Ghost_Bass

[quote name='JPJ' timestamp='1496317563' post='3310432'] If the glue is good enough, and you removed all the tiny torn fibres before gluing and clamping then the glue alone should be good enough as you have the same sort of surface area as most necks with a scarf jointed head have. [/quote] Yep. Done all those things. Mu line of thought is that the whole guitar is held together with glue so it shouldn't snap with the force of the strings. today is the day for removing the clamps. I'll try to remember to take some pics to post here.

[quote name='Dandelion' timestamp='1496160990' post='3309229'] Glue should suffice. If it is the correct adhesive. [/quote] I think it is, imo Pattex makes good products, the contact adhesive is excelent so i think their wodd glue shouldn't be bad. It's this one:

Hi, a friend of mine came to me with an accoustic Stagg guitar wich had fallen and the headstock snapped, in diagonal, in the zone between the nut and the first pair of tunning pegs (E strings). i have it now sitting in my workshop glued with Pattex wood glue (PVA?) and heavy clamped with about 7 or 8 clamps (you can never use too much clamps). No pics right now but i may take a couple of them when i get home just to show you a bit of the headstock hidding behing the clamps My question for you kind folks is this. I'm pretty sure the glue will sufice to get this thing together again but is there any chance you might think that adding a couple of screws for reinforcement may be needed? I really want to avoid this route but it would be worse if the headstock snaps again whilst restringing. This is a picture i've found on the internet (not the guitar in question) but a damage close enough to what i have at hand: Opinions, please

I've played it in the past, i think it's fun to play. In fact, every song i have the chance to play with a band is allways great fun as much as i may hate listening to it on the radio. It's all about making music with the rest of the band. Forget your personal taste and enjoy creating a groove with other musicians that puts a smile in the punters faces, "Nothing else mathers" - Metallica.

Well... it's only natural that i post on this thread isn't it? I've tried and/or owned a very big amount of brands available on the market. My TRB5PII came to stay in 2000, i've never played a bass that came close (tonewise) to instantly reproduce the "tone in my head" straight up flat, i mean really flat: bass EQ, amp and mixer FLAT!!! just change from P to slap to J with the pan pot and right hand placement. It's true that it's heavy, big neck (35" scale) and flat fretboard but those are all things that i prefer on a bass, except the weight. the sound is just mostruous and every musician that played with me came to apreciate the sound quality of it. On big outdoor gigs with hired PA crew soundman do my sound check in less than a minute, once they open my channel and hear a few notes they say "next please, no need to change a thing in this one" Going on topic, the best model Yamaha has made for my personal taste is the 5PII but i owned a lot of Yammys from various models and still own a TRB5P and a BB1000S and i've never heard a Yamaha bass sounding bad that wasn't broken or in need of repair QC and attention to detail on the build is flawless even on the non-Japanese builds, prices are the best you can find for the quality. the only problem with Yamaha is that people (musicians) are starting to pay more attention to them so it's becomming harder to find used Yammys at bargain prices. Mods, please delete this entire thread, i'm still looking to get my hands on a white BBNE2 for a low price... just to add it to my MIJ neckthrough collection:

Ohhh! I feel a new thread comming up! "I don't get the whole putting a Squier decal on a non Squier neck thing"

D'Addario also ships their strings wrapped together in a bundle but, in their defence, they're stored inside an airtight plastic bag with some kind of product to prevent corrosion. The ouside paper case has all the info you should have and then some more. In years using their brand i only got a dead B string once and Thomann immediatly sent me a replacement free of charge

Wouldn't it be easier to fret the FB before attaching it to the body? Better support laying on a table for you to hammer on and easier to move around.

I think something more in the likes of Frederico Malaman's Laurus would suit the body shape a bit better: but reshaped in a way more similar to a shrunken warwick headstock. [attachment=245986:dtjd.jpg]

A sticker so exposed to rubbing against anything and right next to the hot air exaust... i wouldn't be surprised if it came off by itself.

Simple, back then basses weren't build by the accounting/marketing teams...

[quote name='EBS_freak' timestamp='1495557671' post='3304812'] I'm not sure why that would make a difference? Hums and RF is going to be present in a backline, just like it would a PA? [/quote] But you can filter some noises with a DI box.

If the bass is good and quiet (no hums or RF noise) then go for it

Rounds, neck pickup favoured, right hand close to the bridge, dig hard, play up the dusty end of the FB. I think you can cover this sound with pretty much any bass with a bit of adjustment.

If you just want to get the feel of BEAD without doing irreversible changes to the bass try to see if the lightest gauge possible will be acomodated by your nut without having it reshaped. The nut should be made to fit a .110 E string so it may have some spare room to fit a .125/.120 B string from a light tension set. The sound will not be as tight though.

Rethink your entire set, replace songs if you need to, and don't keep playing them the same way you did with a 5 piece. The remaining guitarrist will need to tighten his playing to fill all the rythm needs and when comes the time for a solo you and the drummer need to fill the gap (you can use fx to help this, some octave or distortion should work in some songs).

[quote name='wateroftyne' timestamp='1495133712' post='3301596'] *squints at photo* How does it have any effect on non-open strings? Am I missing something? [/quote] I think this is more aimed for players using a lot of tapping as it will kill resonance from open strings. Appart from that i don't see much more use.

I never had the need to use one for the songs i've been playing as i use a 5 string bass (heck, i've even learned how to play Killing In The Name without drop-D) but i've read some interesting replies here that bring up some valid points for using it: - having songs on the set list that need lines with open strings (SOAD example) - tunning the bass a step back in D and use capo on the 2nd fret to make it short scale for someone struggling with back issues or has dificulty to reach the first fret.

[quote name='Muzz' timestamp='1495043485' post='3300843'] What's that clip got to do with the bass? Bright roundwounds, scooped tone...could have been playing that on any one of a zillion basses. [/quote] [url="http://youtu.be/N0Wf4RTMU5M?t=3m20s"]http://youtu.be/N0Wf4RTMU5M?t=3m20s[/url] And in the beginning you see a reference to the "Pi" that must be hi's nickname (try calling him mr.Pilichowski out loud). Also the video sub-title is "Bass Shot 2" and in the description of the video the model of the bass is refered to. The guy is just noodling on the bass, he's just like any guy trying a bass in a music store and gets carried away in a slap fest. He has it set with his own EQ and settings as (fom me) it is a signature model made for him, so it's expected that he demonstrates how it sounds with him. IMO, of course.

Have the guitarrist mute his speakers and play alone with a metronome, the rest of the band will be able to keep up with him and get a useable rehearsall, then you can reverse the principle and have the band play the song for him to play along at home. Don't think you'll ever be able to play together with the latency.

I think this is not a video about bass playing, to me it clearly looks like a demo video for the Maruszczyk Pi bass he's playing and, from the look of it, endorsing with a signature model. It's all about the bass, not the player.

[quote name='T-Bay' timestamp='1494965218' post='3300087'] Got a load of new songs to learn for our extended set and stuck on one despite an easy bassline. My problem is that when it gets to the chorus it's very catchy and I find my fingers ignoring the rhythm I should be playing and sort of badly joining in with the lead. I have been at it for about an hour total which is usually way more than enough to lay a bassline over the rest of the song for me. I will keep practicing but was wondering if any of you have any secrets or tips for overcoming this sort of thing. [/quote] I think that's just groove. It's how you're feeling the song even though it doesn't match the original. Tell me something, does your band requires you to play the songs in the original form or do you have some kind of freedom in the way you play them? Personally i wouldn't be bothered by that and proceed to learn the rest of the set. With time and practise you'll learn how to disconnect from the lead and play it as it should. My trick to do this is to concentrate on my line and filter out the rest of the band except for the kick drum and hi-hats, it's especialy usefull when i have to play parts in a different time signature as the guitars or drums. Not easy though!

Can we now use the word "guitard" again?

I've still got my first amp at home: (internet pic) I haven't plugged it in years but it sounds like a proper bass within it's volume limits. No need for a bigger driver for home use. Edit: mine's even older than the pictured as it doesn't have the gain knob.