All Activity

I don't think the pickup route is the problem. It looks as though the bolts for the neck attach either side of this which should counter-act any weakness at this point. My suspicion is that the problem is due to the fact that all the "neck" bolts appear to be beyond the end of the truss rod, and the flexing point is between the end of the fingerboard and where the first set of bolts attach to to the body. I wonder if fitting two more bolts that definitely attach the neck at a point where it is also being affected by the truss rod will overcome this flex point.

Interesting thanks for the replies. I am not a gigging musician but a punter. I tend to rely on Spotify to find new artists and Dice to let me know when they are touring. As has been mentioned AI is a threat but for now I think people are safe. Formulaic music has been around since forever with the likes of Stock, Aitken and Waterman and later Simon Cowell. I am not convinced that AI music is anything different but just another step. Some people will go and see a holographic performance of AI content. I can envision this unfortunately. I am sure that just as people went to whatever boy band was going through the motions, many others will continue to seek something different.

Glad to be of assistance. Now where's my share of the prize money?

Yes, so simply shimming it won't do the trick. @Maude's suggestion of shaving it could be a workaround, but I think the underlying issue would re-surface in the future. My guess is that the issue is in that P-bass pickup cutout. This is similar to the known neck-lift issue on Rickenbacker basses and people are able to fix that, either by heating/clamping to straighten it, or even by inserting carbon fibre strips to strengthen it and make it rigid.

Bingo! “Bigredx mentioning Gus in a completely unrelated thread” was the last thing I needed for the Basschat bingo game.

The other obvious thing is that the Screw On (they aren't 'bolted' on) body is predrilled to accept the screws; it's not like they just stick 4 screws through a blank piece of timber into the neck!

As I said, the bridge and the pickups mount on both the extended neck section and the body so (especially with the bridge) a flat spot is needed to mount it...

If you look at the pictures, you will see that the bridge sits on the neck extension: the two front screws and 3 of the 5 tail-end bridge screw holes are on it (I didn't say it was a thru-neck).

Session in Nashville, taker a Fender. Session in NYC, take a Yamaha

I would confidently guess that for every band/solo performer that the Tik Tok algorithm gods smile on there are tens of thousands worldwide posting up clips that struggle to get 'likes' into double figures. But even if a band does get a few thousand likes the bottom line is that the people giving the likes are scrolling on their phones, watching new content every few seconds, it may well not translate into building into a fan base that's actually going to make the effort to stream more music by that band, let alone make the effort to go to a live show.

It sits kind of jointly on both the end of the extended neck and the body. So it needs a level base.

Re 'focus and energy is elsewhere', it's hard to see your angle really, I've always seen Yamaha's focus and energy as being focussed on the production of a constantly evolving range of well designed, well engineered and well priced instruments. Where do you see it?

I know that's said in jest, but the main reason I never recorded with it was because it wasn't as effortless to play as this: or this: Neither of which are remotely like a P-bass in looks feel or sound. (and for a lot of the songs I was playing it didn't have enough strings)

The theory is fine but it has been mis-applied in the case of a bolt-on neck guitar. This is because the forces acting on the joint are not all in the same direction as the screws. If you were just attaching a neck to a guitar with no strings then the clearance hole idea makes sense. However the strings are also pulling at 90° to the screws which means that the clearance holes are going to allow possible unwanted movement of the neck in the pocket.

In the case of my band we have up until recently for the past 4 years only played supports to better known bands. We do the usual social media postings, but we have mostly relied on the pulling power of the bands headlining. It's worked pretty well, we have managed to build up a big enough following to start headlining ourselves and we have started getting requests from other bands looking for supports.

What Have You Done For Me Lately ? - Janet Jackson

I'm not getting into discussion of room modes (the collection of resonances in a particular space) here. It merits it's own seperate discussion and is probably better suited to being in the PA section or studio recording. Science works by isolating single variables and investigating and understanding them one at a time. In this little bit all I wanted to do was explain a simple phenomenon which we've all experienced and can easily rectify. It's more psychoacoustics than physics. Maybe a bit of biology. Most of our lives are lived at modest sound levels (70-80db) and the frequencies that are most important for daily living are in the mid-range. The quieter it gets the more the mids are boosted in our brains. If we listen to music quietly we need to add a bit of 'loudness' or the balance sounds weedy. Bassists in particular need to know of the opposite effect; if we increase the volume above the 80db range then we need to apply anti-loudness, to boost the mids and cut bass (treble in this case is outside of the range of a bass guitar). This will restore the tonal balance that you have set up so carefully at home or in the rehearsal room. This is the bit you as a bassist are in sole charge of. This is about preserving your own tone It's the job of whoever is in charge of the PA to deal with room resonances (or room modes), though in a really awful room they might need you to help out by turning down or reducing you lower frequencies especially if you are using backline only for bass.

I have never regretted buying one. My biggest problem with it is that I like flats and rounds on it and I can't afford to get another one so I don't have to keep changing strings!

I would also ask that with out the good old days of music press and A&R men and local radio and local newspapers and all of the other things that made a local music scene get national attention how does anyone get people to their gigs? I’m not sure that TikTok works well for everyone.

Most bands will probably make more profit from a T-shirt sale than they would from someone buying their CD or record, so if you can only afford to buy one thing, a T-shirt supports the band to a greater extent. It is, however, sad that this is the case.

Please Please Me (Beatles)

So how do you discover new music other than by going to gigs?

Please Mister Postman - The Marvellettes

I really want to try one of the Artcore basses. Most of the shortscale semis seem to have narrower string spacing. The Jack Casady has “normal” 19mm spacing and feels great in the hand, but for my money didn’t sound old-school thuddy enough. Thomann (with the exception of the Artcore basses) have the annoying habit of listing the nut width, but not the string-spacing at the bridge, which IMO much more affects how wide string-spacing feels. I love my Eastwood Classic 4, but even that is only 16mm spacing, which is sub-optimal

Lightning Strikes The Postman - Flaming Lips