional routing but I'd love it to sound like a MM with a full Gibson sound for the neck end. Eventual aim will be a reddy-orange refinish.

[quote name='Ou7shined' timestamp='1322127757' post='1446730'] Interesting comparison. I kind of like the Deluxe - sort of in between P and J. I've recently done some design work on a super P with 24 frets and the body reminds me of that. [/quote] Have a look at Fenders version, the US Deluxe Precision. Not quite 24 frets but has the extra cutaway.

Thanks, Henry, makes I wish I'd bought the set on e-bay even more now! There's also the neck socket size - Its narrower than the neck, but I don't want to shave the neck. A friend has a router so maybe some careful work will be able to solve that one in an afternoon. Just to add I have no woodworking or other creative experience whatsoever!

Very nice, of course, what else could anyone say! Hope you're happy that its Jazzesque. Good decision not to go for a black headstock. It looks like a US Deluxe sort of shape - I did an A-B here: http://basschat.co.uk/topic/160942-am-jazz-deluxe-vs-standard-pics/ It looks truly lovely, although I'd have the black guard but then I have a thing for b/b/maple.

Ages ago I bought a Bitsa P. Its a 70s Fender neck, plays very nicely and (I was told) a Fender pickguard, Squier electrics and bridge and a non-entity body which is at least solid wood. [attachment=93731:Doner Fender.jpg] Works fine but I thought it would be more fun to put a Thunderbird body with it I bought a body. [attachment=93732:Thunderbird.jpg] This is going to be on a tight budget and so will probably take a while but I'd like it to look like Entwhistle's red one (I know the body is different but its just an aim). [attachment=93733:fenderbird_rsg-1.jpg] I need some cheap pups and electronics and bridge. Any ideas? (Funnily enough there were two just sets on the dreaded ebay only last week!)

This is why basses can grow on you, for the first few weeks I can't help but be fiddling with pickup heights, string heights, truss rod tension etc until none of these things are noticeable. Its comfy then and I'm happy. One of the reasons Fenders are so popular is they Leo got the basics right, even the sound, so as long there's nothing wrong with the bass it can be honed to work for you.

I have an American Deluxe, it has a slightly smaller body to allow more of a cutaway to the additional frets (because they new ones are at the body end!). Its cleverly done and you don't notice it at first (unless you count pickguard screws) I have always wondered what they look like in comparison so I pinched the lad's Mexican Deluxe - chosen by him above any US model - and took a couch pic. There, now I can see the difference. (phone quality I'm afraid) >Edit - pic right way up now

[quote name='CaioBM' timestamp='1321825398' post='1443577'] Does anybody recommend other finishes on P and J?? [/quote] What colour do you like?

I took one once. Just another 4 string, tuned as the main one. Took it home again afterwards. Fatal last words, I'm sure, but been playing for over 30 years and have never needed more than one. Take spare strings etc though

All three will sound like you playing it. In the end its whether you want a painted Fender or a less common make in a wood finish. Nothing wrong with any of them. A personal opinion, but I don't think the fake 'relic' look is going to be sought after in the future so if you're worried about resale value I at least won't be one of the customers for the Fenders you mention.

Only if you got an old Stingray without any frets

Mine is early, not noisy at all. Not an issue, 'tis silent.

I love the blocks. Mines a '95 with the original Suhr pups (and mere dots). Sounds great to me, but I'm still struggling to get that classic Jazz sound - Seth Guthrie has the sound I'm after from his Custom Shop Deluxe. It has a very powerful sound if you dial it in right - not necessarily the reason to play a Jazz - short of my Stingray but plenty of body and weight. Massive range of tones from dub to telephone. (If you want 'bridge pick up mainly but with a touch of the neck one' then just wind the knob 80% or so towards the bridge pickup. You get 20% neck pickup.) My son, who is fast becoming a better player than me, played a Mexican deluxe at a well known shop and was absolutely blown away. So much so he didn't rest until he had enough to buy a s/h and hasn't put it down since. He doesn't have the source country snobbishness of his father, and, frankly, has a wonderful bargain. Might be worth a try, especially if you want a standard jazz body and can't go to the expense of the Custom Shop as it, apparently, has the same preamp. (Just a note - the asymmetric body of any jazz is a pain on most stands, with the jack sticking out the bottom it becomes even more tricky. Hanging stands are best)

Some US Jazzes have string though bodies, others don't. What's the rule? I know Highway Ones don't and the early ones don't. When was it introduced? Any help much appreciated. Many thanks

How about this one?

[quote name='Acebassmusic' timestamp='1321404053' post='1438860'] I just want to put the record straight on these hi-tech "kettle" leads. I too was dubious about the claims being made, but having just spent just over £200 on one I can honestly say I was immediately blown away with the improvement......my tea just tastes soo much better, fuller flavour and much more transparent. Just putting my coat on now........ [/quote] No, no, take it off and welcome, have a bun with it. Toasted to perfection by ....

[quote name='Happy Jack' timestamp='1321363282' post='1438199'] "'Paperback Writer' was the first time the bass sound had been heard in all its excitement," said Beatles' engineer [url="http://en.wikipedia.org/wiki/Geoff_Emerick"][color=#0645ad]Geoff Emerick[/color][/url] in Mark Lewisohn's book [i]The Complete Beatles Recording Sessions[/i]. "To get the loud bass sound, Paul played a different bass, a [url="http://en.wikipedia.org/wiki/Rickenbacker"][color=#0645ad]Rickenbacker[/color][/url]. Then we boosted it further by using a [url="http://en.wikipedia.org/wiki/Loudspeaker"][color=#0645ad]loudspeaker[/color][/url] as a [url="http://en.wikipedia.org/wiki/Microphone"][color=#0645ad]microphone[/color][/url]. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current." Wikipaedia [/quote] Was he having a joke? This was an April fool trick by the old Radio Luxembourg when they asked all their listeners to shout into their radio speakers and they'd record the signal at their end. If the speaker thing actually gives a signal worth amplifying I'm not sure it would be worth listening to when you think how much it differs from even a poor quality microphone. Of course I could be wrong but...