Ghost_Bass

[quote name='TheGreek' timestamp='1498749240' post='3326825'] [size=6][b]Quick!! Shoot it!![/b][/size] [/quote] WAIT!!! Shoot this instead, it's a favour to all of us: And it's even pink!

Now imagine that you could get your hands on a BF eight10!!!!

You heard it from the man. It's good for bedroom practise and small gigs. Those clearly aren't the good old 200 TE watts...

You can allways learn to play without rubbing your fingers on the strings If you want a cheap solution use somekind of cloth or foam in the front grill of your speaker (think HK PA's) or get a set of very, very, very used flats! A low-pass filter pedal will also work but costs money.

Have you tried swapping the speakers output? connect the internal cab jack to the extension speaker out and vice versa. To me looks like the problem may be in that extension speaker out jack/filter.

[quote name='BassAgent' timestamp='1498575872' post='3325634'] I think the chrome knobs look a bit cheap. [/quote] So... you think that a metal part with an internal plastic inlay, that has gone through the process of being chromed looks cheaper than a single piece of plastic? For me, the chromes look better with those pickups, if i was going to choose an alternative i would go with something with a vintage vibe to suit this bass, maybe these:

[quote name='Andyjr1515' timestamp='1498166002' post='3322965'] One of the tasks on the list is to go to the local stockist and see what fits and what doesn't I think the length more than the depth will be the challenge. Remembering that it is super-slim, it is actually only 80mm thick. A slim Ibanez is 70mm and my Les Paul is 110mm!! On the other hand, the severe offset makes it quite long. [/quote] I think your best option is to get one of those squared-type cases and line it with some foam to make it suit the bass. Something like this: Then add the necessary foam to make the bass sit tight and secure.

This: [quote name='dannybuoy' timestamp='1498214470' post='3323155'] +1. [color=#ff0000][size=4][b]Megathread is the way to go[/b][/size][/color]. Also, I don't see any malice in this thread, I think it is useful for both people answering these ads so they know what to look out for, and for people placing ads so they know what not to say! [/quote] + this: [quote name='Monkey Steve' timestamp='1498210741' post='3323116'] This. I don't see what the drama is - I'm finding it interesting to see how different people interpret the same ad from their own perspective, whether that's experience or outlook (and I know that me and Blue have very different perspectives on what we want from a band) and to see how much importance people pin to the wording of the ad. Surely that's the best kind of forum, to see what people who have a completely different opinion think about things without the need to get abusive? There are plenty of other threads if you don't like this one. The only shame is that there won't be a pay off - we're never going to find out their ages, the style of music and what exactly they mean by a "fun gig"...[size=4][color=#ff0000][b]unless somebody does send them an e-mail...[/b][/color][/size] [/quote] I think it would be very interesting if Blue or somebody else could reply to this adds after some discussion on the megathread and get some answers to the most relative issues that we would be pointing out so we can draw some conclusions in the end. Regarding an idea that stuck in my head in a past post that i've read but can't be bothered to go back and find out who wrote it: I would be happy if i found out that someone used this kind of threads to find his/her dream band, we're a forum, we're all here to help each other and to recieve help when needed

I wouldn't reply to a add without knowing who the band is. A facebook/webpage/etc. link is crucial in the add. I would want to know what they play, their average age, some past experience, how much and where they're playing currently. That can all be obtained by a brief strawl through a facebook page. The main "colour" of the add tells me that they're guys with some experience and don't do music for a living, they just want to enjoy themselfes doing what they like. The bass player for this band should be someone with a day job that wants to play bass as a [u]serious[/u] hobby.

I'm glad i soldiered through those first 5 min and got to the interesting part. I gained a new respect for him today and i think i'll have another go at trying to listen to some of his albums. I don't rate V.W. much for the simple fact that when he asked those guys "Who is the bassplayer the overplays more?" the answer that popped to my head intantly was "You!", i think he's way over the place when playing but i know he has a solid groove if he wants to. He spoke all the right things and i found a bit very interesting as it wasn't news to me. A portuguese blues singer/songwriter/guitar player (Rui Veloso) used to play with B.B: King when they had the chance to cross paths, they were great friends. He once told, in an interview, that one of the best advices he got from B.B. was that there's no need to fear hitting the wrong note. "If you finish a solo in a note that sounds bad then simply slide it up or down half tone and you'll land on a right note." - something in these lines.

[quote name='Andyjr1515' timestamp='1497883319' post='3321089'] (...) Probably a 'tomorrow job' [/quote] It's tomorrow now!

The bass is not fit, period! Take it back and ask for a replacement without problems. It's your hard earned money, it's their job to build you the best bass possible with no issues. OT: I allways wonder how people can be so Fender-blind when it comes to build&QC issues. There are a lot of documented fixes for a number of well known problems with P's and J's ("add string retainer for better break angle, add neck shim for lower action, replace bbot for better sustain, replace pots for CTS for lower noise, cover PU and electronics chamber for lower RF interference, replace tuners with ultralites to prevent neck dive, add piece of paper under string on the nut to prevent buzz, tweak the trussrod to help with dead spots, varnish in the threads, etc...). Normally some of these people are the first to knock off another builder because of an isolated issue, yet, when confronted with QC issues on "F's" they just look at one of these fixes as a normal thing. I also lost count on the number of threads/posts i've read about people recently getting their hands on a "F" and already thinking about ways to mod it so it sounds/plays even better. Personally, i prefer to spend my money on a bass that has a great build and QC and has a core tone wich serves me straight out of the box. The fact is that a bass so expensive can't leave the factory with so many problems and seeing that this behaviour continues makes me believe [b]IMO[/b] that Fender couldn't care less for their customers and just want to fill their wallets with the lowest investment possible. Rant over...

[quote name='bazztard' timestamp='1497758323' post='3320387'] the obvious answer is buy another P, put flats on one, rounds on the other . It's the only way I could resolve the issue hehe [/quote][quote name='FinnDave' timestamp='1497776050' post='3320449'] I keep changing from one to the other, each has its advantages...as advised, you need more basses, so you can have the choice without constantly changing strings! [/quote][quote name='MoJo' timestamp='1497721901' post='3320268'] I play in a pub covers band and can't make up my mind whether I prefer flat or roundwound strings on my P-bass. I've been swapping back and forth between gigs and am still non the wiser. I'm thinking that rounds are a better all rounder (excuse the pun) for the variety of material that we cover, but I love the feel and the warmth of the flats. Has anyone else suffered this dilemma and what did you do? [/quote] There's no need to have to choose between Flats or Rounds or tho lug two basses, just buy a set of Half-Rounds and you'll have the best of both worlds, the smooth feel of flats with a bit of zing of rounds.

For me is as low as i can get it without buzzing, i set my neck straight as a ruler. For other people's basses i usually add a bit of relief and leave the strings a bit higher than i would use them as i'm a very light player and know that others may/will dig harder.

I've been using a 3000mA PSU with a daisychain for 8 FX to power my pedalboard wich has: Korg Pitchblack - MXR Bass Octave Deluxe - Darkglass B3K - 3Leaf Groove Regulator - EBS Multicomp It's been used regularly for the past 7 or 8 years and i only get noise when i kick in the b3k. Fortunetly the sheer wall of OD/Fuzz produced by the b3k is enough to get by without bleeding that noise/hiss/feedback to the audience. I'm sure that if would use a separate PSU for the b3k the noise would lower or even disapear but i don't want to lug the extra stuff unless it's an outdoor gig with hired PA company where everything needs to go smooth and without noise. For pubs and given that i only use OD in a couple of songs the daisychain will keep being used. Having 3A i've used it to hook up multi-fx boards at the same time as my pedalboard and even the guitarrists pedals along mine during rehearsalls. Never missed a bit. BTW, my PSU was bought from effectpowersupplies.co.uk a long time ago before they changed their name to fxpedal.co.uk. Now they have diferent producs and maybe some of them will address this issue. I'll know about that in another 8 to 10 years when my PSU finally breaks down and i'll need to buy another.

B3K is still my weapon of choice for OD. The blend keeps the low end and the level adjusts volume so there's no drops or bumps in my signal when i stomp on the damn thing.

[quote name='Mickyk' timestamp='1497391031' post='3317856'] So come guys get recommending,i'm finding myself wanting to play funk a lot ,so i guess my Yamaha BB424 came from the factory sporting roundwounds although this i'm not totally sure about ,unless someone can enlighten me. Any way if that be the case then i'm in the market for some Flats,so can you recommend me some,but bear in mind i have short arms but long pockets . [/quote] For Funk i would prefer roundwounds but there's nothing wrong about using flats as your BB424 has a bridge pickup to bring up the growl. If i was in your shoes i would go for a set of half-rounds as they have the best of both worlds: the zing of rounds and the smooth feel or flats. BTW, AFAIK Yamaha basses come factory equipped with D'Addario nickel roundwounds, but i may be wrong on this. On a related note, D'Addario makes a very nice set of Halfs, i've used them on a fretless Blazer and sounded awesome, TME (to my ears).

[quote name='Nicko' timestamp='1497446126' post='3318210'] It is only the frettig hand. I suspect this might be the problem - I do seem to get carried away, particularly with slides. I'm not in any pain, although the tips of my fingers are sore after a 2 hour set/3 hour rehearsal. I normally give myself at least a day to recover before even thinking of picking up a guitar after playing. Normally at least one 3 hour rehearsal a week, and learning the odd song at home so maybe 4 hours a week in total on bass, and maybe another couple on 6 string. Judging by how thick the skin on the pads feels it might be a build up of hard skin. Seems to be more of a problem on the fingers that have the toughest pads (the 2nd finger is softer and doesn't peel, the index finger is the worst) Is it a combination of these? [/quote] Try, for slides, to use the pad or even part of the side of your finger instead of the tip. The pad is more resistent to pain as it has more area of contact with the string, slidding with the tip will dry your fingers faster. i don't have problems with blisters but i have noticed that whilst i'm playing i use a lot of available area of my fingers, not allways the tip, i.e. i use the pad for the top strings B, E and the tip for the bottom ones A, D, G, i also change fretting fingers regularly. i do this without thinking. Examining my left hand now, the only calous i can feel is in my little finger, on the side, i use it a lot tbh.

As stated before, ask the band for a set list of the songs you'll be requested to play live in the near future and start with them. Leave the rest for later. Have the CD's on your car/phone/ipod/walkman and listen to them until you puke. You'le get to recognise changes, structures, drum breaks, lyrics, etc. and will make you rjob a lot easier. You really don't think that Trujillo learned all the Metallica songs before playing live with them the first time, do you?

They aren't exactly sealed as it looks like some hot glue that'll come off with a bit of patience but if i was you i would leave there. the gap doesn't look bad in my eyes so if it doesn't affect your playing i would also leave it like that. Applying silicone there would give you a handfull of issues in the future if you need to remove or adjust the pickups in some way. I think that black outline works well with the black layer of the PG and in some way even with the black J.

Can you post a pic of that glue holding on the covers? +1 for replacing them with a black one, will also look better next to the black J.

[quote name='neepheid' timestamp='1496400615' post='3311064'] Update: I replaced the headphone socket with a Neutrik branded one. The old one was an absolute bugger to remove, I sucked as much solder off the tabs as I could but in the end I needed to incrementally heat the tags and use a plastic wedge to slowly prise the tags out of the holes. Finally got it out (probably took half an hour in total, moving it a fraction of a mm at a time). By comparison, fitting the new one took about a minute Long story short, I have had no recurrence of the random muting since I replaced the socket. It has been driven hard most weeks at band rehearsal and lugged about all this time. Happy to say I call this one fixed. Probably one of the least difficult things to fix has gone wrong after 5 years. Not bad for such an inexpensive piece of kit. [/quote] Removing multi-pin components from PCB's may be a real PITA and can take a lot of time, effort and there's the risk of burning the PCB or surrounding components whilst you're trying to remove all the sodder. The trick i use to do this with minimal effort is to simply use a dremmel tool and cut the pins on the component side, after they're all cutted and the component removed i can unsodder and remove each pin individually with minimal heat going in to the PCB allowing it to cool between pins. I've done this recently when i replaced the 12-pin footswitch on my EBS Multicomp pedal. Saved me about half-hour of work. If the component is salvageable then it's a different story and a heat station would come in very handy, specially if the PCB has double side sodder to that component.

You can't get much more full-range and flat response than this: [url="https://www.glockenklang.de/en/products/bass_systems/blue_sky_combo_duo_art.htm"]https://www.glockenk...mbo_duo_art.htm[/url] Edit: not very affordable though

Its all done. Removed the clamps yesterday and it seems to be held just fine, i applied a little pressure and it didn's snaped back. I'll take it back tomorrow to get some strings on it. I promissed some pics so, here is the clamping in action: And here is the finished product where you can still see the line of the break. It went very well in the end as there's not much to be felt when rubbing the hand on the line. Again, you can never have too much clamps for a good result The guitar will keep those missing pieces for now as the owner just wanted a quick and cheap fix, in the future he'll decide if he want's it to look a bit better.

This one has 8 years [media]http://youtu.be/a1ThSi1wbqU[/media]