neepheid

Glad (for me) and sorry (for you) to report that I've had no problems with my RedSub BT5110 (the same combo as yours, with a different badge on it). I've had it since the start of March and I've used it at numerous gigs and even more rehearsals, driven it pretty hard on its own in the combo at practises and used it out of the combo with my cab and it's never let me down. I hope you get your issues resolved to your satisfaction.

It's worth noting that there is a band called The Dangleberries who are a well established (since 2001) band in Scotland who seem to appear at just about every festival there is up here. While they aren't my cup of tea, I don't believe that they are the band (read - loosely affiliated group of musicians who have ideas beyond their capabilities or readiness) that is being referred to here. Link: [url="http://www.thedangleberries.com/"]http://www.thedangleberries.com/[/url]

I epoxied the lifting inserts in an Epi EB-3. That told them. Just remember to not put glue on the bit where the bridge wire touches the insert nearest the controls.

The only one I've had a major aversion to is Gibson's "Fireburst", which can be pretty horrid (IMO):

Tanglewood Elfin? [url="http://basschat.co.uk/topic/49584-tiny-bass-porn/"]http://basschat.co.uk/topic/49584-tiny-bass-porn/[/url]

[quote name='lozbass' timestamp='1347363705' post='1799757'] I've never really understood the opprobrium heaped upon the Gibson 3 point bridge (though I can agree with 2 of Neepheid's 5 factors - personally, I haven't had a problem with stripping, individual height or stilt confidence). I find the bridge on my Ripper (I've had it since '79) to be a very solid unit with no sustain/resonance problems. The only real issue for me has been saddle drop-out, and possibility of the bridge unit coming away from the height adjustment bolts when re-stringing: if you're aware of this potential problem, then you should't experience any difficulty. [/quote] Well, I've had to swap around at actual saddles to get things just right on one, it was a gold saddle when the rest of the bridge was chrome, I referred to it as the bass's "gold tooth". I had to epoxy the inserts into the body on an EB-3 - kept lifting out under string tension - not all the way out but you know - just worryingly enough. My objections are design based - I shouldn't have to do all this. I shouldn't have to physically swap bridge saddles from other bridges to get the string height to my liking. I shouldn't have to burn silks off strings before I fit them. I shouldn't have to mind how I go when I restring. I shouldn't have to check to see if I still have a saddle after a string breaks. I certainly shouldn't have to epoxy the very things that keep the bridge in the body. A bridge is an anchor point for my strings and as such I expect it to be securely attached (read: directly physically coupled to the body). All these things to me are unnecessary and should have been rooted out at the design stage. The only reason the two point bridge morphed into the three point bridge was to address the two pointer's tendency to tip forward. Gibson didn't fix anything else and at this point in time with all these new models appearing with the same old three pointer show no signs of bothering their backsides any time soon.

[quote name='LukeFRC' timestamp='1346844542' post='1793884'] this of any interest to anyone? [url="http://www.gumtree.com/p/for-sale/1978-gibson-g3-bass-for-sale/1000795531"]http://www.gumtree.c...sale/1000795531[/url] [/quote] Heh, that was my G-3.

I was discussing this the other day on another forum, so here are the top five reasons why the three point bridge displeases me (and I love me Gibsons, I do): 1. The whole thing falls off if you remove all the strings. 2. I have had the threaded inserts pull out of the body on me when string tension is applied. 3. It's on stilts and it gives me the same confidence that a house on stilts would. 4. You can only adjust the height of the bridge in three places, there is no (easy) means to individually set string heights. 5. When installed (top loaded), the ball end of the string is so close to the saddles that the silk (or ratty end bit of unsilked strings) can go over the saddle, particularly on the E string. I don't claim to know what that might do to the sound, but it looks bad, and I wouldn't tolerate silks over the nut so why should I tolerate it at the bridge saddle? I really don't understand why they persist with it. Yes, it works as a bridge, but all these design flaws (as I see them) just really irk me. Supertone for me all the way, except on carved tops.

Stay the hell away from Yodel. That is all.

Will there be a stage, or are you at floor level? For what it's worth, I've done a fair few marquee type gigs and it's been no bother. I even took my Guild (one of only 335 ever made, would be quite peeved if something happened to that) to one - it was no trouble. I don't think you'll have any bother, I would suggest that people who attend beer festivals actually appreciate beer and aren't going there just to get hammered and fall over - you can do that with Carling and Sambuca (or whatever guff they're serving during happy hours) far more cost effectively (with less challenges in the taste department). I would hope you'll be somewhat protected from the elements by a gazebo at least? While I haven't done a tremendous number of gigs (just over 30), I've never had any bother with punters. I've played at floor level in a glorified living room with too many people in it with my Victory Artist and there was no grief.

If you haven't found this already, this is what happened to the body of my old one: http://basschat.co.uk/topic/100767-i-built-a-precision-and-it-went-wrong/

You don't have to throw them out, just "forget" to take them with you I don't use effects. Probably because there's plenty other stuff going on in the band at various times/songs (keys, harmonica, tin whistle, various saxophones, trombone as well as the usual guitar, drums and singing) and I think it suits best if I keep the low end clean and tidy.

I bought some Yamaha bits and bobs from Mike. Everything went great, good comms, good packaging, no worries here

This is my bass-related t-shirt:

Only a problem if you reside in Indiana...

Why fight it? Lay back and grooooooooove on a rainy day... [media]http://www.youtube.com/watch?v=A66-XjIWILA[/media]

[quote name='lozbass' timestamp='1346055334' post='1784425'] Can you give a little more detail or an image? I can't see why the strings wouldn't sit cleanly unless there was some mechanical or fitting problem - or maybe it's an issue with the silk wrap. I play short and medium scale basses with round wounds and have no problem with d'Addario medium scale strings. [/quote] The ball ends when top loaded in a three point bridge are so close to the saddles (particularly the E string) that the silks (or the ratty end bit that the silks would cover) sometimes end up going over the saddle. Yet another reason why I shake my head every time I see it and every time I see Gibson continuing to employ it. I can only quickly find a picture of a two point bridge exhibiting this phenomenon but the three pointer is guilty of it too. If it's really bugging you then you can thread some sort of spacer over the string to the ball end prior to installation, or get one of these: [url="http://www.ebay.co.uk/itm/300765952589"]http://www.ebay.co.uk/itm/300765952589[/url] or have something similar made.

Well, I feel fraudulent enough with my simple scale and arpeggio regurgitating as it is.

[quote name='NancyJohnson' timestamp='1345889665' post='1782757']Hipshot Supertone bridge incoming for the new arrival (damn those three-point bridges are [i]awful[/i]).[/quote] +1 for that. I see not everyone agrees though (on the outpost for instance). However, I've never heard anyone providing me with any reason why they prefer to keep the three pointer other than "tradition". I get shot of them whenever I can (Supertone on my RD Artist, hell yeah). Nice birds. I really ought to get working on my headless bird project once more.

Chris very kindly provided me with something to potter with this autumn, a Yamaha BB450 body and neck. Posted it to me despite a preference for local pickup, way quicker than I expected, and very well packed. Job's a good 'un. Thanks

It can do, depends on circumstances. I find it difficult to accept kind post gig words after what I consider to be a below par performance (although I always accept them graciously then feel like a fraud afterwards). In any case, sounds like all the planets aligned in this case and it was a good thing for you. Glad it gave you the fillip you were craving.