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Mediocre Polymath

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Everything posted by Mediocre Polymath

  1. Do you know whether the main humbucker is wired in series or parallel? I've played basses with this pickup arrangement ever since I routed a jazz pickup into my OLP musicman copy in 2003, and I've found that they're generally pretty similar so long as the bridge pickup is wired in parallel. The neck is always a bit quieter, but not unusably so.
  2. If the yellow-faceplate markbass gear has the same overall design as my LM250 Black line head, then the pots are small sealed units. When they get scratchy and shite, you have to desolder them and put in new ones as they can't really be cleaned. It's a pain, but the preamp board is at least relatively easy to remove.
  3. I've found myself pondering this as well a few times, because there are a few songs where I'm almost certain the commonly posted lyrics (the ones that come up on Spotify, etc.) are wrong. I believe you do have to copyright lyrics somewhere, as part of that publishing company arrangement that recording artists have. But I think those lyrics are often written down after the fact, either by a singer who doesn't clearly remember exactly what they said on the final take, or by some record company legal intern who is just trying to decipher the recording like everyone else. Also, a difference of a word or two isn't going to change much if a legal challenge is brought, so I don't think those official lyrics have to be entirely correct either, so long as they get the general gist. There are a few examples I've encountered over the years (can't think of any off the top of my head, annoyingly) where the lyrics in the liner notes (an allusion that I've just realised makes me sound old) make sense and are very neat, but don't actually scan. And the actual lyrics sung on the recording have some sort of half-slurred fudge in place of the offending phrase. There's also cases like "Tourettes" off In Utero which I'm certain is just Kurt screaming pure gibberish, despite the song having a full set of lyrics on paper. I think that was just one of those weird sarcastic Kurt jokes.
  4. I'm afraid I have no idea. It was some old sheet stock my wife found tucked away in a corner or her workshop. You can get materials like it relatively easily, but only in 2440 x 1220 sheets
  5. I've decided I'd rather this went to a good home, or at least a curious tinkerer. Whoever can pick it up soonest. It measures 34 cm wide (including side feet), 45 cm deep, and is 58 cm high (again, including feet). The cabinet is 18 mm birch ply. The speaker is a 10" Eminence Delta (can't remember the exact model) with a power handling of 200W RMS and a frequency response of something like 55–4,000 hz. The main speaker is paired with a 4" B&C midrange driver that's connected through a crossover, and extends the frequency response up to about 10,000 hz. It originally had a compression tweeter, but I quickily decided this to be scratchy and tinny sounding. I've found these two speakers give a decent half-way point between vintage rumble and hi-fi treble. It has connections for 1/4 jacks and Speakon on the backplate, but as the 1/4 jack output on my amp doesn't work, I can only vouch for the speakon. There's also a switch that bypasses the crossover and tweeter. It's covered in luxurious red leatherlette. I've been using it mostly at home for the last decade, but it does go out on gigs every now and then. When driven by my Little Mark 250 head, it has kept up just fine with the drummers I've played with, and it sounds good to my ears. At this point I'm guessing you're shouting "enough about your taste in tweeters, what's the weight?", and that's fair. I have been avoiding the subject. Due to some combination of unusually dense 18 mm ply, an oversize box and an old non-neodymium speaker, this thing is like a tiny rock-n-roll black hole. It weighs just under 20 kg. So yeah, if you're looking for a speaker to sit in a rehearsal space, basement, or shed with a reasonably strong floor, this cab could be just the thing for you. Collection only, obviously, I don't want to even consider how much shipping would cost. I'm based in London SE4 and around most days.
  6. I'm not an informed source on this, but from what I've heard, there seems to be growing consensus among occupational health people that CF and similar resin- or epoxy-based composites are even worse for the human body than previously thought. The kinds of precautions needed to handle them safely, and stay in compliance with the law, are probably easy enough for a massive corporation like Boeing or Airbus to do, but would represent a massive problem for smaller operations like musical instrument gear makers
  7. Great thanks. I'll do that shortly
  8. Hello folks. I have a bass cab listed on here that I've decided I'm happy to just give away to whoever is willing to come collect. Is it possible to move stuff, or change the price to £0, or should I create a new thread over in recycling and withdraw the other one?
  9. I'll definitely report back when I've had a chance to properly turn it up. Not sure when that will be though, as both my bands have gone a bit quiet lately. That's actually sorta the reason why I decided to make this thing, in a roundabout way – I've had a bunch of projects fall apart because of difficulties finding rehearsal spaces that everyone can get to without hours of travel. I made this so that I, at least, can be a lot more flexible about where we play.
  10. I'm sure I've seen another bass player with a wheely extendo handle on their amp. I was looking at folding trolleys for a while and then thought I'd simplify things. I'm a little worried that the internals of the extension mechanism might rattle at volume, but it's easy enough to put on and take off with a flat-head screwdriver (it's attached with M6 bolts that connects to blind T-nuts on the inside of the enclosure).
  11. The theatre techie would be my wife, she's been running theatre workshops for long enough that she's on first name terms with everyone there. They've left their old warehouse (the one in Deptford, yes?) and gone out to Dartford now.
  12. It's finished! Mug for scale. It's 42 cm high, 30 cm wide and 34 cm deep. Weight is 11 kg, though I think about a kilo of that is the weight of the (removable) luggage handle and the heavy-duty flightcase wheels. I don't drive, so my aim was to make a speaker cab that's small enough to be wheeled around like a carry-on suitcase on public transit, and light enough to not cause me grief when going up stairs. I've covered it with some luxurious brown faux-leather (left over from reupholstering some dining chairs), but I'll probably make a weatherproof cover once I've had more practice with my wife's sewing machine. The main speaker is a Faital Pro 10PR320 (300 watts RMS), while the mid-ish tweeter is a Faital Pro 4FE42. It's got a hand-wired 4th order crossover that splits the signal at about 1.8 khz. It sounds really great to my ears, though I admit I'm not the most experienced judge of these things. The response seems pretty even, sounding like a DI'ed bass when everything's set flat on the amp, but it responds well to any adjustments to the eq or pickup balance changes. It's also noticeably louder than my old cab, and reaches "shaking the walls and annoying the neighbors" levels with my amp's gain and volume at about 3 out of 10. Considering I only use a Little Mark 250, and this is an 8 ohm cab, that's impressive, I think. Many thanks to @Bill Fitzmaurice and @Phil Starr for answering questions about the elements of the design I got stuck on, and for generally dispensing wisdom essential to this build in various threads.
  13. Finished building myself a new guitar! I think I'm going to set my luthier's tools aside for a few years now though, and try doing something else.

    IMG_20240713_162251816.thumb.jpg.7aa6313c510c2144006f5236a0063ecb.jpg

  14. Not sure, when I got it it was already about eight years old. I tried various things the clean the neck, but it kept seeping back out.
  15. I used to have a Warwick Corvette Standard from either 2001 or 2002 (don't remember exactly). It had a neck like a baseball bat made from a very open-pored set of, I think, Okvangkol laminates. It also had an oil finish that was always just a little sticky to the touch. Beautiful bass, but yeah, deeply unpleasant to play. I eventually gave up and sold it.
  16. If you've enjoyed Billy Strings, I'd suggest the great Paul Kowert of the Punch Brothers and his own band, Hawktail. I think their track "Frog and Toad" is a good example of him in a more relaxed mood. He can play some crazy stuff, often involving him doubling Brittany Haas's fiddle playing up at the dusty end of the fingerboard. This rendition of the Scandinavian folk song Gla låten is a good example.
  17. EDIT: KNOCKING THE PRICE DOWN TO £50 because I've nearly finished building the replacement cab. This is a 1x10 cabinet that I built for myself a little more than a decade ago. At the time the options for speaker cabinets were more limited than they are now, as were my funds. I wanted a speaker that would fit into a narrow alcove in my house, like the line6 combo I was using at the time, but that didn't sound like total arse, like the line6 combo I was using at the time. It measures 34 cm wide (including side feet), 45 cm deep, and is 58 cm high (again, including feet). The cabinet is 18 mm birch ply. The speaker is a 10" Eminence Delta (can't remember the exact model) with a power handling of 200W RMS and a frequency response of something like 55–4,000 hz. The main speaker is paired with a 4" B&C midrange driver that's connected through a crossover, and extends the frequency response up to about 10,000 hz. It originally had a compression tweeter, but I quickily decided this to be scratchy and tinny sounding. I've found these two speakers give a decent half-way point between vintage rumble and hi-fi treble. It has connections for 1/4 jacks and Speakon on the backplate, but as the 1/4 jack output on my amp doesn't work, I can only vouch for the speakon. There's also a switch that bypasses the crossover and tweeter. It's covered in luxurious red leatherlette. I've been using it mostly at home for the last decade, but it does go out on gigs every now and then. When driven by my Little Mark 250 head, it has kept up just fine with the drummers I've played with, and it sounds good to my ears. At this point I'm guessing you're shouting "enough about your taste in tweeters, what's the weight?", and that's fair. I have been avoiding the subject. Due to some combination of unusually dense 18 mm ply, an oversize box and an old non-neodymium speaker, this thing is like a tiny rock-n-roll black hole. It weighs just under 20 kg. So yeah, if you're looking for a speaker to sit in a rehearsal space, basement, or shed with a reasonably strong floor, this cab could be just the thing for you. If nothing else, the handles (there's one at each end), corners and feet are decent quality and probably worth a few bob. Collection only, obviously, I don't want to even consider how much shipping would cost. I'm based in London SE4 and around most days.
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  18. I recently had a go with the new Ampeg Venture V3 head at the Yamaha/Line6/Ampeg showroom in central London. They're wee small class D things, but make a very nice noise. The B15/SVT voiced overdrive circuit sounded good to my ears, and it did the low-gain "growl" thing very well. The EQ, with its semi-parametric midrange, is very versatile and I generally found it much more usable and musical than any three- or four-band EQ.
  19. This was more or less my experience. I decided I wanted to play bass, and spent a week plunking out simple pop punk basslines on my Dad's old EB-3. At the weekend my dad – who was in hindsight probably a little surprised that his morose teenage son had suddenly shown a burst of enthusiasm for something – went up to the guitar store and got some fresh strings. He gave the truss rod a tweak (it hadn't been played in about a decade), showed me how to restring and tune the bass, and then mostly left me to my own devices. I had access to tab and forums, but online video wasn't really a thing. I figured stuff out. Occasionally he'd check in to provide some tips, show how to play a particular line, or just listen to me rambling about what I was learning.
  20. The fact that this bass still hasn't sold is baffling to me. I used to play a BB604, and while its electronics were a little lacking (an issue that has very much been fixed here) it was one of the nicest playing basses I've ever laid hands on. Comfortable, relatively light, and incredibly stable (never had to touch the truss rod in six years and it would stay in tune for months). I make my own basses, I'm broke, I have far too many instruments in my not-large home already and I don't play five strings, but I'm still sorely tempted by this.
  21. I think an appreciation of Jamerson is something that comes later in life. My icons as a weird obsessive teenager were the aforementioned Stuart Zender and Flea; it was a long time before I came to appreciate playing as relatively low-key and subtle as most of Jamerson's stuff, even though I'd been listening to old Motown and Atlantic compilation records since I was wee small.
  22. Damn. I was a broke student at the time, sadly, and unfortunately responsible with my money.
  23. This is definitely true. There's also a funny effect that I've observed, which is that the same gear that's highly sought-after when it's about 40 years old was really cheap when it was about 20 years old (see the prices for once top-of-the-line Ashdown ABM-series amps on this here forum for a good example). It seems to me that when people get to around 40, mortgages and not gigging cause them to offload the gear they bought in their youth, and then nostalgia induces them to buy it back when they're in their 50s. I wish I'd bought an Ibanez musician back in the early-to-mid 2000s when they were about 20 years old and going for £300-400.
  24. Interesting, a quick check against the Bank of England inflation calculator suggests that £ values from 1996 are equivalent to roughly double that number today (which in theory means Wals should be a mere £2,116...)
  25. Inspired by chat about current gear prices here and elsewhere, I thought I'd share this advert, which I recently stumbled across while digging through some newspaper archives for work-related research. This appeared in the 15 September 1963 edition of the Fort Worth Star-Telegram. The fact that Leonards (a local department store) was putting these prices up-front in big writing suggests to me that they regarded these as competitive – they wouldn't have been simply stating RRP here. To put these figures in context, here are the CPI-inflation-adjusted conversions of those prices. They're surprisingly close to the current RRP for top-of-the-line (non-custom-shop) American-made Fenders, higher in most cases. BASSES Jazz Bass $279.50 = $2,854.61 (£2,271.66) Precision Bass $229.50 = $2,343.95 (£1,865.28) Plus another $59.50 ($607.69; £483.59) if you're a fancypants who wants a case. GUITARS Stratocaster $259.50 = $2,650.35 (£2,109.11) Jazzmaster $349.50 = $3,569.54 (£2,840.59) Jaguar $379.50 = $3,875.94 (£3,084.42) Cases from $49.50 ($505.56; £402.31) AMPS Piggyback Bassman $399.50 = $4,080.21 (£3,246.97) Princeton $99.50 = $1,016.22 (£808.69) I've had a look through contemporary used car listings from the same area, and while you couldn't get a nice car for these sorts of prices, you could get a car. Instead of a Jazz Bass you could have picked up a (ahem, stick-shift) 1955 Mercury Montclair, and instead of the misbegotten beast that is the Fender Jaguar (with case), you could be cruising around in the misbegotten beast that is the Ford Edsel. Ask yourself, what are the ladies going to go wild for – a Fender Jaguar or this fly whip?
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