bertbass

The simple answer is no, it won't follow the radius of the neck. All the fret slot cutting videos I've seen show a cut straight across the fretboard whether it's radiused or not and it would seem from the replies above that the jury is out on this one. All the fret cutting jigs that I've seen, that are available to buy, only cut a flat slot.

Sorry for the tardy reply but I've been a bit busy. In my enthusiasm to post I'd assumed that what was in my head would have been easily understood by all, however, what is is in my head is quite often not understood by even me so my apologies for not explaining properly. To answer your questions, A couple of reasons really. The laser only cuts a slot 0.1mm wide so although the slots would be perfectly spaced they'd still need opening up with a saw, also, although the laser in a precision machine in operation, setting the work pieces in place isn't, so a great deal of trial and error is involved getting things square. This isn't a problem normally but if I wanted to cut fret slots square to a fret board, I'd only know if I'd got it right after it's finished cutting. Secondly, The varying density of the wood being cut effects the cut which means that it is not uniformly consistent over the whole piece of wood, so a hard bit of wood in the middle of a fretboard would result in a slot being less deep than the others and could even end up burnt. I have used the laser to cut a fretboard for the long term P bass that I'm making and here's a photo of the results. When I say P bass, I don't mean precision I mean Pallet, as in made from pallets. If I eventually finish it I'll post its construction. To answer the other questions, here's a photo that hopefully illustrates the principle behind my thinking. That's not actually a fretboard, it's just a bit of wood that I had laying around.

When I've made basses before, to cut the fret slots, I've used squares and various blocks of wood to try and get the slots square and vertical. This worked OK but was time consuming. Now I have the urge to make a couple more I got to thinking, is there a better way? I could perhaps buy a mitre jig but they are a tad expensive or perhaps I could make or buy a tiny table saw with a 1mm blade and then use a slotted rule for fret positions. That could take quite a while to design and build. So what to do? Having a laser cutter / engraver the obvious solution for me was to make one from 6mm thick acrylic. I calculated the fret spacing for a 30" scale and then designed the fret slot cutting jig this was transferred to the laser cut and cut out. The individual pieces were then glued together. Once the glue had dried, a quick pass through the band saw saw the jig nearly finished. The edges were sanded and polished to make it a little more professional looking and the finished jig looks like this. Just a quick buff needed to get rid of the excess glue marks. The jig sits over the fretboard blank. The fret cutting saw just fits in the slots and the acrylic being 6mm thick should hold the saw square. I'll let you know how well it works after I've tried it.

I use mine vertically on an amp stand. Sounds great.

If you want roundwounds get in touch with Newtone strings. They'll make you exactly what you want and they won't break the bank either.

That brings up a lot of questions for after 31st December 2020. You might be better off stashing it in the UK and just transporting yourself to gigs over here if we ever gig again.

And you know this how?

I use a headset mic so I could use one of these, If we had any gigs that is.

Simple answer is no! Music in the early 60s was not that inspiring. Classical or classical, a great choice. I did join the lunchtime guitar club when I bought my first guitar, a Vox stroller, single pickup and a TV aerial socket as an output jack and it was brand new! I shared a half watt amp that my guitar playing mate had built and we both got thrown out of the club for being too loud.

Thanks for that, very interesting.

When we had a 3 way PA I used to use faith healer by The Alex Harvey Band. Perfect for checking each frequency band was working.

I bought a new left handed Sapphire in 1969 along with a Wem ER40 and 15" Starfinder cabinet, both from Bell's Music catalogue. I remember it as being a pretty good and playable bass. I never had a Rapier though and apart from the price I don't think there was a lot of difference except perhaps for the finish, machine heads and perhaps pickups and sorry, can't remember the switch function, in fact, I can't even remember it having a switch. Nice bass though.

Or from here. https://www.crimsonguitars.com/collections/fretting/products/radius-blocks

Go on then, you talked me into it.

Just bought a Genz Benz Streamliner from Andy. Excellent transaction and a well packaged parcel with a great amp inside. Thanks Andy, it's been a pleasure.

Sounds good to me.

It was the 200. It was pretty loud and the 400 would only be 3db louder which would be hardly noticeable. Back in the 60s / 70s I never had a problem being heard with a 100w tube amp and 2 x 4X12s. Mind you, when I had 2, Marshall Superbass heads and 4, 4x12s, that was a different level! Wouldn't want to move it all now though and it would be bigger than some of the stages we're supposed to set up on.

I had a Mywatt 200 from new and it was just like a Hiwatt. Superb amp. I can't remember the make of the transformer but they were pretty big toroidal transformers which made it a bit lighter.

NICE!!!

HOW ABOUT, Ma Deb Y Me

Well, it's like this! I wanted a quiet drum kit for recording as I thought that that was a far cheaper and better way to go. The other way was to try and build a totally soundproofed room / shed. Buying a Roland electronic drum kit would have been perfect but I'm a poor person so it was not to be, so I built an electronic drum kit using piezo transducers which ran into an Alesis DM5 drum module. This worked quite well but the cymbal sounds weren't quite right and drum rolls always sounded like machine guns and I wanted each drum on a separate track whereas the DM5 only gave a stereo output. The piezos into the DM5 worked perfectly though. This brings me to plan B. Why don't I try a real drum kit, heavily damped to make it quieter and use piezo transducers as mics. That should solve the machine drum problem and I would sort out the cymbals later. I mounted all the piezos and tried them and yes they worked but sounded terrible as I expected they would as I needed preamps for the transducers. I built 8 preamps, infact, the circuits you posted, http://www.scotthelmke.com/Mint-box-buffer.html and excitedly connected everything up and tried it. Didn't work very well. Checked all the circuit boards and they were all built correctly, tried it again with the same result. It sounded crap. Here my tale ends as I gave up and went to plan C. Put mics in all the drums then stuff them with foam to keep them quiet but due to lack of interest from others, I've still to try plan C although now we've got this virus, the others seem more keen to record. I should mention that I'm not a drummer and don't play drums but I am a bass player so by extension, I'm the only one who understands these things and knows how to do them.

Good luck with this and I'll be following it to see how successful you are. It's a road I went down a few years ago but could never get to work properly.

The government has a plan but no time scale. Stage One - Rehearsal and training (no audiences and adhering to social distancing guidelines) Stage Two - Performances for broadcast and recording purposes (adhering to social distancing guidelines) Stage Three - Performances outdoors with an audience plus pilots for indoor performances with a limited distance audience Stage Four - Performances allowed indoors/outdoors (but with a limited distanced audience indoors) Stage Five - Performances allowed indoors/outdoors (with a fuller audience indoors)

No singing allowed in venues, churches and theatres as it's more likely to spread the virus.