brensabre79

I think people who are in a 5 piece band who go out for £150 get every penny they deserve personally. I'm in a 5-piece covers band, we do what we do, we don't strip down for a cheaper gig either. We don't play for less than £300 ever - including the 'shop window' pub gigs we do from time to time - most of the time it's £100+ per man. The amount of places we've had phone up and baulk at our fee because they can get a band to come 35 miles, with PA and lights and play 'til midnight for £150 has pushed us to work hard at being a better band. The places that accept our fee invariably ask us back, because we offer value for money.

Just retired my custom shop black tweed one after about a year. it let me down mid-gig when the cable came clean away from the plug (which was still in the bass). I was given this one (i normally make my own), it looks nice with the tweed wrap, but it's just a very average lead & plug underneath.. i once had a job which largely consisted of making and repairing leads for studios, it makes complete sense to me to make them properly first time so you never see them again. All the leads I use that I've made are over 10 years old and still going strong. I'd say that having a Fender custom shop logo on it is a guarantee of only one thing - it's more expensive. Go see [url="http://bassic-bits.co.uk/"]Obbm[/url] if you can't make your own, his are better than mine.

I'm not an expert, but headstock, decal and the harsh sunburst effect seem to check out. Serial No. makes it a 1978 Here's a couple of comparisons... Colour: Headstock: Gumtree one:

+1 to raising. I do exactly the same with mine, Amp, PA rack, mixer on top. I have a box that i put all the cables in which I've customised slighly to accept the feet of my S12. The added bonus on stage is that you don't get anything like the amount of boom so the guitarists are also happy The only downside is you have to get all the cables you need out before you set up the rig.

I've got it on my phone. It's pretty basic, but that may be all you need. I ended up using something called [url="http://audio.claub.net/software/kougaard/ubdwnld.html"]Unibox[/url] (<<LINK) on MS Excel my Mac, but i was designing something a bit out of the ordinary.

I have the studio version (without pedals on). It's a pretty good pre-amp for recording. There is a HPF on those so not suitable for bass though. For guitar I suppose it could work but it depends on what you're doing, I don't think you'll get the same response as a proper guitar amp and will possibly sound a bit too direct through the PA. Soo if the band is a 'guitar' band I would avoid it, if its just to add a bit of texture it may be ok. Our guitarist brings his Line6 Pod to gigs in case his amp goes pop, which (being a 70s Fender Twin) it often does. It does not sound great through the PA, but it gets us through the night.

My money is on the crossover - simply because you didn't fry the Ashdown too. BUT I would still get your amp checked out - just in case...

You'll always get less for a trade-in - same as with cars - you have to allow for the markup the shop will put on (15 - 30%) as well as the fact that they may already have a wall of brand new Fenders - plus it may take a while to sell. Fenders will sell more quickly than a lot of other makes though so they should be happy to take it. Best to ask for a valuation from them before you reveal that you want to trade it in, then see if its worth trying to sell on eBay or wherever first. The other option many stores offer is that they sell it for you. They will take a commission, but you get to call the price point. the downside is you have to wait for it to sell...

A very well respected Brighton based luthier told me that allowing 24 hours to settle is largely pointless when making slight adjustments for string change. Fair enough if the truss-rod has been slackened off for a while with no strings, but for the amount you're adjusting it should be a fairly instant change. Anything below a full turn will generally have instant results from what I gather. If you follow the Gary Willis setup guide and help the neck along a bit during adjustment you should be ready to rock almost instantly. This was successfully demonstrated during the conversation on my 1970s MusicMan.

Many stores use a reference book for valuations such as the Blue Book, which means you'll generally get the goijng rate wherever you go - although they will vary. The thing is, something is only worth as much as somebody is prepared to pay for it. IF you trade in, the shop are essentially taking an educated guess as to what they think someone will be prepared to pay for it. Too much and it won't sell, so they generally offer less.

ooh might just have found something here. Anyone know anything about [url="http://www.prsguitars.com/sekestrel/"]these[/url]?

Nice axe

[quote name='SubsonicSimpleton' timestamp='1413907111' post='2583448'] Get a Squier vintage modified 70s jazz, then route it for the extra pickup you want, and slap in the pickups and preamp you want and job done - every box ticked except the neckthru one. [/quote] Thanks! Done that, with a VM Jazz neck and P-Body. I still have it, and the neck is lovely, but for me, not one bolt-on has had the same feel a the through neck basses I've played. It's gotta be a through neck for me I'm afraid...

Thanks James. I want it now, this afternoon, and I want it to be so good that I never need to look at another bass ever. but, I'm a realist... Looking around some of the nicer Bass Store websites I can see that some of the boutique makers and custom makers would not be out of the question. Although even the custom luthiers seem to each have their own style, mostly involving exotic timbers and even more exotic shapes. I wouldn't want to ask someone to build something far away from what they normally do, because it's a risk for all parties. As Conan pointed out, there are instruments around that might fit the bill. I saw a gorgeous looking white Musician Bass on a UK website, but it had sold some time ago. I was looking at the two pickup Aria SB range too - again not many around. But I did wonder if there was something I'd missed. SO keep the suggestions coming

Thanks for replies so far... That Ibanez does look interesting Conan, but the only one I could find was in the US at over $1,000. Would be nice to try one. I'm not averse to a custom build either, but I don't have thousands.

Probably no good using the cabinet, the amp might be useful if you can hook it up to a proper bass cabinet. Assuming its a transistor amp, not a valve amp it should be OK(ish) for practice. Sticking a bass speaker in a guitar cabinet is not a good idea for a number of reasons, but without wishing to open up a can of worms, it's safest to say your best bet would be to sell/swap the combo for a bass combo.

Had a 424x, couldn't fault it. Amazing for the money really. But couldn't love it either. It had no character.

[b]LONG VERSION[/b] (Scroll down for short version) I've spent years tinkering with Fenders and others to turn them into my own signature models if you like, it might be a simple electronics tweak, replacement bridges, tuners etc. etc. Lately though I've found myself in a situation beyond my skills... I really love the tone, definition and sustain I'm getting from my modded R*ck*nb****r because of the through-neck design. But it's a cumbersome beast and, to be honest, the neck profile on my Lakland is way nicer. I'd wanted to add a 3rd pickup to my Lakland (Decade) in the mid position (Jazz neck PU position), but Hanson were concerned about the magnetic pull of the (now microphonic) pickups. I'm not in love with the sound either. Tone wise (and comfort) I actually prefer my old 74 Jazz - with custom Wizard PUs and an EMG pre. All the tones are instantly useable, fat and growly... but I do like having the option of an end-of-the-neck pickup too, for that 60s vibe. My Jazz has a neck like a baseball bat though, so it's not that comfy on a 4 hour gig. So Ideally what I'd love to get a hold of is a through-neck Jazz bass, with the neck contour of my Lakland Decade, and an extra pickup at the end of the neck. My dad told me to buy an Ibanez SR and mod it. Trouble is, I don't get on with the looks... and I like a maple fretboard (with blocks and binding of course) which they don't seem to do, and they are bolt-on. So I'm thinking I'm going to have to go down the custom built route, and while I can assemble a Fender style bass from parts, and set it up quite nicely. Through necks are a different thing altogether... I'm not sure I've got custom money though, some of the ones I see around are £2-4k and up, and I can't justify that without a divorce - which i have no intention of doing. [b]SHORT VERSION[/b] Are there any nice through-neck basses I can use as a starting point to customise electrics and hardware? Preferably with a comfy Fender-ish body? And not costing the earth since I'll be rebuilding a lot of it.

You can do the above, and it will work fine. My Mustang (60s) has the larger holes for the ferrules in the back, but they only go halfway, the holes are smaller on the top side. This might make installation easier too. If you put the bridge in place, drill a hole that fits the string holes in the bridge straight through the body, then use that hole on the back as a guide for the ferrule holes... Then you don't have to drill all the way through with the larger hole. Just make sure the ferrules are securely in place. It's a pain when they fall out.

Hi Bradwell First of all, if there's no Front of house PA system, you'll also need a PA system - potentially more-so than a monitor. I don't think you'll need 15"s for just vocals to be honest. So I would look for something smaller in size. We switched from wedges a couple of years ago to these: [url="http://www.gear4music.com/PA-DJ-and-Lighting/Behringer-Eurolive-B205D-Active-150W-PA-Monitor/CEZ?origin=product-ads&utm_source=google&utm_medium=cpc&utm_term=&utm_campaign=PLA+Shop+-+Behringer&utm_content=MK7eA0hY|dc_pcrid_54639826039_plid__kword__match__&gclid=CPWCv_DFscECFQgXwwodzEsAbw"]Behringer EuroLive[/url] (other retailers are available), and there are other companies making similar ones (including Wharfedale I believe). For £300 you can get two of the Behringers, the beauty of these is they are far more portable, and because they are elevated on a mic stand they are closer to your ears - so don't need to be so loud. For a little more money you could get one of [url="http://www.soundsliveshop.com/p/TC_Helicon_VoiceSolo_FX150_Personal_PA_Monitor-and-Vocal_Processor/TC-996551061"]these[/url] - which you can plug a mic straight into for practice. (Otherwise you will need a mixer - and possibly FX too) These will be great for practice, but for a gig, you will need a PA (it's no good if you can all hear yourselves, but the audience can't hear any vocals). If you're playing at a venue with an in-house PA, they will usually have their own monitor rig too. Most engineers won't be interested in hooking up your monitors to their system if they have one already. If it absolutely must be wedges, then you could get away with the 12" version of the Wharfedales - but like I said, you'll need to plug the mics into a mixer at the very least.

I'd love to know why this particular brand brings out the worst in people. Many who should know better. I've read dozens of posts about gripes with other manufacturers but none carry such a backlash and pointing of the "Fanboy!" or "Naysayer!" finger. I have to say in terms of gear letting me down... I had a Genz Benz Shuttle that I had to return because it developed a horrible crackling sound 1/2 way through its first gig. The replacement did the same, in the end I was told to replace the valve by the manufacturer - this was 6 weeks after purchase. My replacement for the Genz was a Carvin amp that developed a severe loss of output intermittently, I was told by the manufacturer to spray the ribbon connectors inside with some switch cleaner, still in warranty. My SWR cab weighed a ton, cost a fortune and had exterior handles that were spring loaded and would trap your fingers when you put it down, until they rusted closed. I had to find my own replacements because the manufacturer had changed the design on newer models that didn't fit mine. I also had to put my own wheels on. My Barefaced cab handles started to fray, I was sent a replacement handle kit within a week, by the manufacturer, with instructions how to fit them, and the offer to bring it in if I didn't feel comfortable doing so. Oh, and I once bought an iPhone 4, mainly to be used for making phone calls. Except when I held the phone to my ear I experienced the same trouble as many people. It would drop the call because of the way the antenna was designed. The manufacturers response was universally "don't hold it that way then" - before they conceded and offered to sell a horrid looking rubber band to put around it. I do feel that precisely because Barefaced are a fledgling company they are sometimes treated with less respect than others. Or that their products particular quirks are tolerated less. I happy to admit, that the appearance of the Gen2 is not up there with the best of the mass produced competition on close inspection, although they have been making steady improvements as they have grown as a company. And maybe the rather flat, unflattering frequency response curve isn't for everyone... not all amps have tone controls. Again, driver and design improvements have been made along the way. But it does, and even with slight handle fraying, function as intended.

[quote name='Graham' timestamp='1412858542' post='2572723'] I have an early gen 1 Compact and the handle has recently started showing signs of wear, [b]hope I can get a replacement sorted when it does die[/b]. I'm not the original owner, and I've gigged pretty heavily with it in the last (almost) two years since I bought it, so not doing too badly when you consider Barefaced was probably a one man band when it was made. I would like to upgrade to a Super Compact, which I understand has better handles, but they're a different company now. [/quote] You can get replacements on the Barefaced website i believe, it's an upgrade kit to the newer style handles too.

nice idea i don't think they'll ever be cheaper than fixed magnet drivers though, simply because they are a more complicated design. And i don't believe they'll sound [i]that[/i] much better than modern Alnico or Neo's - which they might be a similar cost to if mass produced. plus they'll need a DC power supply (hundreds of volts) and some way of dissipating the heat maybe good for audiophile hi-fi stuff, but i don't think they'll make for a good portable bass cab

I wouldn't bother with a rotary for a simple series / parallel switch. the rest of the controls will be stock, so you just need to add in the switch into the 4th hole. Not even sure you can get a 2 position rotary Here's diagram for a standard switch:

1. Probably 2. Probably 3. You can buy Satin poly or Nitro - poly is easier to work with. put the black on first, then layer up coats of satin over the top. Don't fall in to the trap of thinking it's easier with satin as its not as shiny either, it will show up every imperfection in the finish. go with light coats and lots of them. lightly rub between to keep it smooth. 4. decal - as you can always remove it later good luck!