BassBod

I've tried the Schaller (very crap, rattles acoustically but a bit retro looking) and custom Kent Armstong magnetics, and to be honest I wouldn't bother with one. At best they sound like giant Pbasses, but without much of the interesting mid range. The only use I could see is in extremeley loud situations, on an acoustic bass, where anything to do with the bridge or body would feedback. I've got the Kent Armstrong here somewhere - desigend to fit a "generic" modern fingerboard, so may (not) be a good fit on your bass - let me know and I'll try and find it. But I think you'll get better results adding another different piezo pickup for an alternative sound.

[quote name='obbm' post='881743' date='Jun 30 2010, 11:21 AM']If you ever want this done, get the bits and send them to me. i'm quite happy to do it for you.[/quote] I may well just do that...cheers!

I've always been concerned about this - my old SWR220 gets used most for festivals (as a preamp) and its of an age to be vulnerable to phantom power - although it may be proteced, I've never looked to see if there are any capacitors in there. It seems the only way to be sure is to run a passive DI from a preamp output - I've never had any problems when dong this (noise, distortion) but I have had a few issues with using the DI outputs on modern amps (EA,GK Eden) either hums and buzzes (ground lifted or not) or level mismatches with desks. For upright I use an active muting DI from Orchid Electronics (about £65?) which runs from phantom power...sort of turns a potential problem into a blessing! And having a footswitch to mute your double bass is a good thing when the engineer starts blaming you for all the feedack he's got.......

Customised pots...now that's just a bit clever! I would ask how, but I'm sure I couldn't manage that, and there are far better qualified people who will be asking you the same thing. I'll leave it to them. But still very clever.

I'm really surprised how much the feel of strings is important - I often think it should just be about the sound, but (for me) its not. I also look out for different or new strings to try out..its a habit now. Here are my favs - Thomastik flats or Pyramid Gold flats. Can't decide between them, and they are pretty different in both sound and feel. Both very very good if you want that "flatwound" sound. Just different. DR Sunbeams (nickel round) are my current favs, and have been for a while now, also just got some R Cocco nickels and I think they are just as good, with a nice bright but warm sound and a smooth feel. I also think Thomastik Superalloys are very good, and if I'm skint Picato nickels will do the job for a lot less cash.

[quote name='Happy Jack' post='879011' date='Jun 27 2010, 05:49 PM']Interesting thought. What would you use to do the scratching? And how would you avoid wrecking the finish in the adjoining areas?[/quote] A drop of water, wait a few mins then use a fingernail - it should scratch off fairly easily without any damage. [attachment=53161:DSCN1107.JPG] This one came off with no hassle, before it went 70's style

[quote name='Happy Jack' post='878788' date='Jun 27 2010, 01:15 PM']My Bravewood P-bass came to me with a very authentic-looking Fender decal on the headstock. There were two owners before me, so that's three people who could have placed it there. ... I would actually have preferred a blank headstock.[/quote] Umm...I think you'll be able to scratch that decal off - it wasn't sealed.

Yes - there should be some makers mark there, it won't put off a determined fraudster but at least it makes it a bit harder! I like the idea of a current date stamp, but in the style of an old one.

Thought it would do the job - although it seems they are making less and less as time goes on? Their acoustic preamp/DI is also a really good product, but a friend of mine tried to buy one a few weeks ago and got the impression it wasn't still in production - shame.

The Bravewood P I had for a while was superb (now with Happy Jack?), so I'd recommend the "boutique" repro approach, although there have been some issues mentioned here with the quality of some of his work. Wesley Steed seems to be on track to make some great basses (very authentic repros based on whatever specs you prefer)...but I haven't played one yet. I'd talk to these makers before the Fender custom operation...

The House of Bass...Stokes Croft, Bristol. Give it a year or two..and its all going to be in one huge stack, heavy enough to become a black hole. You wait.

Cheers for that Rich - pleasure to meet you, and many thanks for trecking to Brisssle and geting me away from the "gardening" for a bit! Squier went to college today..perfect for my educational needs, ta.

One suggestion - don't use the carry-bag on your shoulder, its too heavy. Just get a simple "slip-on" cover from roqsolid and use the amp's handle.

I've had two over the past 12 years or so. Great little amps, although not the best sounding amp ever made. I sold one when I moved onto EA stuff, but I got another a few years later because they are just so light/easy to use for smaller gigs and rehersals. I've never had any problems..and I've not been particularly kind to them.

I've become a complete musical tart..or freelance or session player, if you prefer. The soft skills are as important as the playing, as is wearing the right shirt for the gig. Playing well (in tune, in time, with a sound that fits the setting) is a given if you expect to get paid or called again...but most of my employers would much prefer a "good" player who turns up on time, and has a good work ethic to a fantastic player who hasn't got transport, bitches about ££ or about other players. Or just gets pissed on the gig. Two things I (almost) never do...say "no" to a job, or let someone down for a "better" gig. Its cost me on a few jobs, but I usually get called again.

Have a look at Award/Session - the amp maker (who doesn't seem to make amps anymore??). He used to make a good little 4 input mixer/buffer box. Edit - called a MixMatch and still on the website....

Thanks for posting that - I'd forgotten how much fun it was! I understand people who see Jaco as zzzzzzzzzz but for me that's still great playing, especially since they had to dry him out for a day or two before filming.

Not complete b$£ll&cks...I remember reading the same thing about MK and Alembic. Funny thing is the sig Alembic's are just nice Alembics - SeriesI/II style but without the really expensive electronics? From what I recall the only things MK chose were the facing woods and scale length? The one that impressed me was the Roscoe Beck V - I'm sure he made Fender spend a lot more than they ever intended on pickups and hardware etc, but he got what he wanted and created a very nice variation and update on the Fender concept.

I really should get out more...and keep an eye out for who is touring!

The screening won't really reduce the single coil hum from the pickups, so may be wasted effort. I've got a set of handmade Kent Armstrong humbucking J pickups in for for sales - these can be wired for series/parallel wiring etc and are dead silent. They are both "bridge" sized (same as EMG LJ) and were made as a matched pair (bridge is wound slightly hotter then neck). Although these were made over ten years ago they were only in a bass for about six weeks! Its sounded great, but was very very heavy....

I've always preferred jazz necks (very slim or more C shaped) but I've found I can adapt to most. For a while I enjoyed playing a very chuncky V neck on an old Wal (neck was nice..but the body was heavy!). The "best" neck I've owned was a Bravewood chuncky maple P bass - very comfy and easy to get around. One thing - is it only the neck on the fretless P that bothers you? I have never played a fretless Pbass I liked that had just the standard P bass pickup - too woofy and big for my idea of a good fretless sound.

Shameless punt - this ones in the "for sales"... [attachment=51930:P1000265.JPG]

I wouldn't stress about a combo, there are so many great little amps around now. My vote would be a Euphonic Audio head, (used 500?) and a wizzy 1x12 or Barefaced Midget. My GK MB150 still surprises me...but every now and then it sounds crap! All depends on the room. My other suggestion is the old SWR 220 head - its a puny 160w into 8 ohms, but a small modern 4ohm cab could sound very good and plenty loud?