Leaderboard

Steinberger holes drilled - so time for a gratuitous mock-up When sanded and buffed, the fretboard and headstock plate will polish up to the same sort of satin finish as the ebony on the body. The remaining visible neck laminates will darken with the application of the Tru-oil but will buff up to a similar sheen. They don't do the Steinbergers in nickel but I think they are far enough away from the main body. Only a few jobs left on the basic build and then I can move onto the final sanding and finishing.

For anybody interested, or may stumble across this post in the future, I sent the pickup to Armstrong Pickups for repair. Was returned in just over 1 week working perfectly. The repair cost was extremely reasonable too - highly recommended!

Work on your tone and the volume balance of the instruments. If the derrière drops out of it when the guitar starts playing lead, then the guitar is providing the derrière. The bass needs to be the derrière. I'm a big fan of the power trio kind of sound, but if you don't get the instrument tones right, you get the derrière drop you describe. It can be done well, though, and it's a great sound when you get it right. If you're scooping out mids, don't. The guitar is probably providing much of the mid sound of your band and, when they stop playing rhythm, your overall sound is missing those mids. Spend some time between you and the drummer, just playing without the guitar. Listen to how much the bass and drums are filling out the sound when there is no guitar. Chances are you need a tone you're not going to like in isolation. If you use pedals to try to fill the sound during leads, you just get this lumpy old sound which goes up and down in volume. The bass needs to fill out the sound all the time in order for you to have a consistent sound regardless of what the guitar does. The guitarist might have to take some of their low end and low mid out, too, in order for the bass to be the component which provides those frequencies. You and the guitarist need to sort out your frequencies to compliment each other, even though you might not like the sound of them when you play by yourself. The guitar needs to sit on top of the foundation laid by the bass rather than being the meat of the sound. Listen to some power trios to hear what I mean. The bass needs to be big all the time, it's the only way it works. The likes of Free and Bad Company are a great example. Or this

Bass now ready to have the neck and body carving done, really please with how this is turning out.

As a massive pedal user, don't look at pedals as a way to fill gaps. A couple of people have already mentioned tone, and this is where you need to start. You want a good sound that is full and clear, and fills out the low end without sounding muddy and undefined. Next, look at how you approach playing under the solo. I find that it can often sound better to play a solid, simpler part that sounds full, than to try and be busy. Of course, you can go full Jack Bruce if you want but you need to be comfortable with the harmony and with reacting to the soloist, otherwise it becomes busy for the sake of bring busy. One thing that is often over looked is what register you are playing in. If the guitar goes up the octave for his solo and you stay down in the lower positions, there can be a gap of 2 or 3 octaves between the two of you and it sounds empty in the midrange. In these cases it can sound better if you play more around the middle of neck, especially when you have a good tone.

Wee pic of my 2 Sandbergs

Wow.. your personal experiences are so similar to those of The Beatles it’s unreal.

Try going the other way for some songs... Play Slow n strong with authority letting the notes ring longer... leaving a bit of room rather than trying to fill it... Like inane conversation to fill an awkward pause... leave a pit of space... There are a lot of 3 piece out there

Kanye?!

Glad you are loving it - it can be a funk machine, an R&B and dub machine or an all out rock machine - it’s a proper bass and a real gem. Old shape for comparison and under lights it pinks a little bit.

Or a skeleton w*nking in a biscuit tin.

Well, after a few sessions (several hours) of sanding, I pretty much have fully stripped the top, the top of the neck/headstock and the bottom half of the sides. Unfortunately the nicely figured maple on the top is a very thin veneer (VERY thin) and I managed to sand through in a few spots but I think it should look fine once stained, I hope… Hopefully the stain and hardware I have on order isn’t held up by the highway closures and flooding around here as I’m hoping it will be ready by Christmas, for no other reason than as a Christmas gift to myself. Here’s a big photo dump from the last week with a couple of mock ups with hardware.

Yeah you're right. They're definitely sh#t! Having watched the documentary, I can honestly say, I highly doubt their music will ever catch on.

Recently posted on YouTube: tight band with a tasty bass solo on a vintage BT 5

Found some old bass player (us) clippings.... anybody remember this ad?! Getting perfect pitch wasn't as hard as achieving the facial expressions necessary I thought!

I agree completely Kev. The Dingwall/Darkglass thing is getting very stale. However, as a progressive metal bass player myself, I await claims of "passe" when my bands album comes out next year. "Wal and Tech 21? He must be an agent of the counterculture! Seize him!!" Out of all the Darkglass pedals, the AO to me is the best. I'd certainly be interested to try this one.

A bit more progress! Managed to snag a John East low battery indicator as a last minute addition... soon my pretty... soon...

I am biased, because I don't think you have a problem. You have spaces in your music? Great, IMO that's a good thing. One guitarist is also good. Even in Rock, I hate the "filled up" sound of 2 guitarists pounding power chords at each other!! Embrace the spaces. Filling up the sound with over playing won't sound good (will loose the groove) and hitting a pedal every time there is solo will sound "amateurish" after awhile. If you have locked in with the drummer it doesn't matter what other instruments are playing or if they have stopped. The song carries on riding on the groove that you and the drummer are laying down.

I read he pined after it...

Just listen to good examples of bass playing without rhythm guitar (Tommy Shannon with Stevie Ray Vaughan, Pino Paladino with John Mayer, Jack Bruce with Cream…) and listen to what’s going on… In my personal experience you can get away with being a little more busy to fill in the space, maybe experiment with double stops if appropriate. Distortion can help depending on the style. Make sure your playing is tight and in the pocket. Nobody will notice the lack of rhythm guitar if it is 🙂

Embrace to space! Don't always feel the need to fill it. Have a good thick tone as a starting point and go from there. Alot of 'techniques' folk use to fill out sound end up having an opposite effect in live situations - the derrière can fall out the overall sound quite easily if the bass deviates too much!

^^This. listen to as many power trios as possible but live versions. Many, such as Free, ZZ Top etc, overdub for studio work. For example Dusty Hill's bass tone, live, is immense. Gritty, grainy, driven and saturated. Nothing like how he sounds on studio recordings.

A bit if progress this morning... I've picked out the wood that will form the sides of the body. It's part of a garden bench, no idea what species it is but I like the wavey grain, hopefully this will be visible in the finished item. I'm assembling the pieces on the oak board that forms the back. I've already glued the spine in place , it's also part if the bench. Adding the side pieces: I'll trim the outside edge once all of the side bits are glued in place. I'm using bamboo skewers to help keep things in place during the glueing and clamping phase. I don't have enough clamps to do it all in one go so the other side will be glued tomorrow.

I’m one of the resident ‘Ray geeks, and would concur with the USA and 2 band EQ route. I worked my way up from a USA Sub, got *very* lucky with a poorly photographed ‘88 2EQ on eBay and eventually traded up to a USA Stingray Classic (now discontinued) which I got on here. Still kicking myself 6 years later for selling a 2EQ ‘Pino homage’ fretless. Fabulous basses all.

Doesn’t exactly showcase the bass but in love with this shot from a show last month a little 😅

Bit of a spurt on this weekend. The grill was done on Saturday and Sunday I got the centre section covered. Yesterday I re glued some edges that I deliberately left light on glue to stop to much squeezing out. I collected the corners from the nickel platers today and put those on. It’s all finished, baring some excess glue around some joints which needs rubbing off and I’ve bought some black bumper epoxy to build up the gap on the broken input plate.

I want to highlight the most startling moment in the footage: McCartney sits down, bass in hand, without anything to work with. He just starts playing anything. Starts singing any random words and melody. Slowly. Slowly. Something starts to take shape. Like an amorphous blob of clay on a potters wheel. Suddenly its the harmony and structure to Get Back. Like how the hell? Now if anyone of us can do that, I will come round and clean your car for you. Just using my face 🙄

It's not the complete history unless there's two hours of footage of walking into guitar shops throughout the last 40 years and hearing relentless and merciless clicketty-clacketty coming from the bass section.

Thanks! That said, it's not for the faint-hearted

I tried to convert to 5ers several times without success before locking away all my 4 string basses and concentrated on the 5ers. Since you are more adept with 4 strings you will almost certainly pick up a 4 string to practice. This will only hold your conversion back. If you are committed to learning on a 5 then lock away the 4s. Oh, BTW do all the repairs that are required to the Ped. Your buyer will appreciate being able to plug and go.

Depends why you want to become a 5 string player. If you're giving up on a 5 string bass because it doesn't feel "normal" then you haven't given it enough time or effort. If you are a 4 string player, a 4 string bass will feel "normal" and the 5 won't. What you have to do (if you are serious) is to put your 4 string basses away and play the 5 until it becomes your new normal. then you can play either with no problem.

Is it exactly the same circuit as in the AO pedal or have they digitalised it? If it’s been digitalised I hope it’s not lost a little of its magic

It's a cover... how does that work then?

Lots of good advice above for the experienced and competent bass player who knows how to fill out their basslines. BUT As a relatively inexperienced bassist, the OP has asked for advice that doesn't need loads of experience! Bin there, dun that. PEDALS: I've been using one of these for ages: https://www.andertons.co.uk/fishman-fission-bass-pedal-pro-fsn-bas?utm_source=google&utm_medium=organic&utm_campaign=surfaces&gclid=Cj0KCQiA-qGNBhD3ARIsAO_o7ylA6dRKGUvykglNr6SbMD4gXqzAEBQMYWadwHfCLG8n1NICrhBBSx8aArhKEALw_wcB It's a great pedal but it's far from cheap and there can be an issue with sound quality for the guitar effect. The on-board Distortion control is frankly a bit meh so I bought https://www.musique-shop.fr/uk/joyo-ironman-orange-juice.html?gclid=Cj0KCQiA-qGNBhD3ARIsAO_o7yk1KtfSEZ3BGG8SromjBtSpzM22ziMkKM68pbGs8S6HK7OAbdr7YywaAgBEEALw_wcB to run it through and that made a huge difference. But then I got carried away and started bringing my own small valve amp (for guitar) to gigs and although the sound was exquisite, it all started getting a bit much. I also started attracting strange (and not particularly friendly) looks from the 'real' guitarist. BASS GUITAR: There are certain basses that are just naturally good at filling out the sound of a band. In truth I don't actually like the sound of a Rickenbacker that much, well not in my hands anyway - I love it when Macca or Squire play one. 🙄 That said, any 3-piece band suddenly sounds much bigger if the bassist plays a Rick, and especially if that Rick is going through a Sansamp. The Sansamp pedals are pretty good and they're also Swiss Army Knife pedals, but to get the full monty you really need to run a https://www.gear4music.com/PA-DJ-and-Lighting/Tech-21-SansAmp-RBI-1U-Rackmount-for-Bass/1K7Y?origin=product-ads&gclid=Cj0KCQiA-qGNBhD3ARIsAO_o7ykf3n1KI0mZ1gE7xf54Iw2q6CY-39es8VEaAUfsDaca7S7pyrDI_gwaAk5kEALw_wcB through a decent power amp.

Have a listen to how John Entwistle, Chris Squire, Colin Hodgkinson etc, did it. Do Your follow the chords bit but sometimes arpeggiate & Sometimes play counterpoint to the lead. Work with Your drummer to make a full sound without Guitar & Vocals. Then they add the "Fairy Dust" !! Edit: Plus what ezbass & doctorJ said -- Full sound & used the space as dynamic

Using an octave pedal and/or a chorus pedal can help. But don’t just take it on yourself to fill out the sound, your guitar player can also use a chorus or, perhaps even better, a loop pedal to double the rhythm parts or keep it going during solos. Conversely, embrace the space and make it part of your band’s sound.

Th rear strap pin is the answer. Move it up for neck dive and down otherwise.

Mid 90s Streamer stage 1 fretless, customer order for a German music shop Musik Productiv. Great feels, amazing neck profile, ebony board, slim and wide nyom nyom.

Inna Gadda Da Vidda: I didn't know the track so went to YT where I found this: John Bolin 3 months ago I'm 65 years old. Heard this on the radio in 1968, blew me away. Inspired me to learn guitar. The lead guitar player, Erik Brann is playing a Mosrite Ventures guitar. At the time, you could order a Mosrite guitar off the back of a Ventures album. My parents refused. Instead, they took me down to the local music store ....I came home with Gibson SG and a sworn promise to them and myself that I would never give it up. I learned this song in 1968 when I was 12 years old. Wasn't very good.....but I got better......... and still play it ( on the SG ) to this very day....

Yeah, I hate it when stuff sounds good. But to be fair, being a bassist in progressive metal, it’s the Darkglass/Dingwall tone that is becoming very boring and predictable, but it depends how it’s used. Darkglass are capable of much more, and the Alpha Omega circuit is the most diverse of the lot.