LawrenceH

[quote name='gary mac' post='1109925' date='Jan 31 2011, 07:38 PM']Don't think he's being unrealistic with the price. Although I didn't think they were over a grand when new.[/quote] Were and mostly still are for the 3TS option, if you look around - google reckons £700 but that is actually a mistake as it's the un-road worn version in all cases. £1030 seems to be the going rate

If I wasn't all the way up in Edinburgh I'd have had this the second I saw it. Someone should bag it quick! [url="http://cgi.ebay.co.uk/Fender-Jazz-road-worn-bass-guitar-/330525395583?pt=UK_Musical_Instruments_Guitars_CV&hash=item4cf4d94a7f"]http://cgi.ebay.co.uk/Fender-Jazz-road-wor...=item4cf4d94a7f[/url]

compromise with C-F-Bb-Eb-Ab!

My two main playing positions are dead over the bridge pickup and floating just a smidge behind the neck pickup. Covers look bling-tastic but they'd b****r my tone right up! Probably good for resting a hand on for pick players who're feeling a bit lazy though.

Can't see that clearly but it looks to have a lovely flame on the neck - good price too given that the Jap basses seem to have shot up in value recently. Great find!

[quote name='Bankai' post='1105825' date='Jan 28 2011, 05:12 AM']Probably the best response would be a copypasta of my earlier post: [i]We take a DI from the guitar as opposed to the amp for these reasons: -Protecting against failure of the amp -Musicians will often be changing settings during the show on an amp, this will of course affect the DI coming to the FoH and mean constant adjustment down this end as well -A DI from the amp will be EQed for THAT amp and cab, not for a FoH system[/i] If you want amp sound then you use a microphone to the cab but in conjunction with a DI from the guitar so you still have the positives listed above, but with the added tones chosen by the bassist.[/quote] Point four - random mysterious earth loop-style buzzes that only appear on the amp DI and not your proper, transformer-balanced DI. Oh, how many times have I had those...

Try a Fender Road Worn if you can live with the relic-ing effect. Made in Mexico but they are the absolute tone beasts of the Fender range as I'm sure others will testify. There was one floating around secondhand recently.

[quote name='mart' post='1105442' date='Jan 27 2011, 07:18 PM']The opportunity arose for a bit more testing, so I grabbed it. The clip LED is working - if I put the gain up two thirds of the way, and the master on full, then it comes on readily. So then I backed off the gain to half way, so that the clip LED didn't come on even with the hardest plucking. Keeping the master on full, it's just as before: it sounds to me like serious clipping on the transients, and then general fuzziness afterwards. I've also got an old Trace Commando combo where the head died so I re-wired a direct connection to the speaker (8ohm, 100W, 12") and putting the Shuttle into that with the same settings it's actually slightly cleaner than the Warwick. Still not clean, but a shade less fuzz. The Warwick cab is still under guarantee; so should I send it back to the shop on the basis that it's not delivering a clean enough signal? I don't quite feel sure enough of my ground - it's not like it's unquestionably broken - it's just not doing what I want it to.[/quote] If it's outperformed by a Trace Commando then something is rather wrong...perhaps the voice coil is a bit malformed, I've had PA speakers get knackered in this way before, ie a problem only manifested at high volume where previously the speaker worked fine (and its partner still worked fine). I'd try and persuade the shop to take it back.

[quote name='Lozz196' post='1105362' date='Jan 27 2011, 06:15 PM']My Precisons are the same measurement as quoted by ikay.[/quote] If Ikay's taken the jazz measurement from his '72 then the bridge pickup placement will differ from a 'regular' non-70s one. Afraid I'm not at home to check on mine but this question has been asked before on a thread here relatively recently. There is a subtle but definitely audible difference between the two alternative pickup placements.

Everyone read Bankai's post! Exactly right.

Unless you really don't like the finish I'd be tempted to spot repair it e.g. with black nail polish and then buff it up to a shine. Much easier than stripping and refinishing, black isn't a hard colour to match. If the damage hasn't gone through the black paint itself then you can just use superglue, dead easy.

[quote name='redstriper' post='1102549' date='Jan 25 2011, 06:52 PM']I tried this, but the saddles are all different distances from the 12th fret - which one should I use, or should I just take an average?[/quote] Ignore this! The different string thicknesses etc mean that the effective vibrating length of each string varies, hence we have individual adjustable saddles in the first place. Do it by adjusting each saddle for matched tuning at the 12th fret versus open string, if that doesn't work then something else about the neck needs adjusting. Check out some of the links from this page if you're confused.

[quote name='simon1964' post='1102350' date='Jan 25 2011, 04:53 PM']Yes. In the fifities and sixties Fender applied the decal over the headstock laquer. With time the decal outline becomes more prominent against the background, especially on coloured headstocks. On a lot of the higher end reissue models Fender replicate that, as is the case on this one.[/quote] It doesn't have to be deliberate like that - even with lacquer over the decal you don't always get a perfectly flush surface upon buffing and certainly looking closely you can often see the decal edges through the lacquer. My poly-finished 75RI is a case in point.

Absolutely great for vocals. Not so great for bass if you're used to conductive hearing through your body! It's going to work better for a toppier sound, so it depends on your tone. Those things like the Tecamp Pleasure Pump are quite an interesting solution.

Hi Alex, A couple of suggestions on the technical specs. First, it'd be good to know what cut-off you're using to specify LF sensitivity. Second, perhaps putting the broadband specs first would be better so that's the first number people see. That's the one that's more directly comparable to other manufacturers' figures (well, other than the fact that they clearly make them up sometimes!) and you don't want people skimming and mistakenly being put off by the apparently modest numbers. With understanding it's clear that the LF specs are more of a performance limitation in practice, but anyone who knows that will read enough to find those specs whilst those who don't will get a less unfavourable idea of how your cab might perform against the competition. In a similar vein, looking at 'why barefaced?' page, I have to read a lot before it really answers that question and it does so rather obliquely. Although the history of barefaced is interesting to some why not put it after a very short summary? If I had to bullet it in yukky marketing-blurb style, I'd say: - very high excursion premium quality drivers for superior bass extension and clarity - dual density reduced thickness ply with innovative bracing for maximum stiffness but minimum weight - exceptionally large ports to minimise compression loss at high power - something about crossovers, if you think yours are genuinely better than the competition (bear in mind that several cabs use 1st order high-pass filters alone!) Not sure if that's the kind of thing you're after but it's meant in good, constructive spirit! If you ever did a direct measurement-based comparison with 'classic' cabs like the fridge, then I'm sure that would emphasise some of your points nicely.

Hard to tell from those pics but it does look to me like the string is coming off the tuning peg towards the top, so there's not enough string angle over the nut to hold it in place. If you restring so that successive windings force the string down as you work towards the bridge end, then as long as you started winding at the bottom of the groove in the tuner it should be ok.

2mm sounds like it might be a bit much but I had success sanding down the pickup casing when in a similar situation on a jazz set. Would that be an alternative?

KISS is all very well with great music, and music where each musician respects the other, but it shouldn't be used as an excuse by mediocre guitardists (or similar) who just want a karaoke-style backing band for their own self-indulgent widdlings, with no real musical input from the other band members. I remember turning up at a blues jam night just to listen (at a place where I played regularly on a different night of the week) and really enjoying the playing of a particular keyboard player, thinking he was putting interesting and thoughtful lines in, sympathetic to the guitarist/vocals etc and adding to what was a very trad uk blues sound. Then I heard someone complain that all they wanted from the keyboard player was him to just jam his fingers down on a couple of notes with a hammond and leave them there while the guitarist played all the (not very IMO) interesting stuff! I realised that they viewed the 'blues' entirely as being that particular 60s British blues-revival style driven entirely by guitars, and anything where the other players attempted to start musical dialogue was seen as overplaying. I found it pretty boring after a while and left, about the time I realised that most times the bass playing was done by guitarists marking time until their next star turn. Music with no dialogue doesn't interest me unless the player involved is truly phenomenal.

My feeling would be somewhere around £500 to start with.

I'll take Eddie Hazel and/or Prince please

[quote name='Doddy' post='1097736' date='Jan 21 2011, 04:20 PM']Just wondering why you [i]need[/i] a 7 string? I can understand why you would [i]want[/i] one,but why do you need it?[/quote] Why do you [i]need[/i] an electric bass at all, when you could just use a strat + octave pedal? Or a keyboard. Or sing like Bobby McFerrin. Or just not bother playing music, that'd save loads of time/effort! On topic, I imagine quite a lot of people's tastes change as they develop - mine certainly do! A custom bass that might be ideal now may well not conform so perfectly to whatever crazy stuff I do down the line.

A secondhand Ahsdown Electric Blue combo will do the job nicely, there's a secondhand UK-built one (as opposed to later Far East models) in the FS section here for £90, 15" model I think? I used the 12" one for small gigs for ages.

[quote name='Grand Wazoo' post='1095287' date='Jan 19 2011, 03:50 PM'][...]the Mighty Mite would actually resonate with note very close to a low A (checked with a tuner clipped on the headstock). What that all meant was that once the MM neck was fitted, resonance and sustain, as well as the sound quality of the bass improved a great deal. I could immediately tell the difference even before I plugged it in the amp, it has a lot of twang even unplugged.[/quote] Funny how people tend not to talk about the contribution of the neck to tone other than the straight maple/rosewood/other fretboard comparison - I'm starting to think it's pretty significant.

[quote name='jimmyb625' post='1097187' date='Jan 21 2011, 10:23 AM']The wiring traces internally will take different routes depending on which selection is made (unless of course EBMM have also developed a way to have two objects simultaneously occupying the same physical space). Changing the routing will change the circuit response of the coil and the resonant frequency of it, so coil 1 in configuration A will have a different repsonse to configuration B.[/quote] This has strayed a long way from the realms of practical reality - these differences are absolutely nothing compared to just changing the length of the cable you use to connect up the bass! As long as your input impedences are equivalent then there's no difference as far as the circuit's concerned between measuring it by meter or measuring it by waveform. But that's immaterial anyway since all that's required is that the measurement conditions remain consistent from one reading to the next. Lemmywinks' summary has it for me.

[quote name='jimmyb625' post='1096383' date='Jan 20 2011, 02:27 PM']The reason I'm not interested in the pickup LCR values, is that I know they're irrelevant. Regardless of whatever they are for each coil (and there probably will be a slight variation due to manufacturing tolerances) I [i]think[/i] that any variation that may come through will be down to the wiring route within the GC. Because internally it will pass through a variety of switches (hazzarding another guess, I'd say they are probably connected through multiplexers), I'd say that there is a potential for the values to differ depending on the routing. I'm fully aware that the variations (if they even exist) will be very small internally, but it doesn't take a major change of values to alter the fundamental frequency of the circuit.[/quote] If those types of differences were enough to be audible then it would mean the actual GC circuitry was colouring the sound of the bass, something that would be generally seen as undesirable.. I am certain that the variance in your data will be far greater using an ebow than what you'd get from simply measuring electrical properties adequately - ie resolving power is greatly limited.