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Lots of 'measure 6 times, cut once' bits today Having worked out the best orientation for the neck blank, it was a case of: positioning the top; marking where the top will be sunk into the neck blank and thus where the rebate needs to be cut; establishing the bridge position on that top; measuring and marking where both the front edge and back edge of the nut is going to be. Next was measuring the headstock angle from the back edge of the nut: Then, after checking the measurements 5 more times...cutting it Mockup number 2, checking that I've got it right: And yes - it is in the right place, giving me a flat surface for the bottom of the nut when the time comes. Next job is routing (yes - I know. I mightily hate routers - but this is one job where they are darned hard to beat!) the rebate in the neck blank that the top will drop into, leaving it flush with the top of the neck. All going well, that will be this afternoon As always, thanks for looking, folks

Well...Now we are back in the giant servers of Talkbass, I would like to take this opportunity to Thank all you wonderful people in Bass Chat for a lovely stay...Toasty crumpets and lashings of hot tea. You have all been so gracious and hospitable. It has been great fun hanging out and getting to know some of you. 👍😎 Cheers

Who uses loopers? Who uses loopers? Who uses loopers? Who uses loopers? I've Who used one uses at home loopers? I've Who used one uses at home loopers? I've Who used one uses at home loopers? I've Who used one uses at home loopers? I've Who used one uses at home loopers? NOT LIVE! I've Who used one uses at home loopers? NOT LIVE! I've Who used one uses at home loopers? NOT LIVE! I've Who used one uses at home loopers? NOT LIVE! [Infinite solo over the top]

Normal stuff - as I can't think of anyone else who builds like this, don't assume it's the way it should be done! I cut the notch in the neck blank using the router in a home-made thicknessing rig: So I end up with a rebate like this: Which, relatively shortly, will be glued to the top like this: ...and eventually will be covered by the fretboard like this: Time for a cup of tea, I reckon

I wanted to replace the mute pads on my '88 Stingray and I can't seem to source just the pads - whole mute kits are sometimes available. So, I got to thinkin', they're only foam rubber pads... Sourced some EPDM self-adhesive gasket and after some measurin' and figurin' decided that 8mm thick and 20mm wide was ideal. Amazon supplied Neoprene Rubber Black Self-adhesive Sponge Strip 20mm wide x 8mm thick x 5m long: Amazon.co.uk: Welcome and after a bit of Blue Peter with a knife I had new mute pads. Work just fine too. It would be easier to do this at a string change, but slackening off was enough. I've got enough for a lifetime now... 😉

WD 40 is a safe option, our guitarist used nail varnish remover on his nearly new Gibson, it didn't end well 😂

One of those guys who played what a song needed.

Godwin's Law satisfied within 5 posts, that must be some sort of record. I think you'll find the lack of replies has more to do with conspiracy-fatigue and a reluctance to participate in yet another bloody covid argument than an inability to provide answers.

You do as you wish; others do the same. There is no real information in topics of this sort. Make your mind up on what you believe; there's no call for spreading partial, or disinformation, here. This topic is now locked.

On this tip, the legendary Brown Mark (of the Revolution...one of my favourite bassists) is now doing YouTube tutorials on the 'Prince Style'. Being a lot younger than Prince, he was very much a protege and Prince used to teach him the lines to the songs. So these YouTube lessons are a bit like having a bass lesson with Prince. Gold Dust for those of us who loved the sound of the Revolution

Another day another rehearsal, with another band ... which means... Another Pedal Board! Going for the two envelope filters this time.

I have had the pleasure of borrowing @krispn's (Gav's) Precision with flats, and comparing to my own. A very instructive evening last night and morning. Played through my amp setup (The Basschat FRFR 12" design) and headphones. Gav's is on the left, and is alder body, rosewood board, and strung with TI flats. His has a P pickup in the usual spot, but with the coils reversed. He also has a Precision neck, with more mass and larger nut width. Mine is on the right, and is alder body, Brazilian rosewood neck, and strung with D'Addario Chromes flats. It sports the usual pickup orientation and position. Jazz neck and Jazz nut width. Recognising that the two basses are not 100% alike, and trying to allow as best as I can for that, I do notice what I have done with other basses I have tried with a reversed P, which is that the reverse P makes the string balance a lot more even from top to bottom. It still sounds like a Precision - mostly - but it does get rid of the typical bark. By comparison, I find my bass to have a little more low end and a bit more thinness to the D and G strings, with the expected 'bark'. I very much doubt anyone apart from a bass player would notice, but since we're all very focused on the bass around here, I will say the reversed P does not sound quite like a typical Precision. It sounds great though! Just different. The project bass I'm working on (see https://www.basschat.co.uk/topic/440973-dual-p-pickup-bass-modding-a-mexi-fender/) may yet end up with a reversed front P, I'm not sure. I have had for that brief that I maintain the typical Precision sound, but I am now wondering if the reversed front P is worthwhile. Thanks to @krispn for letting me borrow his bass!

John Robson Guitar Tuition on YouTube has been doing a series of videos on chord progressions and substitutions - parallel minor keys, modal interchange, tritone, secondary dominants etc. but all done in the context of common rock/pop songs. It's the most accessible treatment that I've seen and only has theory that you'd need. e.g. Tritone: (John is from the same part of the world as me and I remember trips to his home town, Redcar, when I was a lad.)

Introducing... the 'Stabilo BassTM (r) (c)": Available in two versions: cast iron for general use and depleted uranium for the real heavy metal experience.

So I have recently acquired a stunner of a 2019 G&L CLF L2000 that has joined my little G&L family along with my 1989 SB2. I love this thing so much, its like a Stingray on steroids and is so comfortable to play. Fit and finish is miles ahead of anything else for this price being a hand build USA instrument. I have a huge thing for G&L as not much stands up to them, especially those MFD pickups! Just thought I would share the moment!

My second 6 after not owning one for 11 years. loving it so far.

I'd love to but it takes too long. Yes I realise there's copy'n'paste but I'm a purist and like to suffer for my art. 😄

I’ve been to loads of gigs where the over-bearing kick drum that was louder than everything else including the vocals simply made the whole gig worthwhile.... NOT!!!!

Same construction method used on this 3 string cbg I knocked up as a pressie for my other half. It is hollow body floating bridge with through neck. Apologies for non bass content

Sometimes it's good to go back to the classics.... Sex Pistols NMTB.... here's Liar:

I have a Synth 9 and a B9. The Synth 9 has a great Oberheim setting which can hold a note in the background whilst you chug a riff, like rock bands use synth players to fill out the sound. I bought the B9 on impulse; when I plugged it in and started twiddling the knobs I found a Hammond setting and just started playing "Lazy". These "9" synth pedals contained canned sounds for you to use; more like sampled sounds than a programmable synth. Programmable synths are something else; I've just sold a MarkBass Super Synth (SS) and it was pretty good. I've also got a Future Impact, which is much more comprehensive (but is large and also needs a separate MIDI switch pedal to control it). Both are programmable via a PC app. So, the choice is canned sounds or roll your own.

Ok, no more distractions, I'm full time on the workshop now!

My two. The Yamaha has been packed away until I got it out for a blast today, what a fantastic instrument.

By posting in a zombie thread on a totally unrelated topic you appear to be a spambot, as that's typical of what they do, especially when it's their first post. You also greatly reduce the chances of someone who may be of assistance seeing your question. Someone who has the schematic you need may have no reason to read a three year old thread about RMS versus peak watts.

@Cosmo Valdemar @Highfox @neepheid

Reggaebass this has been my biggest music theory struggle with reggae so far, at 1.15 in Is This Love on 'I wanna KNOW' Aston Barrett plays a minor 7th bass note over the major 7th melody.. and keeps doing it!! It sounds a bit weird but he somehow totally pulls it off... swag!

Yeah. The overhang doesn't look to be a fret's worth, to me.

I see, thanks for your friendliness

Hi all, I'm a lurker that signed up a while ago but this is my first post as I've got a Warwick story to tell. I've also posted it on the Warwick forums. I’m in the market for an upgrade to my current bass and I've been searching for a second-hand German or Korean Corvette, which got me thinking about my experience of having a job interview at Warwick. It includes a memory that still haunts me to this day. I thought I’d tell the story here as some may find it amusing. Back in 2010, I applied for the position of in-house journalist for Warwick/Framus. I was fresh out of university after completing my Journalism degree in the UK and at this point, I had sent a few applications here and there in the UK without much luck. I honestly thought they’d never get back to me, so why not send a speculative application? I had nothing to lose. However I was delighted to receive an invite to Warwick HQ in Markneukirchen for a trial week, so when I was asked to fly over and show them what I can do, this was a huge boost to my confidence. They’d put me up in a hotel and let me work for a week in their amazing headquarters – I couldn’t say ‘yes’ quick enough. I booked my flight over to Germany and the company kindly picked me up from the local airport and took me to my hotel. It’s a beautiful little German village in the middle of nowhere. I could speak a tiny bit of German – enough to order some food and a beer or two – but fortunately the hotelier and the majority of people at the company spoke English, which was very reassuring for a fish out of water like me. The company stressed to me that this role would probably consume my life for the next 4-5 years and, given how remote the location is, you would have to throw yourself into the job. I was 21 years old and bang up for anything that paid after university, so this appealed to me. I was young and ready for a new challenge. On the day I started, I was given the grand tour of the factory and shown the office where I’d be working. Everyone was very friendly and I was looking forward to getting started. One of my tasks over the course of the week was to write the October 2010 newsletter which went out to subscribers. It featured an overview of the Streamer Jazzman as well as the announcement of the the Pro Series made in Korea. It also featured an interview with Richard Lovgren, bassist in Meshuggah, conducted by Warwick Artist Relations Manager Alex Becker, the latter of whom I met at the office. I also wrote a feature on Bubinga Pommele Round Wood for the website. Pretty standard stuff now that I’m writing it down here but I was so jazzed to write about this type of thing. I still have a copy of the newsletter and the feature in my journalism portfolio. One evening, Hans Peter-Wilfer and the staff took me and another applicant to a local restaurant where we had dinner and a few drinks. They were very honest with me in saying this is probably a job you’ll do for 3 years and then move on due to the HQs remoteness. This didn’t phase me as, again, I was a grad out of university ready for a new challenge and this was a huge opportunity. We ate and drank and had a great time – I could really see myself being here for the long haul. One day, I was asked to conduct a phoner with one of Warwick’s artists. I’m struggling to remember the band exactly now but it was one of those American hard-rock/nu-metal-ish bands. I think it was Trapt, as Pete Charrell – their bassist - was a Warwick artist at the time. I had done quite a few interviews as a proper journalist at this point – Joe Duplantier of Gojira, Andrew WK, Alexisonfire – so coming up with a list of questions for the interview was no bother. At this point I was told Jonas Hellborg was in town and he’d be coming over to have a chat with me. Now I have to admit I didn’t really know who he was but apparently he’s a big deal and it would be good to impress him. We sat down for a chat and I explained my background and why I was here etc. He looked over my questions I had written ready for the interview with Pete. He basically said – and I’m paraphrasing here - they were complete stinky poo and “had I ever done an interview before”. I was really shocked to hear this but being 21 years old and keen to impress, I politely explained I had but was open to working with him to refine the questions. He asked me to go back and write some different questions. I was a little flustered by the time of the phoner but I had got some new questions ready. I got my dictaphone set up, plugged it into the office phone’s handset and away I went. After the interview, I went back to the hotel and was chuffed with myself for doing such a good job. I went back to the office the next day to transcribe the interview. It was a 30-45 min call so it would take me a little while to transcribe but it was a fun call despite Jonas having rattled me a bit the day before. I got my Dictaphone out, plugged in my headphones and pressed play. There was no audio. My heart stopped. I fast-forwarded through the interview and there was still no audio. I waited a few more seconds and I heard my voice asking questions to Pete, but there was no response. I eventually realised I had not plugged the dictaphone into the audio out, but into a different socket. I recorded myself talking, but not Pete. I turned white as a sheet and realised I had massively flipped up. It was at that point that everything came crashing down. I was a fresh-faced graduate in a foreign country in the middle of nowhere who has just ruined this interview with a Warwick artist, specifically after getting a grilling by Jonas. I felt very isolated and was beating myself up about it. But one of the staff who was looking after me said it was totally fine and asked me to just type up what I could remember. I tried my best to remember what Pete had said, and wrote maybe an A4 page or so of content. It was complete rubbish and I was mortally embarrassed for making such a mistake. It was human error but I was so eager to impress, it just affected me for the rest of the trial week. I submitted the piece and, funnily enough, I do not include it in my portfolio for the future. I didn’t see Jonas for the rest of the week. Whether that was intentional or not – I don’t know! I don’t remember a whole lot after that, except for saying my goodbyes and being driven to the airport after my trial week had concluded. A week after my visit, I received an email saying I wasn’t successful and I wouldn’t be getting the role. It didn’t come as a surprise. I was gutted but naturally understood the decision. It was perhaps a sliding doors moment in my life because if I hadn’t been rejected, I wouldn’t have got a new job local to me in the UK where I’ve made my best friends for the last 10 years and also met my wife in the same city. I do think “what if…?” but maybe it worked out best for both Warwick and me! That being said, Warwick will always have a place in my heart because of those moments, and I’m now at a stage in my life where I can upgrade to a Warwick. So if anyone has a Pro Series Corvette made in Korea for around £400, let me know...

Hah! Little does SM know that I'm about to steal his market with my superior invention. It's a large helium-filled balloon tied to the headstock. It'll be out as soon as I've decided on a name. Head Zeppelin is favourite so far but I'm open to other suggestions.

Airbourne? Loved them when they emerged, a higher intensity type AC/DC.

Let me join the club!!!! As of yesterday I'm the proud owner of this little amp from 1995!!!! It need a service because every pot makes some kind of noise but the sound is there! What a beast of an amp!!! With the 410hlf heritage it's a match made in heaven. I'm really looking forward to have theamp full serviced to explore all the tonal options that this bad boy has!!!!

I don’t struggle with music theory as such, the last 3 or 4 years I’ve read up and included it into my practice routine and I’ve learned a lot, I think you could devote a lifetime studying it , what I do struggle with a bit is what to learn that is relevant to what I play (reggae) , working on my pentatonics was a great help.

ACG Skelf and Zoot Funkmeister

Be careful with DV247 - unless it specifically states the case is in Romford, it will come from Germany.

First round of finsihing is complete This first few layers are Crimson Guitars' High build finishing oil, over a surface sanded to 400 Grit. colour wise im extremely happy indeed, the contrast in the marquetry came out really nicely. the target is a nice even satin finish across the whole bass, which im using renaissance wax (conservators wax) slowly built up on top of the finishing oil. From this angel you can see the effect i was going for with the s matched top, with the flame of the redwood matching up nicely throughout the body the flame on the upper horn is especially nice. once ive got some more coats on and a slightly more even finish, ill get some nice close up shots. im also going to put together the power pedal, as well as the custom cable that will be needed for power/signal this week... and then its time to put it all together!!

And here is current "Dood" from that very session recording the SH-1 review. It's a 1976 precision, Ash body and a very skinny slip of rosewood for the fretboard. I'm gonna have to agree, I'm in the "black pick guard" camp, even though my passion for natural P basses does stem from John Deacon's sunburst model that he stripped the finish off. He left the original tortie guard on it all the way up to the point of having the refinish in black with gold hardware around 1985. (Yes John did also have a second precision that he stripped the finish off too, which is often identified by having a silver Fender logo rather than the black "TV script" style logo of what became his "main" bass.

Anyone fancy starting a Anyone Else Find BassChat Miserable Rude and Unwelcoming During The Recent Outage? thread on TB? 😇