4 Strings

It wouldn't be shamelessly. D'oh, can't win it now!

Who is going to be brave enough to shamelessly go for it?

How about now?

Very kind, what fun. Is it 99 yet?

Not so much "why write your name?" more "why did you lift it all up and have a look?"

Did he smash his Hofner?

...missed it. Was it good?

Goodness, it IS thick that stuff, looks like you could peel it away!

Me too. I said to my wife "What do you want for Christmas, Ugly?" She said "Don't you get lippie!" Mascara it is, then.

Looking great! Too late to suggest a Pre-EB slab type body...

Rather than have someone wear the finish of your bass out for you, if it was mine, I would be putting it down to use (which isn't a bad thing) and be expecting some more marks and knocks. I'd be far less furious if it was me that marked my bass than if it was someone else! You'd certainly know which is your bass in the future, the mark will be visible in all pictures of you and easily recognised, become rather part of your trademark! When you're famous the Fender S9 S12 model will feature a copy of this dig! For me, things like this make the instrument (or whatever it is) more 'mine' and comfortable. I understand we're all not the same though! Resale is, of course, affected, but getting it 'relicked' will surely limit any market for it anyway. (again, personal opinion, I'd happily pay a little less for a bass with a dig from use, I can't see I'd ever be in the market for a 'relicked' bass).

[quote name='S9_S12_Bass' timestamp='1355319110' post='1896835'] I'm all for the road worn look but it mysteriously happened while in the case........so it doesn't have a decent story to go with it. [/quote] Unless you found the little black chip in the case, is this someone 'just having a quick go' of your bass which then went wrong?

[quote name='LawrenceH' timestamp='1355330905' post='1897066'] Larry Graham is outside the operational parameters of the model. MK v Flea. Gun to head. If you don't answer hell is an eternity of whichever one you don't want it to be most... [/quote] MK on anything, through anything every time.

Peasy Just unscrew the Allen screws in the top plate cover, which then simply lifts off. V1 is the one on the left hand side. Gently ease it out (slightly side to side movement) and then gently ease in the new one (same way). Gasp at the technology. Replace cover and screws, plug and play. Be interested if your three valves are a mixture of Ruby and JJ too. Be also interested in your impression of the result.

[quote name='JTUK' timestamp='1355325601' post='1896956'] I don't know why people are putting such great store on input from various people. If they make cabs..then you either like the sound of it..and the look of it or you don't.. Otherwise, you are just buying whatever spiel they want to come out with. And if you can't equate thosed stats or spec with what you hear, then that is a pretty dumb way of buying things as far as I can see.... But there you go [/quote] To be fair, I nearly sent my cabs back, 'twasn't until I did the sine wave thing and used them for a month or so did I become satisfied. If you now say 'I have become used to them' etc then we're back to post 20 something.

Just to continue with the impression over time, I am more convinced that this has been a worthwhile modification and have had no temptation to go back to stock. It seems like the amp has lost power as the first as the Gain knob has to be turned a little further for the same output but the lack of distortion with use of the Gain knob and the Gain button make the amp far more useful. Indeed with the Gain button engaged it becomes phenomenally powerful whereas before it became distorted. Plenty of distortion still there if you want it (button in, knob more than 75% round) but way more power available without it. Similar experience to Hamfist. Very happy, can recommend an ECC81 in V1 position unless howling distortion is what you need.

If post-war means peace time, isn't post-jazz something other than jazz? What's the opposite of jazz? Palma Violets?

I remember years ago someone bought up lots of R-Series Bentleys (late 40s, early 50s models) as they were dirt cheap at the time with the view to making them rare and so increase their value before selling them at a huge profit. Not sure it worked out that way, but anyway, our hero will certainly have the largest collection of rare guitars that have been specifically improved for players with large hands. Of the world supply he currently has both.

[quote name='Jack' timestamp='1355250158' post='1895968'] What do bassists necessarily know about speaker mechanics? [/quote] Naff all, but we hear them everyday.

[quote name='stevie' timestamp='1355163294' post='1894881'] Actually, they do. You’ll find qualified designers all over the internet trying to explain that speaker break-in is a myth perpetuated by sales and marketing departments...etc Now, guys, if we are going to contradict some of the most respected and erudite experts in the business, I suggest you respond to my previous requests for some [i]evidence [/i]to support the non-scientific, anecdotal assertions we have heard so far. Would that be too much too ask? [/quote] I suppose you must be right, my speakers still sound as disappointing as they did when I first plugged them in, I mean the proof is there in your reading. I read about light coloured and/or glossy fingerboards sounding brighter too, so you must all accept that too. Unless you can prove otherwise.

[quote name='LukeFRC' timestamp='1355150082' post='1894624'] mind you don't they tend to use birdseye maple for the necks? which is softer and less appropriate than normal hard maple. But... I think this is a bit of a dead end... I've had basses with graphite rods and without - and you know what both worked ok. I agree with Dingus , a good fender and a good musicman will both be good basses. [/quote] I'd have thought the knots in the wood giving the bird's eye effect, would be harder than the 'normal' maple if there's any significant difference at all. I don't think anyone has had any issues with the use of bird's eye maple for necks caused by it being bird's eye maple. I have an old P neck on a bitsa, ancient, been knocked around all over the place and is still absolutely fine without any adjustment. Haven't adjusted the neck on my Pre-EB Stingray since I first got it a couple of years ago. Utility 'Ray used every day, again not had neck adjusted since I got it, albeit only 9 months or so ago. fwiw.

[quote name='LukeFRC' timestamp='1355094076' post='1894052'] and again with the G&L L1000 [/quote] Or maybe Leo got the 'chunk of chrome' right first time round; I wonder whose idea it was to change it? [attachment=124583:53FenderPrecision.jpg] Regarding Flea, his opinions are valid, he's a pro and uses basses all the time, he knows what he's talking about ad can have whatever he wants. Not the be all and end all though.

Frustrating. I do the diary for our band and almost every rehearsal is mapped in with specific tasks to be prepared for gigs etc so to miss one is a setback. Doesn't seem to affect some people.

was being facetious about the chunk of chrome. I'm a Stingray devotee, P seems a little flimsy and tinpot after playing a Stingray for a while. A appreciate the qualities of a good Jazz but just can't get on with them myself. Sound and ergonomics of a 'Ray is what and all I need. (Nothing wrong with a P, classic design and I have two, but improved with the Stingray).

I can't think of an occasion where, with 1100W of speaker capacity and 900W amp you'll be troubling anything like half the power handling of any of it. The rating is to do with the heating capacity of the speaker coil. You won't blow anything unless you're completely daft with it for a long time.