All Activity

No worries, Sir. I would love to see your necks available in bigger amounts. Status no longer exists, but @Kiwi does!

pickups - blend - vol - tone stack - output Pickup hots should be connected to the blend (double) pot which most likely is in the centre of the picture. (It is followed by the Vol.) Neck PU goes to another centre lug, and bridge PU to another. You can start the trial by connecting the plain preamp with a battery to an amp. Turn the amp volume up a bit, and touch the lugs of the blend pot. You should get some hum. Turn the pot to understand which way it works. You can also turn the other pots to get an idea what they do. Most likely T/B.

Welcome Deaklet.

This is great advice. Don't worry if you have false starts, or falls apart. No one will be surprised. Above all, enjoy it. It's a celebration of life. We are assuming the 3 people are the rest of the band and you're not playing solo. If it's a solo piece remember not to go off too fast. Take your time. Nerves can make your heart race and alter your perception of tempo. Good luck.

Thanks for the mention!

I've recently got into jamming with some friends on weekends and the gas is driving me insane. I haven't played or owned any equipment for almost 15 years, and I'm very out of the loop on what's cool in this neighbourhood as I'm originally from NA. I practice on a harley benton 5 string that I got on a whim 3 months ago, and I jam on my friends veeerrry slick Fender Meteora. I'm hoping to find a nice amp and a good jazz-style bass in the coming months so I have something more practical to practice with, as fun as the 5-string is, it does not prepare me for the thickness (or the quality) of the meteora. Can you guys give me any ideas of how well buyers from Ireland do here? Reverb is like the only used classified I've found so far and they're full of chancers who'll take your left leg if you're not careful. I know it's a trying time for us all but it certainly feels like IE-UK online trade is strong, so hopefully I can make some friends while chilling here. Regardless, it's nice to be here. I'm a real noobie so it'll be a big help even just lurking with you. Cheers! deadshed

I'm tempted to have a few lessons with him. I've the time but not the budget for many lessons. Were your lessons with Ian in person or over the internet?

Spitballing here - after what is hopefully the final flatting tonight - an ultra fine Sharpie, then remaining clearcoat over it?

I've often wondered, in 3EQ to 2EQ conversions like these, what becomes of the original output jack?

Bit of a long shot but has anyone used the various cheap preamps available on eBay/Amazon? Bought one with good reviews but it came with no wiring diagram so I am at a loss!

I think Ibanez MC-924 (AJ) made for Alphonso Johnson was one of the first ones with a vertically half fretted neck. Ashula is a horizontally half fretted. I had a white Ashula, but as I converted it to a 5 string, my bandmates were asking why the sound was changing within a song. I converted it back to a six and sold it. I think the idea is nice but there are obvious problems. If the song requires quite a big area from the fretboard, the sound changes can be bad for the music (record something and listen to the result). Sound is dependent on the electronics, too. That's why the change between the fretted and fretless notes can be substantial: one adjustment may not be ideal for both worlds. Fretless board after frets in a vertically divided board requires neat work from the luthier. When the fretboard ages, it may be complicated to level everything to original specs. I am not quite sure if a two neck monster would still be a better option if the instrument was light (like Basslab?). Putting both instruments to one single neck is an interesting idea, but I couldn't live with it - I am too old to learn new, or even old tricks. And no, I am not a very good player. My thinking of the instrument is maybe ancient and slow: from 4 to 5, from fretted to fretless, all changes require changing my attitude to the song and playing.

The headstock shape looks pretty much the same to me if foreshortening due to perspective is taken into consideration.

I've made a small mistake. There should be a gap in the top of the 'p' where the musical 'note' descends. That was silly. I'm in two minds here - should I just accept the mistake for what it is, or should I try to put a tiny sliver of black on what I've built up to this point then try to hide it in the final coats of lacquer - as illustrated in this quick mockup? It's so nitpicky, and fraught with risk at this late stage, I dunno why I'm even considering it. How risky is it, do you think?

I've always used rounds on my Jazz basses and my absolute favourite strings for my fretless Jazz basses are Rotosound Swing 66 Nickel rounds light gauge. They just sound incredible. However, I've started to string my fretless Precision basses with LaBella Deep Talkin flats in a light gauge and they sound, play and feel amazing. So I'm going to try a set on one of my fretless Jazz basses to see how they compare. I know most say that you get more mwah with rounds but I have always found I get more mwah with flats on a fretless so I'm interested how they compare on a Jazz.

His dad died in 1990.

Yeah this was great - I was lucky enough to have lessons from Ian over a few years and it was an amazing experience. I miss those times ! He is just an all round great guy! thanks for posting the vid

That was a bass lesson in itself. No stretching to reach notes, a lot of hand movement, even notes, totally relaxed. Ian shows how it's done. Loved it.