Wolverinebass

Does this thread mean that we'll soon be seeing adverts stating - CASH FOR NEODYMIUM!!! Send your old, disused bass cabinets in our pre-provided envelope to: PO Box 12345 Cash for neodymium BA55 SFA

This is just brilliant. Top gear!!

[quote name='Lorne' post='1290083' date='Jul 2 2011, 01:45 PM']So, what you're saying is there is finish cracking in the corner of the neck pocket on the upper wing side? (Where I've arrowed in the picture) If so, then the neck joint there, is under stress to create those "Finish Cracks", removing wood from the heel will only make the matter worse[/quote] Not just where you've arrowed actually. I also meant the corner where you would rest your right elbow as it's cracking like hell up there. That's where there is quite a lot of finishing cracks. Though as you say, there are some at the join which I have become concered about recently. The heel on your (frankly lovely) BC Rich bass is a bit more like what I wanted. Top gear mate!!

Very true Chris, we all like what we like. I suppose the heel thing is only one of a few issues that puts me off Fenders. I think I'll probably get the thing carved down if it's possible to do it without wrecking the bass. I suppose that the fact that even though I won't really access that area of the neck that much, the fact that I can't, starts to grate. Plus the neck feels that bit further away. Though, it's only about an inch or so, it feels a bit weird at times in certain different note positions. It's quite difficult to explain. Another point is that I should have got Warmoth to carve it down when I ordered the body. For some inexplicable reason, I didn't and I now regret it. Especially since the bloke who did it, didn't do it properly, though for those of you who've looked at that photo if you think the heel is quite chunky, it was way massive when I got it.. I was expecting something a bit more "sculpted" and I got a block. I should have made an issue of it at the time. I think that the whole "let's try this out!!" took over and I didn't really reflect on the problem until much later. Idiot....

[quote name='Lorne' post='1289927' date='Jul 2 2011, 10:46 AM']Is that a "V" shapped bass? it looks like there is not a lot of side support to the neck, and the neck is not deeply set into the actual body length, it also appears that there are some stress cracks showing in the very corner of the body in the neck pocket, if all of the above is true, then I wouldn't have the heel shaved at all, it will end up breaking[/quote] No, it's an explorer shaped bass. I don't think that what you see is stress cracks though I must admit I share your concern about the positioning and support etc. There is also cracking in the finishing which is at the upper wing of the body, right at the corner as well as other points that shouldn't have any stress on them at all. That I would imagine not be anything to do with it? I'm guessing here so if I'm wrong, I'd quite like to be corrected.

[quote name='xgsjx' post='1289888' date='Jul 2 2011, 09:47 AM']That's not a heel, that's a spare neck![/quote] Exactly. For those in the technical know, can that get carved down to virtually nothing or not?

Finally got round to doing a picture. You may now see what I mean. Put my hand in for scale. I quite like the idea of a heelless join however. However, any thoughts on this, let me know.

[quote name='henry norton' post='1289215' date='Jul 1 2011, 04:10 PM']Just to dip my oar in, there is allot of bullsh#t surrounding different neck joints. In spite of what allot of makers will tell you, the chances are most wouldn't be able to tell much difference between one type and another in a blind test. That said, neck thru will more likely give you good access up in the high register if you find the right design. It will be more usable if you use an 8 saddle bridge [url="http://www.warmoth.com/Schaller-471-8-String-C724.aspx"]Schaller 8 string[/url], but whatever neck joint you have, it'll be pretty out of tune past the 7th or 8th fret if you can't adjust the intonation of the octave strings.[/quote] This is exactly what I mean. Aside from possible better access is there any sound difference? BTW - the Schaller bridge you mention is the one on my 8 string. The thing holds it's tuning brilliantly. The heel and general feeling of the bass is that "something" that seems be missing in some indefinable way. It sounds great, plays great and stays in tune has a brilliant low action and does what I want it to. I just wish it had a smaller heel. I'd have to post a few photos to show what I mean.

To be fair, it's the fact that the neck is that slight bit further away as well. Maybe about an inch or two. The block per se is annoying, but work roundable. The join is at about the 15th fret which is a bit of a pain too considering it's only a 21 fret bass. Again, another thing to remedy.

I've been giving quite a great deal of thought to getting a new bass. However, something has got me thinking. Preferance of differing types of construction is really the main thing. I am someone who likes to use the whole neck so I like the upper register access. About 2 years ago I got an 8 string bass made and I didn't take into account that it'd be a bolt on. I got the heel carved down a bit, (although I wouldn't say using the high area of the neck on an 8 string is that much of a priority), it just doesn't feel right to me any more (though the neck profile is brilliant) and I'm contemplating flogging it and getting a neck through made. I learned on some shortscale japcrap bass (Fenix - anyone?!!) which was a bolt on but the heel was very small (sort of in the shape of the Dean bass in the for sale section) and very sculpted. Now I figure this is a reason that I don't like Fenders that much due to the block heel, but having never played a set neck, what are people's experiences? Basically why do people prefer certain types of construction (leave aside cost as a consideration) and why. Plus, does anyone have an 8 or 12 string neck through bass or set neck bass. Grateful for any thoughts or opinions.

I've got a mix of fret numbers and scale lengths and it just depends. The buzzard has 26 and that's great because it's a long scale. The extra 2 frets make it feel like a mid scale to me. My Alembic is a short scale and has 24. However, there are times (like when doing tapping at the high end) that it does feel a bit cramped as the frets are very close together. My 8 string is 21 frets and I kind of thought I'd miss not having the 24 on it. I kind of do and don't. Sometimes I get asked to play something I've played on a 4 onto an 8 and if what I've done is quite high up it becomes a problem, but it's generally not a big deal. I think though if I were playing a 4 string bass I'd miss the upper notes though.

[quote name='Merton' post='1269995' date='Jun 15 2011, 01:03 PM']Good idea! Clive didn't do the MIDI part, that was done by John Price, a chap with a company called Kenton Electronics. I was talking to him about it the other day in fact. Shall I get him to contact Ashdown? [/quote] Thanks!! Tell them I expect a reduced rate!!

I was under the impression that the Ashdown stuff (amps at least) is designed by Clive Button the bloke who did quite a lot of the old Trace Stuff. If that's so, here's an idea. Revamp the old Trace Elliot MP11 preamp (sort of like the superfly with an 11 band graphic eq and midi footswitchable with channel memory) and pile in a proper digital power stage so say 500- 800W and valve gain. There. You have one of the most flexible amps you'll ever own. Loads of EQ options, stupidly lightweight and lots of shiny lights and buttons to appease people like me who like that sort of thing. I'd pay for that.

I know what you mean about amp colouration. That might have been some of the problem at the time. However, I'm taking an example of me trying to play rather intricate delay effects to compete in a 2 guitar band. That's when you need some serious limb hacking cut on your signal. As I said, most of the time I don't use it as the instrument's natural tone is enough in most circumstances. However, I still think that Status make exceedingly good cakes and there isn't a bad bass among the entire range.

[quote name='Chris2112' post='1268888' date='Jun 14 2011, 05:10 PM']The thing with those 'all graphite' instruments is they can be extremely harsh and bright. A little wood and graphite softens the sound ever so slightly and seems to give it a more characterful midrange.[/quote] That's why I like the all graphite ones. As Rich (Out To Play Jazz) suggests ones which are foam rather than wood encased in graphite. Harsh? Thank you. That's what I want. Virtually unlimited cutting brutality on tap. I don't have to use it and I frequently don't, but it has enabled me to have the requisite amount of cut when I need it in demanding situations. I've never experienced this from any other bass I've tried other than all graphite ones. When I tried a Mark King (which was the graphite skin version) it just didn't have it though it was a fantastic bass. Even when I played a normal S2, it just wasn't the same. Hey, I'm biased. I love my buzzard. Plus I thought the Stealth I tried a few years ago was great as well. I fully suspect that I'm in a minority of one with this statement, but this is what does it for me.

I think it's a reasonably gaudy bass (nobody look at my signature to suggest that I play either "loud or "gaudy" basses!!). On the other hand I generally don't like Fenders per se. The Warwick reverso was hideous and I'm sure a kneecap wrecker. I went from really liking AC to thinking he was hugely overated. Probably, because I went off U2 after Pop. Just a thought. Would I pay £4k for a precision? Not a chance. Depends if you think it's worth it or not.

[quote name='Delberthot' post='1241753' date='May 23 2011, 03:42 PM']Its a lot easier thanyou think unless you really get your fingers way under the string when popping[/quote] Quite. Am definitely upgrading to a 12 string just for the fun of it. Will still keep the 8 though!! And yeah, signal splitting with an 8 sounds massive.....

The comment about the Danelectros wasn't that they're rubbish or that I think they are (and I don't). I thought that the ones he got were really nice sounding and for what he paid for them they were massively batting about their price range. I enjoyed "having a go" on them. However, my comment was about the fact that he then sold his very nice jazz for less than half of what he paid for it and got 4 instruments that sound absolutely identical which I thought was pointless and illogical, hence my comment. Why have 4 basses that sound absolutely the same? By the time he'd wanged out for all of this lot he could have got himself one very, very nice bass indeed. Just my opinion though. It just seemed like bonkers GAS to me.

At present, I use a Digitech 2120 for FX and in the loop of that I have a Bass Pod XT Pro. Now, the problem is that when the pod is engaged there is a very, very noticable voume drop. I've tried this vice versa and in several other different configurations to check and also with my "bean" pod and the same thing happens. Has anyone encountered this problem before? Any suggestions? You may ask why I have to have stuff in this order it's so I can use some of the more bonkers stuff on the pod before the main fx of the 2120. The volume difference between patches is a problem. Would some sort of clean booster pedal be the order of the day? Any advice would be gratefully received.

They might work, maybe not. The comments about evelope filters is definitely true. I use a Digitech 2120 and that's a guitar processor. It works like a dream for bass as well, so try some stuff out. The worst that can happen is it sounds pants.

[quote name='JTUK' post='1234164' date='May 17 2011, 12:20 PM']Not sure if you know what you want anyway. You seem to have basses to cover a lot of ranges in music and one or two are very focused and almost limiting..not that that in itself is that bad, possibly.. but until you grow into a style your thinking will not have much shape to it. A jazz is a workhorse that can cover anything with a bit of imagination.. but you need to really rate it as a bass and just because it has Fender on it doesn't make it any good. I wouldn't worry about direction until you get some. Maybe your upcoming gig will help ...as hopefully, that is the point.[/quote] I agree totally. Until you know roughly what you want to sound like, it's a bit difficult to say. I chose the basses I've got as I know exactly what I want to sound like. In truth I probably stumbled into it. Plus the comment about a Jazz is right on. One of my mates got a Jazz and whilst the sound of passive basses doesn't work that well for me, I thought it was fantastic and very versatile. He then sold it and bought 4 Danelectros. Never did figure out the logic of that. Billbo's comments about telling the difference between basses is true to an extent, but it's reasonably easy to tell maybe not what make they are (which I think is a bit difficult sometimes), but the different sound when used with the same amp settings.

Just depends what you want out of it. Something that sounds distinctive may not be what you want at all if you like a precision type sound, you won't really get it from an active bass. Besides, they won't make you better anyway unless the neck is easier to play. I'd tend to stick to what you like. You could spend squillions on a bells and whistles bass, but it could prove rather frustrating if it doesn't work for you and you don't get on with it.

Not sure if this is the right place to put this in, but here goes. Is anyone going to see The Black Ships on Thursday 2nd June at Kings College Student Union? It's Nick McCabe and Simon Jones' new band (formerly of the Verve). It's sort of like the tonto psychedelic jams that the Verve used to do in their better days, but it's not necessarily to everyone's tastes. Sadly, all of my mates have pled poverty or aren't really interested in that type of music. If there are any BCer's who are going and fancy meeting up with a fellow bassist, let me know.

[quote name='Doddy' post='1228790' date='May 12 2011, 01:38 PM']As far as getting at the guy for using a 15 string,it's worth bearing in mind that John Paul Jones especially Tom Petersson have used a 12 string bass for years. Jauqo's bass is the same thing,just a 5 string version. Allen Woody (Allman Bros.,Govt. Mule) used to use a Modulus 18 string!![/quote] To be fair though, JPJ uses a 12 string bass that's a 6 string with octaves rather than a 4 string with 2 octave strings per fundamental which is what Tom Petersson and Doug Pinnick use. Just to up the pedant value. A 15 string like this bloke is playing is a 5 string in triples if that makes sense. Interesting playing, but I fail to see the point other than it'd be rather difficult to use it in the way he is. Everyone's entitled to their opinion on the merits of insanely stringed basses though. I like the multi stringed versions personally, but I'm sure that there are many on this forum who would regard even a 5 string bass as being wrong. Not my point of view, but just an observation.

Myself and my guitarist went to see King's X at the Electric Ballroom in Camden and got a few things signed. Doug was a very nice bloke and the only gripe that I had from the gig about the band was that he only played the 12 string on 1 song. Come on!! I certainly counted at least 6 songs that were played on a 12 when they were recorded and he played them on the Schecter. On a certain level, it was slightly disappointing. However, it did put me in the mood to get a 12 string. Pity that they are so amazingly rare and virtually never come up on Ebay. Bummer.