essexbasscat

I've been doing more than a few set ups lately (see sandpaper for fret polishing) and this topic has been on my mind. To begin with, I'm singing more often than not, so I set my instruments in a manner that will allow for a slightly less than precise playing style, as my attention is often divided between two tasks. Please assume that frets have been levelled and dressed when reading all comments below. Also, I lower the frets from around fret 12 to create a slight ramp In general, I attempt to keep the neck as straight as possible. I find this easier to achieve with six string guitars, as the string movement is less compared to a bass string. In practice, I find something like 1/4 turn of the truss rod is needed for clean playing without fret buzz. Also, allowing 24hrs after truss rod adjustment does make a difference. I've read that others allow a bit more clearance for the A string (as the break angle over the nut is different on Fenders compared to the other strings) and the G string (I assume this is because it travels more compared to the others when struck). I've found this to be the case with both strings. I'd be interested to read any tips that others could give on the topic of setting instruments for low action, relief, factors to be taken into consideration etc

Even three hours is still miles faster than me ! WIth truss rod adjustment at the body end of an instrument (as per early Fender), it can take me ages just to ensure the frets are at the best acheivable average for equal height (in the interest of removing the minimum fret material) before starting the levelling process. While reading around on the topic of sanding materials for frets, I did come across comments about the quality of fret material. One or two were saying that the Dunlop fret material is rather soft, but this was in the context of passing comments with the focus of the discussion on something else. For what it's worth, I did notice that one or two frets on my current (and last) setup didn't react to tooling and polishing in the same way that the rest did. At the time, I thought it odd but didn't consider it any further at the time. Now I wonder if it's more common ?

Lucky number - Lena Lovitch. Not my favourite, but love the quirkiness of it. Some great suggestions on this thread Python Lee Jackson - wasn't that Rod Stewart in an earlier guise ?

[quote name='Manton Customs' timestamp='1457707018' post='3001172'] Ah, 600 is definitely ok for leveling . I use Micro Mesh for the intermediary polishing, grades running around something like 1800, 2400, 3200, then 0000 steel wool and compound to save having to work through every grade of Micro Mesh. It's worth pointing out that the Micro Mesh grades are not the same as regular papers, 1500 is equivalent to around 400 or so. It looks like we are using the same file (SM dual sided, 150 and 300 grit?), and the whole process from leveling to end of polishing takes me around an hour. [/quote] An hour ? flippin eck ! it takes me all day ! Yes, it does sound like we're using the same crowning tool - yours must be a quicker cutting model than mine I'm going to try this micromesh idea, it seems a lot of people are doing it this way, thanks for the tips

Thanks for all the replies so far Before commencing work I prepare the fretboard with masking tape For the levelling process I use 600 grade on the levelling beam. If there's a lot of difference between the fret heights I go for 320 to level them off and then 600 to present a finish with smaller grooves at the apex of the frets The marksI find the most difficult to polish away are the ones generated by the crowning process. The diamond crowning tool tends to leave small grooves along the sides of the frets. I work the crowning file evenly and slowly back and forth, no real extra pressure, monitoring where the tool cutting point is as I go to avoid spending extra time cutting at the ends of the frets. I've also tried the Hosco crowning file design, which tends to leave tool chatter marks Whichever crowning tool I use, I work to leave a small line at the apex of the fret which can be polished - removing just enough to present a smooth surface and no more. The aim at this stage is to preserve the level between frets while creating a smooth surface The polishing technique I've used for a while is the abrasive rubbers, but I'm keen to find an alternative method to get that impeccable finish that we would all look for in a bass we would buy ourselves Update; I spoke with 3M UK this morning and they recommend P grade wet and dry, used dry. The fella said that the issue with grit leaving the sandpaper and embedding itself in metal is a feature of the courser grades of paper such as 80 etc. The P grade paper ensures an even grade of grit across the paper. Apparently, the grit of non - P grade papers can vary across the sheet Thanks again for all the comments so far, very appreciated

Hi there I'm doing a number of setups at the moment and the topic of fret polishing has come under scrutiny. There's a range of opinions out there on the topic, often conflicting. I wonder if those in the know at B.C. could offer any clarification ? Background So far, I've levelled off frets using a beam with sandpaper attached with double sided tape (sandpaper with tape applied supplied by the person who supplies the beam). The frets are then crowned using a diamond coated crowning file from Stewmac. I then polish the frets with rubbers impregnated with an abrasive (available from guitar tool suppliers), going through the grades from course to fine. The thing is, there are sometimes fine scratches that are difficult to remove by this method. As a result, I've been investigating other methods of polishing frets. Some time ago, I discussed the topic of fret polishing with a well known luthier. They said they used wire wool alone for the job, going from 00 to 0000 grades. They also justified the process with the claim that wet and dry sandpaper deposits particles in the frets I've researched online discussions on the topic of fret polishing. Most comments revolve around folk using sandpaper for the job, going though grades 320 - 400 - 600 - 1000. Some say they go up to 1500 grade and others use micromesh. As for methods, some mask the fretboard with masking tape, others don't. Many polish up the length of the fretboard in a bumpety - bumpety fashion, while others work along the line of the fret (which I do). My main questions are; - are there best types of sandpaper to use ? are there types to avoid ? do some papers impregnate the frets with grit ? Any other discussion on fret levelling, crowning and polishing would be gratefully received Many thanks BC EBC

[quote name='ped' timestamp='1457345828' post='2997477'] I'm pretty convinced I could get comfortable with most instruments given time to tweak and adjust. For me it's more about the amount of relief on the neck and the action (arrow straight and super low) which is a deal breaker for me. Several basses I've loved the sound of just haven't been capable of a setup which suits me. [/quote] Pretty much on this page. I can get along with a great many basses, but I find that none are right for absolutely every style of music. That being said, love the look of Ricks but never played one that stayed more than a few minutes in my hands

I had a pair of Pro Safe moulded earplugs made last year. The conversation between the audiologist and myself went something like....... "Please place your finger between your front teeth and very gently bite while the moulds set. I bet you wonder why I've asked you to do that ? " "Well, yes, I am curious" "It's because the ear canal changes shape when the jaw moves. If you don't take the moulds with the jaw open, the earplugs won't be so good " "Ah, yes. I'm glad I've got someone that knows what they're doing "

This may have been done before. However, I can't find the threads. Been doing some work on guitars and basses these days, both American and Japanese. In many cases, I've needed to replace pots for a variety of reasons. Along the way, I've discovered that CTS pots have about 24 splines, while Japanese examples have had 18 splines (so far). This makes them non interchangable between U.S + oriental control knobs. I've also heard (don't know how true this is) that CTS pots were used in early Fenders because they were some of the cheapest available at the time (If this is the case, why did they continue ?) I've also seen many comments online that the electical values of CTS pots can vary by more than 10 %, leading to people looking for better quality pots. (that said, WD music claim their special CTS pots vary by no more than 9%) As for the Japanese pots, I've had to use cheap Alpha pots which were described in the ad. as being 'ideal for cheaper instruments'. So, does anyone know of good quality pots they could recommend; - For replacements for CTS pots (i.e. 24 spline) - For replacements for Japanese pots (i.e.18 spline) - other Thanks all EBC (Edit) I must admit, when I thought of the title, I was thinking in terms of 'Which' magazine, hoping the thread could be a resource of information of potentiometers. Also, i'm not out to throw rocks at the CTS brand, just representing the discussions I've seen while researching the topic) Thanks again all

Bought a mic from Sid. Everything went smoothly with mic in very good condition. Easy and straightforward, no problems at all Would definately deal with Sid again Cheers Tom

Recently purchased a tape deck from Hugh. All the descriptions were up front and everything was as described. Good communications throughout as well. All in all, an easy deal from the start Thanks Hugh Tom

They did a lovely little song called Blue Beat. Not so well known, but quite memorable. That had electric drums too

[quote name='Woodinblack' timestamp='1454854123' post='2973531'] Careful what you wish for, I said that yesterday as I got a bit of a scuff on my new TC RS112 the other day and said 'really I should get some covers'. My wife said 'Oh I will make you one' which is her normal answer - she makes hammocks for pets out of fleece, so I said, no thanks, I don't need a pink cupcake cover. Then later I went into the hall to get my stuff for the gig, and found this: [/quote]

To the OP; If you're getting fret buzz from fretted notes, it's not the nut. What strings are you using ? different makes and types of strings have different tensions Also, have you changed the strings at all since the luthier set it up ?

To the OP; have you checked the Neutriks with a multimeter before soldering ? checked the cables unsoldered ? all clear unsoldered ?

I usually end up bringing the PA(which is my own) for the band. I use a Stanley mobile work centre; the bottom section for the velcro - tied xlr's and the top section for the velcro tied kettle leads. A spare collection of various connectors are stored in a small bag in the top section. Mics are in a seperate Maplins case, each mic surrounded by bubble wrap. Mic stands are in an On-Stage mic stand bag purpose made for the job. Speaker stands are again in stand bags. Next job is to buy xlr leads of different colours to make it easy to quickly identify what is going where in the gig situation i.e. red for monitor channel one, yellow for channel two, blue for FOH I've already wasted far too much time sorting out spaghetti bundles of xlr cable on one gig, only to have to do the whole job over again at the next one

Total respect for the Quo. First gig I ever played live was back in the early 70's and the second number of the set was Quo's 'Caroline'. If they do the comeback gig I'll be there

Mattie made me a nice cup of tea when I visited him to collect a mesa walkabout combo with extension cab. We share some enthusiasm for these things Mattie kindly shared his lovely jazz (must resist and not buy that jazz, it's a beauty) and Sterling with me for a while to test the amp. Ended up paying more attention to the basses ! Then spent an interesting time looking at his double bass project, which is coming along very nicely indeed. It's always a pleasure to spend time chatting with someone that will take the time to pay attention to detail and do it right. He's also a very experienced player as well Thanks for the loan of the book Mattie, I'll send it back once I've read it You're more than welcome to drop in if you're down this way All the best Tom

So the president of the coffin dodgers club has stepped down He played his game well bless 'im RIP

I have one of these and I'll never, ever sell it. I've tried more than a few amps now and this one has been hard to beat. Yes it's heavy, but it will deliver in spades There have been stories of these things continuing to work after falling down staircases and bouncing off the back of gig vans Love 'em

The news has laid over my day like a blanket When I was about 12/13 years old, I studied for the O level music exam. As part of that work, I had to study Mozart's 40th. The complexity of it drove me around the bend. The process of analysing Mozart's work seemed to poison my passion for music and as a result, I almost became quite depressed. A friend then loaned me a copy of Hunky Dory. It's beautiful simplicity was simply inspirational, it lifted my spirits from the depths and re - set my musical compass - I've never looked back since. I honestly can't express how much I owe David Bowie. Ever since then, I've listened to Ziggy Stardust, Aladdin Sane and Hunky Dory at least once every year, not by ritual, just for the pleasure of it. The last time I felt this sense of loss was the day John Lennon died Thank you David for so, so much

To the OP; Have you suggested the offending ban member(s) use ear defenders with a lesser degree of attenuation ?

Key of E. The opening chord of that glorious chorus is E minor Cracking song

Well done for doing something to brighten up the lives of people that probably don't get much excitement