hamfist

[quote name='mcnach' timestamp='1498725108' post='3326531'] How did you manage to do the bevel edge? "carefully", I guess [/quote] Yes, carefully, but by just using a wood block with sandpaper held at an angle. Really close up you can see that it is nowhere near as perfect as a machine produced edge, but its pretty good, and good enough for me. No-one would ever tell the difference from a yard away.

Ilian bought a bass from me, which I couriered to him. Despite some courier fun and games actually getting the bass to him all was well. An easy deal. Thanks buddy.

Yup, done loads. A Dremel is my tool of choice. - First, mark out (or trace) your outline on the back of the blank. - then cut out the shape with a few mm clearance using the dremel circular cutting tool - Then use the abrasive grit cylinder attchments to gently take the material back nearly to the level you want. - I always find it easier to finish off with various grades of sandpaper/ wet'n'dry paper. Something like 100-200 grit to get the basic shape (including the bevel) and then something like 400 then 600 to finish it off. - I have a large but fine toothed square-edged metal file which is very useful for finishing off the shape off non-bevelled bits like pickup holes and the neck slots. - For pickup holes when I'm "freestyling" it, I cut one hole in the scratchplate where I'm damned sure the pickup is, and then slowly, slowly enlarge the hole with the dremel, continually matching it up to the bass, until I've got a decent fit for the pickup, finishing up those edges with my big file. It all takes a while, but don't rush it and you will have something unique and special !

I bought a pedal from Mark. He sent it swiftly through the post, appropriately packed, exactly as described. Great communication throughout. THanks !!

It sounds like ergonomically, you don't have a great preference, so it'll come down to sounds. A Jazz cannot do the P "sound", not really even close. But IMO a PJ, with both pickups blended gets pretty close to the Jazz sound. And, of course, they both have the same bridge pickup for that one soloed. For me, I cannot do without the P sound, so it has to be a PJ. But if your main sound is the Jazz bass, both pickups blended, then its probably best to go for a Jazz. As for longevity, I truly don't believe there is any difference between any of them. PLay a load of basses and choose the best one. INdividual basses of the same model do vary too. You can get individual cheap affinity squires that sound better than some MIM Fenders.

A great result for you mcnach ! If I hadn't found my nirvana in TRace Elliot I would certainly try and give one of these a go.

Hmmmmm. basswood body. IME, hard to get a great sound from. Only the Bongo has managed it consistently so far.

[quote name='Ian Davies' timestamp='1497540432' post='3318981'] it would be possible but it would be much cheaper and easier to just buy a J neck and put it on a P body. [/quote] This.

thanks for the responses guys

Sold some pickups to Andy. Easy deal, great comms, THanks mate !!

[quote name='Grangur' timestamp='1497301585' post='3317208'] I've had a few PJs and don't find the J does a lot on a PJ. [/quote] Its really important to match the pickups carefully. You need a lowish vintage-type P with a pretty hot J pickup, or the P will dominate. Also, it needs care setting up the pickup heights to again ensure the P does not dominate. When it all comes together it can be fantastic thuogh, and its not that difficult really.

Yes, tonerider pickups ! very, very good.

[quote name='EliasMooseblaster' timestamp='1497271395' post='3316914'] My interest is piqued...have you tried using this Behringer for any home recording? I'm hoping to improve my current setup, and you've got me wondering whether I could do so a lot more cheaply than I first thought! [/quote] Yes, used for plenty of recordings too. I became "In the know" about these after visiting a recording studio where the owner had literally changed most of his stock to these.

3-way switch for me every time on a PJ !

Seriously, get a Behringer XM8500. Less than £20. 99.99% of musicians will not notice the difference between it and an expensive one. They really are that good. Oh, and did I mention that they are sturdy as hell too. I use a lot of different vocal mics including expensive ones, but the one I take with me for my personal band gigs is a Behringer. Theres a lot of snobbery goes around about a lot of musical kit.

My first guess would be a dodgy string - most likely. THen, as others have advised, check that you have an appropriate nut slot width and a good nut break angle

[quote name='Muzz' timestamp='1497091867' post='3315788'] I didn't like the Aggy Tonehammer. At all. There, I've said it... [/quote] I'm with you on that one. Not my thing at all. FOr me it was the amp I've owned which I was most disappointed with, after all the hype I'd read. My absolute 100% amp recommendation has to be the Trace Elliot SMX series. The 250 will see off any modern class D 500 Watter volume-wise and has a tone and sheer impact that I have not found elsewhere. The 250's are reasonably portable too - an easy one hand lift. (although it all gets a bit silly with the 350 and up, which are well over 20kg) I keep trying other stuff but always come back to owning an SMX. Amazing amps.

[quote name='Dan Dare' timestamp='1497083374' post='3315691'] Good luck with after sales and assistance... [/quote] I wouldn't expect any, unless the amp arrived broken, and they clearly state a returns policy.

Just discovered these online. Quite a few unusual amps. all at half reasonable prices. And with low postage rates. Anyone heard of them or used them before ??