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Showing content with the highest reputation on 28/02/21 in all areas

  1. 6 points
    Having just fitted the bridge to the Wal save, it's fresh in my mind. There are two things that have to be right - the left /right position and the forwards/backwards position For the left /right, my preferred method it to temporarily fit the top and bottom strings, tightened enough for them to be straight and then position the bridge so the strings are equidistant from the fretboard sides and/or in line with (or at least symmetrical to) the pickup poles: Then, for the forward/backward you need to position it with enough saddle movement available to intonate the strings. For this, I do the following: - I check how much adjustment the bridge has (they vary!) from the furthest usable forward position of the saddles to the furthest usable rearward position of the saddles. Ideally, this is at least 5mm. - Generally, the top G intonates at around 1mm longer than scale length and the bottom E (or B on a 5 string) 4 or 5mm longer than scale length. It will NEVER be shorter than scale length - So I wind the G saddle fully forward - I then position the bridge with the G saddle at exactly scale-length, make sure it's square to the centre-line (and double check the above alignment) and mark the screw positions - I then know that all of the other saddles are capable of being adjusted to positions longer than that scale length by up to 5mm and that therefore all strings will be capable of being intonated correctly. -
  2. 5 points
    Hey Folks ! For sale or for trade a Jerzy Drozd Obsession Excellency 5 strings in perfect condition. Bought by Doctorbass.net with customs specs and woods. This bass has a perfect set up with low action and terrific various tones. There is a lot of growl and attack, precise like a Tobias and growly like an FBass. Here are the specifications : Body : Diagon wood wings (a type of mahogany, but lightweight), and a flamed maple tone block. Very thick AAA black poplar burl top. Neck : 3 pieces of quartersawn maple, with two ebony veneers. Bolt-on with 7 screws, assymetrical D shape. Fingerboard : Very thick (8-9mm) fingerboard, birdseye maple. Scale : 35" Frets : 24 silver/nickel frets in perfect condition Headstock : 3 + 2 with AAA black poplar burl veneer, Jerzy Drozd logo Nut : Ebony Pickups : Neodymium Jerzy Drozd JeDXS5 split-coils pickups, with wooden covers Preamp : Aguilar OBP-3 preamp, 9v Controls : Volume/Blend/Passive Tone/Bass/Mids/Treble + switch for mids frequencies 400 and 800 Hz, and one switch for active/passive mode Tuners : Gotoh GB707 Bridge : Jerzy Drozd brass two pieces Strings spacing at bridge : 18.5mm (adjustable) Strings spacing at nut : 8.5mm Knobs : Jerzy Drozd wooden knobs Hardware : Gold Trussrod : One bi-directionnal trussrod, perfectly adjustable Land of craftsmanship : Handmade in Spain Weight : 3.4kg Delivered in Jerzy Drozd softcase This bass play like a dream, as usual for a Jerzy Drozd. It's very lightweight so it's not exhausting at all to play with. A little sound clip with old nickel strings : https://drive.google.com/file/d/1gNVBqxuSFXwP2ZG98wJlKoJKm8MDPH7u/view I have a lot of soundclips with new steel strings if you want to hear more. Street price starts at 5000€ according to the Jerzy Drozd's website : https://www.jerzydrozdbasses.com/obsession-excellency Don't hesitate if you want more soundclips or pics. For trades I am quite opened, I am interested in fretted or fretless basses, from 4 to 6 strings. Rather looking for a Leduc, MTD, Tobias, Ken Smith, or whatever... Waiting for your proposals!!
  3. 5 points
    Looks like there was a discount on pots and switches... 😂
  4. 5 points
    I've just noticed that at almost 17400 views, @Andyjr1515 has already entered the top twenty most viewed build threads on here with this masterpiece! 👌🏼
  5. 4 points
    On the same tack, I also love the RSB Deluxe. RSB Deluxe Sort of the same but different! Aria of late (speak to younger players to confirm) seems to be seen as low budget, which is such a shame as the heritage of Aria was solidly formed from high quality, with a range that many pros would seek out.
  6. 3 points
    As a fan of the T-40. I know what you mean. I am also a big fan of the SB Special SB Special
  7. 3 points
    StewMac website has a calculator for placing the bridge in the right place
  8. 2 points
    Right Owen. You are off my Christmas card list. Messing up my no new (or used !) gear chasing with fancy bass shop links.
  9. 2 points
    Absolutely amazing. I’m sure you’ve thought of it already, but bigsby tuning stability is often helped/ hindered by the break angle over the saddles... May be a factor to consider when deciding placement of bridge and tailpiece.
  10. 2 points
    Hopefully it's progressing, albeit slowly, through the legal system. Surely this can't just be allowed to fade away?
  11. 2 points
    On top of that think about regular Pop music - for every Ed Sheeran or Dua Lipa theres about two dozen artists who copy the production and kinda sound the same but not as good - or you get probably good songs hidden behind whatever formulaic sound or production is in vogue that month- I think it takes skill And confidence for someone to punch through the noise With something that sounds original... and that’s in mainstream pop- CCM the budget and talent just isn’t there I think- and the whole structure of church worship music in some ways discourages taking risks. reading reviews of John MArk McMillians album last year was interesting- there were a few reviews In the sorta Christian press/blogs that just didn’t get why bits sounded like it did. By the way “the road, the rocks, the weeds” off that album is a cracking song IMO reguardless of genre and content
  12. 2 points
    Try the ToneRider, dirt cheap and excellent pickups : https://tonerider.com/product/precision-plus/?v=d3dcf429c679 That said, the typical Jaco tone on a fretless comes from the bridge pickup. A P-Bass won't get you that tone. The strings and almost no neck relief is important too. No bloody flats on a fretless if you want it to sing (except Thomastik Jazz Flats). Boost the 800 Hz on your amp, cut the highs and put the basses just a bit above the center click, that will help achieve the mwah.
  13. 2 points
    Some lovely videos peeps have posted here, it does my head in how people put these things together. CCW industry is exactly that, it’s no different from mainstream industry, in that it’s about shifting a product and creating a desire for more of the same. I was involved in CCW in the 80’s-90’s and saw a huge change in direction from considered and skilled songwriting, to the emphasis on production, to sell a product. I haven’t been to a church meeting/service for years now, not because of a falling out with anyone, just a shift in my belief system. But I wish church musicians were encouraged to study the great writers like Lennon/McCartney, C Porter, Paul Simon, H Carmichael, etc who could write a song with prosody and arrangement that was challenging for the musician to play, but appealed to the masses who could sing along. Anyway, sorry to derail what is an encouraging thread for church bassists. Ignore me, who? 😊
  14. 2 points
    Here is my new one. During the video, You can found parts with isolated bass or bass and drums. All the descriptions of gear used are in the text part of the YT video. Would appreciate Your comments on this one.
  15. 2 points
    Fender used alder for purely pragmatic manufacturing reasons. It was inexpensive, readily available, easy to work, took finishes well and was not too heavy.
  16. 1 point
    I'm not sure how interested anyone will be in this cab but I'll offer it up for comments and questions in the hope that some of you might find it useful. At the recent South West Bass Bash I demonstrated just about the simplest way to self build a bass cab. I took 42 minutes from the first glue to a working cab, my aim was to demonstrate just how easy building your own cab can be. It was really just built for a demonstration and I didn't expect to use the cab much but it turned out better than I expected, so I thought I'd share the design. This cab is effectively the little brother of the cab I designed on here a couple or years ago, 14kg, 350W, 122dB and costing about£150 to build. You can find the information here https://www.basschat.co.uk/topic/227904-1x12-cab-design-diary The original cab was a 50l cab based upon the Beyma SM212 driver and designed to produce lot's of deep well controlled bass with a neutral uncoloured response, several people here have built versions of the cab and I've been gigging it for two years. My problem with the original cab has been that in rooms with poor acoustics there has been too much bass and I was tending to dial down the deep bass and boost the upper bass. It sounds great in non resonant rooms and out of doors but has way too much bass if you are shoved into the corner of a low ceilinged room. Since I had promised to demonstrate a cab build anyway I thought I'd squeeze the Beyma into a smaller cab which would reduce it's bass output but give it a 2dB boost in the lower mids/upper bass which I thought would help cut through in difficult spaces. UPDATE It looks like Beyma are about to pull the SM212. Coincidentally I've just been given a Beyma 12CMV2 to try in this cab, it has the same magnet but with a heavier cone, stiffer suspension and a new voice coil. It also has a pressed steel chassis and is considerably cheaper. The good news is that in this cab it actually sounds better. The bass response is basically unchanged, but one of the frequency anomalies of the SM212 has gone and there is a broad boost in output in the upper mids which makes the sound lighter and more detailed. I'm still investigating and haven't tried it at a gig for COVID reasons but I'm happy to recommend this speaker if anyone is thinking of a build. If I get more information I'll put it here. If you do fancy building one yourself then the panels for the cab are 2x 374mmx290mm, 2 450mmx 290mm and 2 450mmx350mm (all 12mm ply) the front baffle is set back 30mm to allow for the grille so internally the cab is 350mmx450mmx236mm. the ports are made of drainpipe/downpipe which is 64mm internal diameter 160mm long You should be able to build it from these dimensions and the video. thanks to WoodinBlack for filming this. I loaned the cab to derreybass who has written a review, many thanks to him too. I'll save a space under for the review and put up some more pics when I get my upload problems sorted. Thanks also to Mrs Scrumpy for lunch which is far too obvious in the video
  17. 1 point
    Wow it doesn't take a genius to figure out that an item can't be delivered before it's purchased. Disappointed in ebay with this one.
  18. 1 point
    I just checked the size of the slot and bought a sheet or 2 from eBay in the colour I wanted. Cost a couple of £
  19. 1 point
    Pickup rout, string anchor holes and control holes all done using the Shaper Origin.
  20. 1 point
    NS2 4 string 3 piece maple laminate neck through with solid maple wings. Haz Labs 9V pre amp. PJ pup config NS4 As above but with humbuckers (I think) and maybe called NS4 Kramer were making the NS2 and Stuart set up SSD NS5-XL As above, but 5 string 35" scale. Euro LX as NS2, but maple/alder wings and Tone Pump
  21. 1 point
    I think that the pricing of the Masterbuilt line is made in accordance with the general Warwick custom shop pricing rather than with any regard to Sadowsky NYC pricing. So if the same Warwick master craftsmen and women who make £6k Streamers/Thumbs are spending similar hours when making a Sadowsky Masterbuilt, then this will result in prices which are a similar to, or exceed the prices of Sadowskys made by Roger Sadowsky.
  22. 1 point
    The last 3 Arias posted have been pure class.
  23. 1 point
    Yup. You can run n-track on your mobile phone, in fact. That's how I started using it, as I wanted something to catch ideas anywhere fast. I only moved to a tablet because the screen was too small and kept hitting the wrong keys but the functionality is there.
  24. 1 point
    Out of curiosity: has this changed during the pandemic? With the people I play with, it was only a few that would regularly record at home, but now nearly all of us have some way of recording and sharing ideas. Nothing amazing, just enough to share basic demos. I have used Reaper and Cubase in the past, although probably using 5% of their capabilities. Now I tend to do everything on n-track and an android tablet, as basic as it gets, but it's enough and extremely easy to use, the closest to the old tape multitracks we used to play with years ago.
  25. 1 point
    Thanks Guys!! @roman_sub, its certainly something ive considered. the new string tension bar holds the strings a bit higher than a normal bigsby, and hopefully with the bridge sunken slightly into the body the break angle shouldn't be too bad. we shall see! @PlungerModerno, don't worry, i will this stage is actually pretty enjoyable and im generally doing an hour or so at a time, a couple of times a day. i've not shown the back in this post, but there is an awful lot of material to remove there as well!
  26. 1 point
    "...this is not going to be a short or easy process" Um, take your time. Art takes time, and this is as much a sculpture as a tool for making music. Wow.
  27. 1 point
    Would a bridge with width adjustment get you there? depends on how close to the fretboard edge at the dusty end you can go, or tolerate
  28. 1 point
    Just read the specs on that Project phono stage and output voltage looks as low as the line level output from the turntable (200mV). I would take Dan Dare’s advice and contact a dealer for advice like Audio Affair.
  29. 1 point
    One thing we haven't covered well is the plywood vs. wood in speaker cabinets. Baltic birch is one very good material in plywood and cabinets: stable and stiff. Last time I saw a wood cabinet, was my friend's Mesa/Boogie g-word amp. Is any bass amp company using wood?
  30. 1 point
    Pretty sure the Squier CV Jaguar is 32” scale with passive P/J so you get a little extra versatility if you need it, and a shade cheaper than the Player range... EDIT: so it is, here you go https://shop.fender.com/en-GB/squier-electric-basses/jaguar-bass/classic-vibe-jaguar-bass/0374560500.html
  31. 1 point
    I can't see that the strings will ever intonate at less than double the distance from nut to 12th fret, so why not start with that as the furthest adjustment position?
  32. 1 point
    Need to see more photos of the finish! Looks incredible!
  33. 1 point
    And you sold it to me. It was my first ACG, and not my last one. I'm very tempted to buy it back, and it's only 15km away from me. This planet is really quite small.
  34. 1 point
    The bass is like new, it has no stripes or bumps. It's amazing the sustain it has, and the sound balance throughout the fingerboard. And it's a very nice bass. A very rare piece of seeing by this forum. No Changes, please. Only sales. Contoured double-cutaway alder body Satin finish body & neck 34” scale, 21 fret, bolt on carbon fiber neck Phenolic Fretboard Bi-directional relief adjusting truss rod Top & side dot position markers Compound radius composite fretboard Bartolini Jazz Style Pickups Passive Electronics (Volume / Volume / Tone) Chrome hardware
  35. 1 point
    RMI make some stunning basses.
  36. 1 point
    So, I am at finishing stage finally. A 1st coat of oil on the neck and the body will get the first tomorrow. Getting to where I need to be 😀
  37. 1 point
    And the problem with that is?? Personally I would rate a CNC produced part over hand made any day. More accurate, more repeatable, and cheaper (provided the manufacturer has a CNC machine in the first place). No downside at all.
  38. 1 point
    Probably more in the workmanship than in the sound. Some of the alembics are just crazy with pointless features like inlaid patterns on the fingerboard and those careully carved omegas etc ... affects the sound and playabilty not one jot; but looks good on the American dentist's wall. Much as I like boutique basses, if the extra work is purely aesthetic, forget it.
  39. 1 point
    I think spending several thousand on a bass that is extremely customised to your exact tastes, scale, wood choices, neck, pickups etc. and that doesn't exist out there in the retail world, and it brings you joy in any capacity be it playing, looking, holding etc. and you can afford it without going into debt, then I see absolutely nothing wrong with it! The same would apply to a vintage instrument that you can't buy new. It's all horses for courses, and if you're perfectly content with a serviceable cheaper bass, then that's all good too! I like to discuss opinions and see where other people place their values, but it is our differences that make us unique, we should celebrate them! (Of course anyone that doesn't agree with me is WRONG!!!! 😁 )
  40. 1 point
    My chain is stingray - mxr bass octave deluxe - hx stomp( compression - split into sub channel clean out to amp/di - wet channel - fx loop - bass big muff - fredric effects bug crusher - xerograph deluxe with expression pedal - back into hx - noise gate - lfo with 1 expression pedal for rate (and at some point gonna another expression pedal for mix) - a little bit of extra drive from teemah and out to the amp/di. Bwoah what a mouthful, and I still want to add a tc spark booster after the fuzz so I can boost before bit crushing without affecting the fuzz. I might make a post on here some time soon with my dubstep effects but for now, you can look at my instagram - instagram.com/joegwinnbass
  41. 1 point
    Yeah I treated myself to it a few weeks back for my birthday. Still on week 3, enjoying it. My vocal chords are getting an unexpected workout!
  42. 1 point
    Warwick are also a distributor.... you get to a certain age and get offered what essentially is your retirement and rather than have a company in japan build your basses under licence For you to distribute and sell (I would love to know what else that factory make, Ive found a range of guitars and have my suspicions) you licence your name and a manufacturer/distributor builds your stuff at three price points and you take a cut on everyone? I don’t think it’s cynic, I think it’s a guy nearing retirement and wanting to enjoy the next twenty years making arch top guitars if he feels the desire too
  43. 1 point
    How come the discussion leaps from Harley Benton straight to Fodera? I've had a few dozen basses, and played a ton more... the cheapest cost me £20 or was free, the most expensive had a retail price originally of over £3k. I've played and owned some great instruments, and some that were a bit "meh". I've found generally, that there is diminishing returns the more you pay... and also conversely I'm more likely to find exceptional instruments at higher price points. I've found amazing basses that cost almost nothing, and I've found that there are some higher end basses with a real even resonance across the fretboard that I haven't found on cheaper basses. Don't over spend, don't get into debt to buy, the guy from Vulfpeck did quite well on a Mexican fender, it's not going to make you a better player, stop stressing about it, stop hating on people with more money than you, don't feel too inferior to the folk who are better players on worse kit than you, don't over-justify your own decisions without really listening to the other point of view... some people will have £5k worth of cheap instruments and moan about high end stuff not being worth it, some people have one £3k bass... shrug. It's Friday night, none of us are gigging, there's no live music to hear. I want a beer. [/rant]
  44. 1 point
    And finally (I really do think that's it unless HJ has any specific questions that I haven't addressed), when you get your tracks mastered make sure that they are optimised for cutting to vinyl. There are certain things that are perfectly acceptable for digital reproduction that will render your record either uncuttable and/or unplayable. Things to watch out for a extreme low frequency boost and anything involving phase differences across the stereo field - vinyl being a mechanical playback medium absolutely hates phase changes that occur across the stereo field. A quick and dirty check for stereo phase problems (although it won't pick up everything that will be problematic for vinyl reproduction) is to play back your recordings in mono. If any effects or instruments either disappear or become significantly louder when you do this then there is a stereo phase problem. It is better to catch as many of these as possible before you have the tracks mastered as there is nothing worse than being told by the mastering engineer that you need to have stuff remixed because the current versions aren't capable of being cut to vinyl. Also you should have separate masters made for your digital versions - i.e. for submitting to your Aggregator for iTMS, Spotify etc. as well as for making promo CDs if you need these. Ideally get them "Mastered For iTunes" which should compensate as far as possible for changes to the mix caused by lossy compression used for downloads and streaming. Any mastering service that tells you you can use the same masters for both digital and vinyl isn't worth bothering with and you should look elsewhere.
  45. 1 point
    Another one too go, 6 months old, bought from Andertons. Very little use, two tiny little surface marks on back, no chips or dents at all, otherwise totally mint, stunning looking. All standard, apart from some new lightly used NYXL's on it, have the box somewhere too. Selling as I really just like my P and Jazz Basses, what can I say, just prefer their style of Bass. Collection from Maidenhead, Berks. Withdrawn from sale
  46. 1 point
    Wipe it with a tissue it'll clean up just fine lol
  47. 1 point
    Thanks. I've got the fusion 550 now, came today. Sounds flippin loud and authoritative!! Theres plenty of concern out there about the motorised dials (and I probably agree) but pretty much zero cases of them failing. I have a mb800 in reserve just in case. The tone shaping is pretty great on this already!
  48. 1 point
    My Thunder 1A fretless has long gone (what was I thinking 🤦🏼‍♂️), but remiss of me not to add my latest Matsumoku to this thread. A tasty Thunder III.
  49. 1 point
    I've not come across one Lewis. I did have a US Jazz, which I think was early 90's? That had a Jazz width (type) nut - but it felt just a tad wider than usual Also, it was noticeably thicker / "deeper" than any other Jazz neck I've come across..... Are you thinking of getting a Jazz with a P neck mate? Not more GAS again, surely? I'm sure I saw someone on here, who had Mark build him a Limelight Jazz, with P neck, as he preferred chunkier necks..... Just in case you have got "chunky-jazz GAS"
  50. 0 points
    I think he quit a few years ago. His site is gone, he never posts to Leftybassist.com anymore. I tried contacting him on LinkedIn recently, but he didn't accept my request to connect.

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