yann

[quote name='White Cloud' timestamp='1356883071' post='1914674'] At the heart of this humourous posting there are extremely wise words. The single most important factor in the tonality of any instrument is the touch and creativity of the individual player that is playing it. [/quote] I'll have to disagree with this,or make it more clear: A good player can make a bad instrument sound "somehow good",but will never sound like he would with a good one! A bad player will make the best instrument sound like the cheapest.... Bad (or too old) strings make the best inst sound like a bad one too! But "tone" comes even with an open string,and good or bad fingers will give the same toneon an open string: The one the inst has itself!!

[quote name='Kiwi' timestamp='1357325879' post='1921185'] I kind of agree. I've noticed the fingerboard generally affects attack more than anything. It probably affects lows but the higher frequencies are more directional so I've noticed them more. Pickups seem to be a bit like a blunt edged weapon. They generally have a single resonancy peak that can be adjusted up and down the frequency spectrum depending on number of windings, magnet strength etc. The treble response of pickups can also be dampened or boosted depending on how much resistance there is in the coils and how random the windings are around the coil. Lots of other factors come into play such as how even the windings are, thickness of the wire..so it becomes a bit of a balancing act. Body wood has a dampening effect in bolt on instruments if the wood is softer and less stiff than the neck. I'm still open minded about how much impact the wood in body wings in through body necked instruments has. I'd like to believe less but I noticed more warmth in the mahogany bodied Smith 5 I used to own, compared to the walnut bodied fretless. So...don't know yet. [/quote] Ι agree too. The neck of an instrument is (to me) excactly what it looks in the eye: Half the instrument. Except producing notes,it does another serious job: Transfering more than half the vibe to the body (the bridge does the rest of the job). Here's two reasons i never used a phenolic-or other non wooden fretboard (not stiffness,we can still install the frets tighter and be sure of the trussrod work) : -I don't like the feeling of it (like plastic),as i don't like varnish on fretboards that is a must for light coloured woods like maple (same feeling). For the same reason,i don't want any chemistry on my neck,since i touched the first oiled one...man,they feel like a woman's skin to me! -Artificial materials have no "sound personality" like wood's pieces do.They're good at lows and highs,but lots of mids are missing,and that's where the real game is played! If we try to compare the response of 10 phenolic fretboards with tapping,they'll all sound the same. But with ebony or rosewood or any other wood (like 10 of the same species i mean),we'll hear a lot of differences... Therefor,luthiers spend nights and days valuating their woods. The fretboard is often underestimated by players,but this "veneer thin" part is the one that tranfers the vibe (sound!) to the neck,and the neck to the body. -Here's where i think Kiwi is right too: We might have the best neck,and "kill it" with a body that doesn't suit to it! Some people believe that maple boards give more attack...Well,it's mostly the frets and their installation that do the job. Consider that the varnish of maple boards,is usually apllied after the fret installation.This makes them "one" with the board,even if they're installed loose. (Loose frets: No attack,muddy tone). For other woods that don't get coated as fretboards,the fret installation must be perfect,or goodbye attack (well,there might be enough due to the rest of good materials,but not the 100%.I've seen players proud of their instrument's attack,and after a good fretwork they just don't believe their ears!! If the frets are not well installed (nut too),no superwoods,no hightech,no pickups will give the desired result! An instrument is a chain.No matter of best materials,if a small thing is not working properly (even glue),affects the whole inst...

Hi everyone and Happy New Year!! Recalling this thread,cause we got changes here... The Yannbass is back to it's dad (moi),and Stavros (Bassmaschine) got my newest one (and maybe the last),called "El Chupacabras"! Well,it's on another level than the Yannbass,so Stavros upgraded,and me...hehe..downgraded! -The chupas is an ash body,maple/wallnut neckthrough one,with Redwood venier for the top,and S,Duncan's "Hawkbuckers" pus, made by MJ herself at the customshop... Well,the world goes round and round...! -Picture can't be uploaded,i tried all i could....

Hmm,maybe your tech has seen (heard!) this before, a pro does a lot of things every single day...that's how pro's gain experience! -Your good news is the chips in there are all in sockets as they look like, just pull out and install the new one (with care of static electricity). -Your bad news is you don't seem that confident for such an operation... Doing such things is always a risk,you gotta like risk first! (not on things that belong to others of course!) Well,it's a beat of work to open the front panel,4 screws up and down,8 at the frame to release the front from the box, plus all the bolts of the pots (behind the buttons!!) and jacks to split the front from the cirquit. Good care when pulling out,theres cable sockets at the back of it. More care when assembling,watch out the torque you tight your bolts,this ain't no car or bike! Good luck whatever you decide!

[quote name='vaccastracca' timestamp='1350048498' post='1834012'] Hello everyone. Sorry to burst in, but since I just got the same head, and I'm having some similar problems, I thought I might share the experience, in case someone has some tip! I write from Italy, and like Yann, I don't like the idea of giving the Mark IV to a technician...in my case it's not a matter of trust (I trust my tech), but it's just he's terribly expensive, so I usually go to him when there really is no other chance! Here is the issue: the graphic EQ, when engaged, causes a HUGE loss of volume. We're not talking of a few dB. It goes down to less than half of the volume you're using! Besides the volume loss, the tone also becomes very muddy and dark. The issue is the same on both channels. Other than this, the amp works totally perfect in every aspect, and sounds awesome. [/quote] Hi, it was about time for my news too! Well,my one goes fine,the trouble is spotted at the footswitch jack, that works as a contact too,and is fixed since my last post here! It was a contact causing it at last,thanks Mark! vaccastracca, I'm not sure if i can help here,i don't know much about electronics... What i know is that the eq section of this amp is a serious tool,very usefull when changing playrooms or stages. The eq goes "on" with different switches for each channel,you don't mention any difference between them,so i can guess the loss ain't caused by one of them...next thing to check out is the eq sliders,i think if one goes bad affects the others too. But this is just the "mechanical" side of the story,i can't tell if there's some electronic element that's bad,i would get to a pro too with such an issue... Still,it's no thing to check the sliders,clean up with air preasure first and plenty of contact (no oil) spray...(dont worry if it runs everywhere,just let dry). Anyway,if you're doin good with screwdrivers and things,take a look at the photos above,and go for it! A general cleanup is never bad for an amp!Have fun,and...good luck!!

Ι did a first check... Plugged the footswitch in,and switched the amp on... well,the active channel (lower) was crystal clear this time,but the passive (upper) with a bad "hiss"... Torn the amp off,sprayed some (no oil) contact spray in this jack,took the footswitch plug in and out a few times (turns both channels on in automix mode), let dry,turn on again,both channels clear too.No noise at all anymore. (but the -non original- footswitch doesn't work well since it's made anyway....) Focusing at the footswitch jack now...

Mark,i guess you're right about the transformer, i think i just let be,since i ain't no active player no more, so i don't have to carry the 220-110 xtra transformer i allready have!(it's very heavy,and an xtra "box") About the other problem,it's pre-amp for sure... It only happens with the active-eq channel (lower),while the passive-eq one (upper) works fine from the first minute (high gain plugged). -Hmmm...about contacts as you said,i just thought something i didn't before: The footswitch jack!! I didn't pay any attention to it,and haven't plugged it for some months...it's "contacts" too,ain't it? And it's a quite sensitive element as known from the history of those "stoneage" jacks! Otherways,i'm gonna have to check all those little chips of the front panel (they're all in sockets,contacts indeed), well the ones that seeme to belong to the lower channel where the problem comes from... I think i wait for the right mood,and check it out,opening the amp again is nothing now that i know the process and what's in there! EDIT: One thing i gotta clear up here,so readers won't misunderstand: -When i talk about "active" and "passive", i don't mean the inputs (high and low gain,used for passive or active instruments), but the EQ sections!!! In this amp,the upper channel has a (so named) "passive EQ" (the ones starting from 0 hard left to 10 hard right), and the lower channel has an "active EQ" (with 0 in the center and + - 10). So,Mk owners talk about "passive channel" and "active channel" meaning the EQ sections,not what's plugged in!!

Pics -89,-90: My 110v transformer,it seems like a 3 wire one...(3 + 3) -After finishing the job,i remembered i didn't get some closeups of the transformer,so i opened again,well,just 4 screws.... Then,was the test time... i pluged and turned on,sure that everything is clean and it's gonna sound just right. Guess what.... Nothing has changed. The noise and cuts still there,even if i looped the send-return,and in a few minutes it worked ok again, just like the looped test i did before,but it wasn't the wiring that made the amp work,but the warming!! Now,i think it's something that doesn't work when cold,but comes alive after the warm up.... I don't think it's something i can find and repair myself,i'm good with mechanical parts, but not with electronic elements,that's a pro's job now.... -Mark,thanks again for your help,the problem might be deeper than dirty jacks,but you gave me the guts to open and find out more..!

It took me a while, till i got the time and mood to open the amp... But it's done,everything in there is as clean as new! Here's some pics: -73,-74.Quite dirty in there,back panel open. -79,-82.Front panel open and dismantled. -84,-85.If you ever open this amp,mind that the left plastic frame is not removable,as the right one (eq section) is. -86.Job done,all tools i used. (one more post coming)

Ok,got it now,no problem! I've never noticed this difference before,just since i have this Mk 4, and i've only pluged two basses in it,both passive,one visible in a pic above,using S.Duncan's "Hawkbuckers" and "standard" electronics (what i own now). Back in the 80s',(using other Mk3s and 4s) i've had one passive (Aria LEB Classic) and two actives (Ibanez Roadstar "Black pearl", and a selfmade one with an active electronic Rockinger has offered for a short period,it even had a headphone output!! ) Can't tell why,i remember i always pluged the high input,with all basses then,and as the amp goes to "automix" if the footswitch is not pluged, i always "made my sound" using both channels in meantime,or just the lower (active one) cause it sounded clearer than the upper (passive) to my ears,hehe... Even in the studio(s),there was no footswitch for both amps (3&4) i've recorded then,so i never really knew the difference,only by the gain pots. Since i got my "Mr Mark",and made that footswitch i heard this difference.but couldn't tell why! Anyway,if there's something really not active in my "set" today...that's me!!! edit: Ow,as i just remembered,that Aria did have a preamp,and a bypass switch,but can't remember how i used it the most!!!

Mark, it seems like i'm lucky and you're the man! I checked it as you said,and pluged in and out several times, for the first minutes nothing changed,but suddently the sound came and stayed for good all next minutes till i shut down! it's still a little lower than the passive channel,but it shows that after a serious cleaning it's gonna be fine... I'll open up and clean everything devoutly,maybe next week when a couple of obligations are done,i wanna give care and time to it! -I 'd rather let a pro do the job,but i'm a Greek in Greece,i don't know anyone i can trust on such an emotional issue... If it was some "new modell" or something, i wouldn't react like this of course,can always get another one! Thanks a lot, i hope i can do something for you too! Grettings, Yann -Luke, I don't really know what's the meaning of "the cad" here,but i guess you're right!!

Mark, Thanks a lot for your reply!! (Mr Mark for Mr Mark huh? ) [quote name='MarkBassChat' timestamp='1342383520' post='1734168'] Check which version of the power transformer you have (just count wires on the primary side). Export version has 4 wires and in this case changing supply voltage is easy. [/quote] This,i can happily do! I'll open the amp soon!(a good reason to clean any dust inside too) [quote name='MarkBassChat' timestamp='1342383520' post='1734168'] It's rather the other way round - it's good you didn't believe him (is he a serviceman???).[/quote] Yes,but he does too many things to be a serious one...(like pickup winding etc...) What i think he really did was finding out that the amp seemed "ok",maybe didn't open at all,and just put new rubbers at the underside.(it had no scratches then,all pots ok too)... He was offently visiting me before that,i was working as a guitar tech that time,and he was always asking about info for guitar repairs,i happily gave,cause i thought it's just two pros talking their jobs,going you know,friendly,but he used this info to do guitar repairs too,along with the amps... [quote name='MarkBassChat' timestamp='1342383520' post='1734168'] This is quite often caused by dirty Return jacks. Just plug a jack-jack cable from Send to Return jack and see if it helps.[/quote] I think that no other jack than the (high) input one has ever been used on this amp,well i've used the line out one for a few tracks of home recording last year! -What impressed me was that the signal was so clean- absolutely no noise,not a little of "hiss"!! I'll check this tonight,right when i get back home!! [quote name='MarkBassChat' timestamp='1342383520' post='1734168'] As far as I remember this footswitch consists only of two switches and 4 wires - you can buy any 2-switch footswitch and change the wire (and the plug). Mark[/quote] I've allready done this with a Vox footswitch,and a plan for it (Mk 3 should work for Mk4 too as said at Peavy's forum i found it) but didn't succeed... (eather the plan was wrong,or maybe the switches other than should be,as i know there's two or more types of them?) It does change channel (switch one) but when the other switch is in "automix" (switch two,both channels) mode doesn't. Must be repushed,then it works.-Plus it makes a noise when clicking! I can't tell if this is normal,never worked the amp with a footswitch,even back in the 80's! Thanks again,and Best Regards!

Hi everyone! Back in 2008 i searched for an Mk4,my favorite amp ever built,known as "the tank"... I saw a lot of them,in different conditions and prices,and decided to get this one,"living" in El Paso,Texas. Great condition (except scratches that didn't matter to me),wasn't played more than 4 years, belonged to the dad of the seller (a nice lady),who had an amateur band for this 3-4 year time. Since then,the amp was a "dust collector" up and down the penthhouse... -I saw no rust nowhere on the amp,(the Switchcraft jacks are like new!) this told me that it wasn't exposed to any humidity,then i thought why: El Paso is located allmost in the desert...i thought this is the best risk i can take (buing something used and that old from the net...hmmm!) Costed me more than the double money than buying a european one, plus i needed a voltage converter,and a good service "just in case",all worth it for such a piece! (I did ask Peavey Greece for a change form 110- 220v but they asked for 250 euros plus taxes plus worktime, this would make the amp "golden"...) Anyway,i've noticed that the active channel was in loudness much lower than the passive one, and the serviceman said "it's usual,actives are lower that the passive sects",a thing i didn't believe cause i've worked this amp a lot back in the '80s... A few weeks ago,it really showed whaz up: The active channel started cut offs and scratches,and sometimes going up to the real loudness it should be... After my experience of amp technicians in Greece, i thought to ask for some oppinions or experiences,before i take my loving "Mister Mark" (as the seller named it,and i kept the name) to any "doctor".... Thanks a lot from before! Ps: Anyone has an original footswitch,i'd like to buy it!

I agree about the template too, when you have to work professionaly,and make more than one instrument per...year or two (or more,like i do)! (some Greek productive makers do use it,others would "kick you out of the job" if as a worker ask for such a tool!) Well,it's a kind of insurance that something going wrong is minimized with it.Especially when the workpiece is an order, and the player is waiting for it.If something goes wrong with the freecut,means new fretboard,loss of worktime,plus the precious piece of wood, as we all makers know... I would use templates,for this reason,if i was a custom maker working with modells too! -I attach the pics as i said,for members who can't really know what we're talking about! -Last pic is from a toolstore in the center of Athens i used to work for...imagine working in such a "paradise", but the salary (of a salesman that i was there,in a country like Gr) ain't enough (living comes first) to buy all theese beauties!!(there was much more inside). Well,i did buy a lot of tools (most of them expandable such as files and saws), and i'm still their friend and customer! -edit: Hmm,i edited the pics for easy upload low mb's but in full size,i see they appear too small..anyway they're still visible!

Jon, freehand slotting is just a question of practice,in combination with the right saw! I've been doin this on 10-20 fretboards per day while working for a mass production bouzouki maker (ouch!) with a "normal" saw... (That's a quite not easy job,on insts that don't have a trussrod,and that role play the hardness of the fretboard and the tightness the frets are installed,giving a backbow to the board that should come to the right curve when the strings are on and stay there -always with the hammer in method,and this should hold the string tension till the end of the ftrets' life.For all those insts of course (except classical guitars made to play with low tension strings-the players choice) there is a little buzz at the first frets,till the woods are used and balance to the string tension-wood resistance,might take a few weeks to some monhts for steel string insts). What i use the last years is a handmade japanese fretsaw for classical guitars,suits perfectly for all jumbo frets too, ([url="http://www.dick.biz"]www.dick.biz[/url]) but can't be self sharpened,has to go to Japan for this.Mid class price,will cut up to 5-6 real hard ebony boards,still sharp enough,but the teeth "close in" and the slot is tighter,cause it's a 'later tecnology" double side teethed one (hehe,i can't describe it anyhow else). Plus,it's a pull only saw,this helps to see the markline to be cut, cause the sided teeth cut right out of the sides of the markline for the first moves! -Another thing about handslotting,is "warm" the hand by using a more "difficult" wood than the one to be cut,i use wenge due to it's very hard-very soft grain exchange (black: hard,light brown: soft) that "brakes down" the hand,ebony feels like butter after it (even grained woods are easier,even if they're harder). I got a closeup pic of the job somewhere in my desktop pc,i'll search and upload sometime later,a pic says all better than my description! In this picture here,is Stavros' fretboard back in 2007 when cut.The saw and the wenge test-warmup piece are still somehow visible. (just downloaded it from Fb,i got the original size,i'll reupload later too). -Stavro,you're a big hearted hairy buzzybear.... -As Dimitrios Malegas is mentioned,i gotta say he might be known to some forum members,as he worked in Uk's known studios, and owned The Cave Studio in the Uk.Guitar player in some bands too! Owns the Millenium Studio (Athens,Gr) today. Good friend and a great sound artist to me!

Jon,thanks a lot! It's just possitive energy what i need right now (hmm,all of us i guess,the "trouble" is quite international i think!) Best wishes for all of us!

[quote name='Gust0o' timestamp='1341968750' post='1727305'] For reference Yann, don't listen too closely to Cameron. After all, we don't A great little thread this, I've enjoyed reading through it [/quote] -Haha,well i don't really do! I know politicians come and go,he ain't got much time left i believe...but It's that kind of propaganda that stays... They did about the same in Gr a few years ago,about the way the British tourists make their fun while clubbing...i've been a dj for a long time,i've worked and partied with them,and i know well that what media and politicians were talking about wasn't real,or they were too dumm to understand... -I've enjoyed entering the forum too!So different than the Greek ones! -Thank you Stavros buddy! (i didn't know about it's excistance,i don't surf enough i guess,and Fb takes the most of my net time!) i'll be happy to answer to any questions (if i can),but i don't know how long it will take me to answer,i'm on wifi only! -Cheers everyone,i'm having a nice tequila in a beach cafe-bar right now!

Excuse my late response, but i'm on wifi lately,i can post only when i have the time for a coffee or drink,and wifi ain't everywhere in Gr... -Talking about pu's here, the bridge one of this bass is the Seymour Duncan SJB-5,a 5 string blade pu that suits 4 stringers too.It's a "flat response",moderate output one,used here as mid-output due to the series-split-parallel switching i always use.(great for pick styles). Since the cavity was already routed for 5s,and i'm a Duncan fan,i chose this one so i didn't have to touch the cavity... My problem was that i like bying what i need right from the shelf,not waiting for the post, Duncan's dealer in Greece didn't have anything that i could use,especially some mid-out in a P shape,(this pu is only J-J). Except this,there was "an issue" between us (me and the dealer,i don't know why i've always been kind to them),and when i decided to use the SPB-2 (my "taste" from this series) they just didn't have it and "they didn't import" so i HAD to buy the SPB-3 they had in dosens... I refused that "force",(well,i'm quite reactive) and thought to look for something else... The only pu i found "on the shelf" was the Split P of DiMarzio,not a nice choice for a two pu bass,made for precisions,has no match too. But with a proper install,(Split-P far from the strings,SJB near them) the bass didn't play that bad,the sound was quite clear in mid position, and the "character" was ok to my taste and the character of the woods,but... ...the Split-P is a very responsive pu,and the loudness of the notes was low at the first frets,and high at the last ones... I had to take care of my dynamics while playing or use a "pushed" compressor,a thing i don't like,kills any expression of the player... Anyway,i ain't no player no more since 1997,i only played sometimes at home,so i was quite "covered" for some home-recording too. (the 2 tracks at my "myspace" page,home recordings-remakes of my two buddies KimaniStar and J.Haschkeks are recorded with this set-up of the bass,and the 3rd "housetrack" has a little solo at the mid-part that was my first attempt to record with it,the rest bassline is synth). Since Stavros (Bassmachine) owned the bass,we decided to install the SPB-3,it's in his playing style,not as "mid" as the SPB-2 that was the choice for me,and that's when the bass 'spoke" the most in his hands! -We kept the mid-output and switching for the bridge pu,and "balanced" them as much as possible (SPB-3 is hot too), and the result made both of us happy,him as a player,me as the maker!! -When this bass was mine,it was "natural finished",neck and body,cause i'm nuts with oiled and waxed necks,i don't like varnish on them, so i did the same for the body too.But this matte surface didn't show the best for the looks of the inst,so i sanded the (4 year old wax) away, and clearcoated with nitrocellulose,my favorite body finish,wich i didn't do at 2007 when made the bass for me. The result is in the pics uploaded by Stavros,and still have to dismantle again and highgloss polish when the nitro's ready for it (takes time to really,chemicaly dry). -Here's a 2008 or 09 when the bass was still mine!

Kennyrodg, thanks a lot for your words! well,in general the "atmosphere" is nice in this forum,i took a look at other topics too (as much as i can due to time i can spend in the net)!! i can't tell how theese posts about the tr cover and pu's are taken by others,but seemed quite humourus to me,no problem! Well,writing ain't easy,can be easyly mistaken,not like talking...therefor i like using "smilies" everytime i'm humourus,and that's what i suggest to others too! Anyway,i'd like to help where i can be usefull here,i just hope to have the time for this! -Btw,this is a 'homemade" bass,mostly worked on the kitchen marble and old furniture,i sometime gotta write about it,and upload some pics, might help any d.i.y. guys out there!

I say why not,too! Punk (rock generaly) is about MAKING music,not going along the rules,otherways play classical! xD -Take care that the fretboard will be hard enough,or (cheapo or not) you spend your money for nothing, better look for a better than cheapo,used fretless bass that will hold the strings a beat longer... ;-)

I think i gotta post again here, maybe on-off topic (up to the mods-admin), after what i've wrotten about me,and what i've heard today that Cameron said,something like: "If Greece goes out of the Eurozone,our borders will be shut for Greeks".... Well,i know Greeks don't have a good reputation lately,and Cameron deffinately doesn't like us,here's my answer to him: -SOME Greeks,could offer a lot to your country buddy,we don't all live in the middleages,you loose... Let's not forget,it's never the people,it's always the elites... ;-) -About what i've posted before in this thread,talking for myself as a maker,and your critics here,after a lot of thinking i decided to go on with the job, but not in Greece,and as a co-worker,not a bussinessman. So,i added a post to my fb and myspace pages,seeking serious job in Germany,UK,and US west coast,giving up my life and what i own here for goin'on with the job. But after this,i'm sorry to say i've excluded the UK. -Germany and frau Merkel does about the same,but i've lived there and it's my second country, got my friends and "my circle",i know the mentality, i can fight racism with them if important,like the good old times! -"The egg of the snake" is cracked in Greece too,you might have heard about the "Golden Dawn",and the huge number of illegal immigrants here, well,i don't wanna be a foreigner in a country full of skinheads... -Talking about US west coast,it's the ultimate place for a musician or luthier,and...US is built by immigrants,lots of Greeks too... Let's see how easy it is to get a job there,cause it's well known this job is got a lot of speculators,and i'm absolutely serious,looking far to my life's oldest times. ;-) -Allready wrote to a known German brand,expecting an answer. Anyway,i know that not all people agree with Cameron,but what if this propaganda awakes racism against Greeks worse than it allready is? I never go where i ain't wellcome... -Music is an international language,musicians have no country,know no borders.Politicians do. That's my mind,i might be wrong allthough... Greetings everyone,Best Regards from the land of the living dead...

[quote name='LukeFRC' timestamp='1340924498' post='1711738'] you need to start making instruments again. export them to germany and the uk [/quote] Thanks,but i just can't do it in Gr,wrong country,wrong time to start such a bussiness... Talking bout Germany,it's my "second country" and where i've learned the job,but i'm in Gr too long,and giving up a lifeto make a new start ain't easy...

[quote name='Happy Jack' timestamp='1340795584' post='1709637'] Not really - all you need to know is that there is no such thing as tonewood and the wood makes no difference to the sound of the bass. There. I've saved you three hours. [/quote] Thanks for saving my time, but all i need to know is allready in my experience,i'm no youngster,and as i wrote before i'm a luthier, not someone who does the job with the instructions of the mass industrie,and i can get any wanted sound without the need of any active cirquits... Well,it's eather my skills....or the woods,hmmm...or both! (and i don't mean me only,but every other luthier who really does the job, electrics or acoustics,basses or guitars,no matter). -The reason i want to read that thread,is i want(ed) to see how this "war" (between wood "believers" and "non believers") is doin in the UK. Now i know there's no difference with Greece,i'm a member in a Greek music forum,and i allready gave my local "battles" about it,i've even challenged professors of physics about it,and guess what.....they really can't answer my questions...(but i can,answer any of their questions too,unless theories or math i've never studied)! I've offered my woods,my (private) workshop and myself for ANY experiment about this issue. Yes,they stepped back.... (I might not make it in English,it's is not my language,and i've never studied anything but praxis!) -Here's a common question: Why instruments from the same series,all with same parts,woods,even same finish sound different? Some players hear no difference at all between exactly same models,... -...here's an answer to them: Every healthy human ear can hear the same spectrum of frequencies.But not every brain can analyse this incoming info.This is a nature's gift,can't be teached... This difference makes a good or bad sound engineer,luthier,producer,whoever works with sound,including players who really know what they want for their playing style(s). Talking about differencies,it's details that make them... What i know about people who don't accept that woods matter in electric sound,is they eather can't understand the details in sound,or.... they have interest NOT to accept it (mass production makers,untalented "builders",untalented players, etc..) -I never said that woods sound.Strings sound! What i say (and make it praxis everytime i make an inst) is that woods RESPOND (or not) to the string vibes,each single piece with another way, and different frequencies in different levels (even different tonality) cut in exactly same mass from the same log,one (by width,by length it's well known) to the next. Here's an example with ebony: [media]http://youtu.be/y8oyi3yg1rE[/media] Anyway,sorry for the "offtopic",this thread is about Bassmachine's unique bass,not wood's sound properties or anykind of "defness"! edit: P.s: There's another thing i'd like to say here: People have to understand someday,the difference between "handmade" and "handcrafted",it's quite big.....

Kiwi,yes,the reason i used this wood was that it sounded good to me when tapped/knocked it,and showed like oils were dryed, so the carpenter (Master Michalis RIP,his daughter is a friend of my mothrer's so i could find out about the age of her bed!) didn't lie about the age of the wood...(never tell a woodseller you want wood for an instrument,they always lie about the age,haha...)anyway,it was much better than the original body of the 5stringer! -In tropical countries where temperature and air humidity are always high,it takes much longer for woods to mature,even if their inner,natural humidity is low enough and the oils are dry enough,they keep "breathing" the high air humidity and except the "dead" responce,this affects the weight too! Well,you're right anyway,teak is not a tonewood,unless it's old enough and matured in good conditions (this was my luck with this piece!), i believe that the conditions of maturation make the tonewood,cause if not,the best "fresh" woods that have the properties to become best tonewoods, can end up "dead",or unstable depending on the wheather,plus funghi etc... Most woods in the market are technicaly forced to dry in a very short time (weeks or even days),this does remove the natural humidity but not oils or resins,and seem to be ok,but the woods keep on schrinking,twisting or cracking for the next years (cracking can be avoided with proper conditions, but not schrinking or twisting - wood does it's own thing,better let it twist first,then work it!) That's the reason serious luthiers ask people to visit them often for the first year after the making of a special made inst, (some don't even give it out of the workshop till they're sure it's stable and only needs the "seasonal setup"),unless they're sure they own the woods for a long time,and trust them as parts of an instrument, people don't listen to the "directions" and just let bow,then the luthier's got some xtra work to do... -edit: I still have to read the "Tonewoods" thread,there must be much to read in there!

[quote name='Kiwi' timestamp='1340439205' post='1704385'] Nice looking instrument Yanni and Stavros. I've never seen a bass made with teak. How would you describe it in comparison to better known woods? [/quote] Kiwi,hi and thanks! Nice question! Teak is not known as tonewood,and can't really be,cause it's a very oily wood and takes a long time to mature (oils don't dry as the wood's natural (inner) humidity does,they need a much longer time).This might not be like the usual teakwood used on furniture,(it looks a little different) but some subspecies. It's reaction to sound can be compared to some rosewoods-pallisanders,quite "tight" and not "muddy" at the lows,with clear mids and bright highs. It was sold to me by a carpenter back in 1997 when i made the body as a replacement for a fivestringer i had at the time.Some wood was left from his daughter's marriage bed (!) he made 25 years ago....i tapped it then,and i found it old and good enough for what i needed.But when i got back to take the ready "blank" i saw it was more than the 2 pieces i asked for,and...with sapwood on it too...but too late to do anything for this blank,so i got and used it as it was... Later on,i sold the 5stringer with the original body,and kept this one till 2007 when i made the neck but as a 4stringer.I kept the 5string cavity (just straighten the side angle),and made the neck wider to suit in there,with the fretboard narrower at the high frets in my personal 4string measurement! -I should do something about the looks (vanish the sapwood somehow) so i chose this myrtle venneer for the front looks and kept the back as it was. It was oiled and waxed as long it was mine,then sold to Stavros,and 2 months ago, we decided to clearcoat with nitro and got this result. It's not perfectly polished yet,will be repolished in some months,cause nitrocellulose needs up to six months to chemically dry and stop schrinking! Still got things to do here....