deepbass5

How did you knock the frets out, it has been advised theses are knocked out sideways to avoid the frets splintering the fret board, can you cover this part of the job. looking good though.

Me Too have two EA m-lines. one started this farty breakup sound. But which one ? Thought i isolated which one it was so ordered a new speaker from EA in the states which arrived with lots of import tax and Vat the same week the cab stopped doing it. and I only have a hint of it now and again. have eliminated the sprung loaded handle underneath and grill, but will recheck the cable resting on the cone suggestion. So thanks for that.

Probably - you are all getting louder; you start at a reasonable volume after the sound check and then creep up each in turn, until the room starts to propagate certain frequencies degrading the sound more generally. So many key frequencies you rely on for definition are mixed up in the mush that is now bouncing around. This is just one possibility but every hall and room has a finite or optimum level it can cope with, I believe you all need to discuss this phenomenon so you can all recognise it when it happens and take the nod from the one who first notices it. And all come down a notch. If you don't discuss it off stage then who ever is told first just thinks FO i cant hear myself now so it cant be me!!

thanks for that Owen i feel better already this morning, I'll pass it on to the section concerned

Tone has been mentioned but what about sustain, Ebony was chosen for its wear and sustain and tone transfer, and I assume rose wood was originally a cheap imitation when guitars started to be mass produced. My first P bass was maple and I couldn't see me playing a rose wood board, and then I got an ebony board on my next two basses now I prefer a rose wood P bass to a maple so think it’s what you get used to. My favourite bass neck was my shuker with Padauk board

sound advise, and I think the plane was an A330 and you live in Feltham ?

I put a set on my 77 Precision and a badass and felt they really made a positive difference. Chris b may be onto something there with a wireing fault. But I'm with 51m0n on these great pickups, post a pic of your amp EQ set up, try and scoop some upper mids with a gentle hump on your bass to low mids will sound fatter. Just make sure you dont make huge changes that cancel things out. But this could still be down to your bass, can you borrow one and try that through your rig.

I have been a Lizzy fan since 73 saw them twice in the 70's but missed that, thank Christ. how could they Thats upset me now the creds all gone

They look good and seem very good value, but for the feedback i would be concerned ordering from anyone who's site does not give any indication of business address contact phone number etc. Thought they were American but for the prices in £pounds. ? anyone know more

Loads of good advice above get a meter on it first and check the coil is still 4 ohms, no lose cables as stated between socket and speaker coil. it won't be exact 4 ohm as you can only measure ohms not impedance, if that is OK then as above it is probably the moving diaphragm coil that is damaged these can be bought separately. A BW is better than a [b]cheap[/b] Eminence Just looked at the Link, see how small the vented pole piece is and the efficiency, you will need to drive this harder for the same volume, it is 3dB down on the current BW need to double your watts to get back that 3 dB

That looks lived in. Very nice, thats a keeper.

Has to be Si's AKA "OLD Git" Shuker got this from Homer couple of years back and it soon became my main bass. Wizards and an East delux EQ + side LED's Love this Bass

I do love mine, I have used it all this year for home practise and Big band jazz gigs etc. I use the contour alot, to scoop the right amount of low mid so i can get great low end weight and warmth. I have returned to my Markbass LMK for some fuction band gigs for its more articulate upper mid cut. It would be best to try one at volume. The manual is spot on for advice and can be down loaded in advance. But as it states the gain is critical, I dont want grit and distortion so keep the gain low and out put up, also the contour can loose you bite and presence when beyond 12 oclock. So I find if you are playing at volume and you need to cut through in a loud band situation keep the gain low use the main volume control and reduce the contour to below 10 o'clock or less. I do not use the channel switch and despite the 500 watts on offer prefer it for low volume gigs where it sounds fantastic, at higher volumes you may like to add a graphic pedal to pin piont and cut out the bloom. It can get wooly if you over do the controls. I would buy again

Thought I'd share this, A singer everyone would like in the band http://youtu.be/ATYIHk7HaNY

They were quite the thing to be playing in the late 80s Jorge Casas Miami sound machine used one for some time before signing up with Warwick. Bass centre London did sell them and later in the 90's they introduced some very nice wood bodies with excotic headstocks and body shapes. Not seen much now.

2nd all that from above. I had a 5 string with jazz pickups the wenge necks are great. These are better basses than the re-sale price indicates so grow to love it, you will miss it if you sell.

Basstec by http://Schack-guitars.de There is a seperate Bastec site in developement, but these are usually what you get on a schack unless you request otherwise

My first Bass amp was the 130 with graphic and comp, very loud for the rated watts. worth noting Paul Westwood used the smaller one in his studio and for many of his recordings, which shocked me having parted with mine and been through several other amps on various GAS trips.

Just fell upon this, never really associate super groups in jazz context, But these 4 must be it http://youtu.be/I4mO24Kd_BY