essexbasscat

Know what you mean about the shifting neck Cameltoe, my RW Precision's neck does move around a bit over time, not much, but enough to be noticable if you're familiar with the instrument. To be honest, I have mine set up to a general happy medium so that it's easily playable no matter what's going on. It's currently strung with DR Marcus Miller Fat Beams, which seem to work very, very well. The action is moderately low, not as low as some and by no means perfect, but overall, the instrument is such a joy to gig on a regular basis that I'm no longer really overly concerned about the action. I do check the bass over regularly as it's a regularly gigged instrument. I've never found any real issues and it's always easily playable. In summary, yes, mine moves a small amount too, but I've now become accustomed to accepting that as an ideosyncracy. I still love the bass to bits and continue to be impressed with it every time I play it, including when I'm a home working stuff out. On stage, the RW Precision just allows me to concentrate on what the rest of the band is doing, what my next vocal job is, what the next number is.... in fact, getting on with the gig. The bass contributes to to making my job easier and I enjoy playing it, which is all I could ever ask for I suppose. Hope you find a happy place with your bass Cameltoe Cheers T Edit; Having said all that, I did take time initially to get that happy medium set- up, which came down to a 1/8th turn of the T'rod and around 4-5 days of small adjustments to the saddles. Tools that fit the screw heads correctly and a large dose of patience take the worry out of it. Next job is to fit a set of those lighter machine heads.

THanks JTUK, I agree with you that the GS does allow mids to be expressed. I can dial them in from my Peavey MKIV head (more typical of an Ampeg head I guess) and adjust frequencies and prominance to suit. Like you JTUK, I have my horns somewhere around 40% - 50%. That's about as far as I like to push them, as I want to avoid brittle highs. Saying that the GS's can express mids when asked to while claiming that they don't allow the tone shaping of the mids to be expressed on the Sa450 sounds odd doesn't it ? Yet this seems to be the case in my experience. I wonder, is it more the case that the GS's react slightly differently to the output of class D amps compared to the more vintage tone generators such as Ampeg, the Peavey MKIV and apparently, the Aguilar AG500 ? it does seem odd, but it's one way I can account for the difference I've found. I heard my bass through the Sa450 connected to an EBS Neo 2 x 12 cab when I collected the Sa450. The tonal shaping of the Sa450 through the EBS Neo was very effective, with only small adjustments being very apparent. The GS's just don't do that at all. All that said, I love the sound of my GS112's with the Peavey MKIV or an Ampeg B2RE head, a very nice versatile classic sound. I do wonder if the DB's make the difference, also what difference the NT cab makes. Thanks for your replies folks T

[quote name='dmccombe7' post='1075245' date='Jan 2 2011, 01:05 PM']I'm also interested in the Aguilar 112's. What's the main difference between the GS & DB cabs. How do they sound with Ampeg SVT3PRO ? Cheers Dave[/quote] Just opened another thread on a very similar topic !

Hi all and happy new year Having seen another thread about Aguilar cabs, I thought I'd open a new thread rather than hijack the other one. Like many others, I'm a fan of my two GS1x12's. They've always delivered the solid bottom end that I like in my sound when coupled to a Peavey MkIV head, a nice vintage sound that suits my 60's band a treat, with enough versatility to add some highs when needed for more up to date numbers. However, I did find them a bit lacking when coupled with a Markbass Sa450 head. The mids are a bit shy on the GS's, which is where a lot of the Sa450 tone shaping seems to live. Folk on other threads have said that the DB's expose more of the mid frequencies, while still keeping the integrity of the lower frequencies. I've noticed others complimenting the DB112 and DB112NT combination. Can anyone shed any light on this particular setup and what it offers compared to 2 x DB112 ? Is one pair more friendly to a vintage type sound than another ? does the DB112 and DB112 NT allow more exposure for the tones from the more modern class D amps ? Thank you for all your replies BC T

Don't know if this one's been posted, apologies if it's a duplicate. It's not on my usual suspects list, which is probably why I didn't think of it earlier.

Bernie Goodfellow in Brighton (Think that's Kent) ?

Try a GB (Goodfellow) if you get the chance.

[quote name='steve-soar' post='1073163' date='Dec 30 2010, 09:09 PM']Not an awful bassist but a truly awful piece of music. [/quote] Some interesting stuff going on there from some very able players . Who are they ?

[quote name='scalpy' post='1072396' date='Dec 30 2010, 01:39 AM']Duck Dunn says that Al Jackson Jr suggested when playing quavers feel the crotchets, when playing crotchets feel the minim etc. Works for Duck, and works for me too![/quote] +1 to this for practically all of my musical life

Also, keep your mind on the bass part by not staring at the woman with the attributes of Pete Academy's avatar

One step forward was the regular use of scale structures that start from the 1st, 2nd and 4th fingers and the art of arranging them to set yourself up for the next piece of music coming up. Edit this led to a drastic reduction of left hand bunching and fretboard leap - frogging T

Sexy wood there

The guitarist said to me "Here's a set list for New Year's eve. You know most of it and I'm sure you can busk the rest" (which I usually can). However, I'm still going to rehearse the songs for BV's, fine points and turnarounds etc, as I would like to give a strong performance. Only 24 songs to rehearse.......... Better get cracking then ! T Edit The ongoing 'muse' is Bach's Cello Suite No 1.

Interesting topic this. Can anyone outline a practical method of bench testing pickup output please ? i.e. magnetic pole strength and winding impedance ? Manufacturers often give these specs. It would be handy to be able to compare the output of the pickup sitting in the bottom of the box in the cupboard, which may save a bob or two. Apologies if this is a slight thread hijack, as my question is about pickups out of the bass, not in it. Hopefully, answers will still be relevant to the OP's question. Thanks for any answers T

Bought a cable from Chris, who managed to sent it off during the build up to Christmas when all the snow was around. Top man. Cheers Chris T

Careful ! Don't tread on my amp !

Have a look at GuitarNuts.com Shielding is fully explained there, albeit on Stratocasters. The key principles are well explained, along with some helpful tips. I've had some success obtaining graphite paint from evil bay, which creates an electrically conductive layer when painted onto the control cavity. Much easier than trying to fit copper to the contours. Good luck with your project T

Always liked these

[quote name='cameltoe' post='1064982' date='Dec 20 2010, 07:45 PM']Ah! Considering mines a road worn as well I'm interested. I did look at the Marcus millers, the description seems to be right what I'm after but I was put off by them being stainless, even though they appear to be a bit tamer than standard stainless. I may have to try them at some point. Do you normally use stainless strings? Just wondering what they would be like to play considering I'm used to nickels.[/quote] Hmm.... a bit difficult to describe the difference b/w sunbeams and MM's, as I've yet to try the sunbeams. That said, I do own a set, so they may go on at some point just to see what happens. Stainless Elites used to go on my Goodfellow for years. The brightness of the Elites just complemented the on board controls, which shape the mid/high frequencies nicely. As they worked so well on the Goodfellow, I tried stainless Elites on a maple / maple USA '73 Precision I had in the late 90's. The bright acoustic nature of the Stainless Elites seemed to enhance the higher frequencies of the Precision split pickup in an unpleasant way, developing a quite thin sounding treble dominate tone. Great for machine gun octave popping. Coming more up to date, I snatched up a Roadworn Jazz earlier this year, which came fitted with MM stainless. As you suspect, they do appear to be tamer when compared to the stainless Elites. They feel smoother than Elites when running a finger up the string with light pressure. They are also easier to engage with the fret than Elites, requiring less pressure. Having said that, they are by no means floppy. The lighter pressure involved has encouraged a lighter, more deft touch from me, accompanied by less digging in. Lastly, the Elites seem almost acoustically brittle compared to the MM's. Very bright. The Elites fitted to the 73 Precision seemed to elicit fret 'tizzle', which just made the bass more difficult to control. By comparison, the MM's generate a smoother, more rounded tone. The Elites are very good strings and I used them exclusively for years, but the MM's have won me over. Hope that helps a little T

I use DR Marcus Miller Fat beams on my Roadworn Precision. The thing sings like mad with them on - I'll be sticking with them for quite a while ! T