PaulKing

I think there some overly cautious / scary replies here. I don't think your bridge is knackered, although it migh t be a bit below par .... Ranking it alongside hundreds of other bridges being happily played up and down the country. Sounds like your post is quite a tight fit, which is pretty common too. Not a problem for you, tho it might bother a concert bassist, and might just choke your sound a tiddly bit acoustically. But you are playing thru a pick up so don't worry about it. Plus, you don't need to worry about it falling when you fiddle with bridge and strings - just make sure your bass stays lying flat while you 'operate'. Here's what might be contributing to your trouble: Bridge feet maybe not finely fitted to begin with. Quite likely, if bought new from eBay or wherever. Solution - read up on fitting bridges, rub down the feet using a bit of fine sandpaper taped to the surface of the bass to get a good fit (it's a cheat, but works well enough for a bass like this - its how I do it). Hard thing is getting angle right, so bridge fits perfectly vertical. Alternative, send to luthier and get it done for £30, though they will probably advise a new bridge cos they'd rather see a good quality one on thee. Bridge is not wrong way round - curve on top edge follows fingerboard. Bridge taper (thickness) isn't ideally shaped at top - should be flat on underside, curving slightly on top surface, like what KOHL said. But that's not a biggie. String notches may be 'catching' strings, so as you tune up the strings constantly pull the bridge upwards. Very likely, ESP with Silverslaps strings with that half-round wound surface. Solution - as described, one at a time slacken off the strings, pop out of notch, use fine round file to smooth out notches at entry and exit point - delicate touch here. Then scrape some soft pencil into the notch before replacing string. Best to slacken off all strings at the end, tighten to point they hold bridge in place firmly, then stand bass up. Now start to tune up, but regularly push down on the top edge of the bridge to make sure it stays at 90deg to surface of bass. You might even hear the rough surface of the strings 'clicking' over the notches a bit, but hopefully not if the notches are really smooth. Ideally the strings should glide thru the notches with no resistance. Break angle over bridge too steep. Well, there's a lot written about this. It may exacerbate the problem here, but there's not much you can do about it, it's part of the basses anatomy. Expensive block extensions would reduce the angle (and apparently tension at same time), but I don't think this is really the issue here, looks pretty normal to me, within normal range. Bridge may be flexing at the adjusters. Possible, though doesn't look like it in pics, and yours is adjusted right down, so shouldn't be a problem. but if they're poorly fitted, there may be too much play in the bridge, causing it to lean. Take out the bridge, see wherher the feet wobble noticeably. If so ... Get a new bridge. Bridge may be warped. Possible, but again doesn't look much like it, not enough to be a problem. You can steam the bridge ( in a normal veg steamer) for 20 mins, then put a big flat book on it and as much weight as you can to press it flat, then leave to dry and cool overnight. But I don't think that'd achieve much here. Overall, while there may be some imperfectns, minor quality issues, there's nothing I can see here that isn't pretty typical, and there are plenty of basses with FAR worse problems that play perfectly happily for years, so I'm sure yours can be sorted pretty easily. Start by sorting the notches and keeping bridge at 90 as you tune. Over and out

Amazing pics! Would we be able to get some copies? Credits promised!

Wonderful to see BCers there, fine time had by all and some fine blues bass to get the punters heads nodding. Good times! Ta for the lanyard bluejay...

Nice score. Not sure it's either an Excelsior (upper bouts look wrong, and never seen one with that nice burst staining), or a Golden Strad to be honest. More likely an Excelsior, I think later models (70-80s) varied in shape bait. It'll be labelled if it is. No matter, fine looking bass, and would expect nice warm tone. Bridge needs adjusting by the way, down a bit, between he fhole notches....

Thanks for that, right, treading carefully til I get some answers from Markbass on this. Cheers

Any amp/electronic experts able to answer me this? I use a Markbass CMD121P combo. I just replaced the internal piezo-tweeter with a better mini-horn. Is there any risk to my amp from this? I don't understand how cross-overs affect the loading on the amp. The original piezo tweeter was connected to a crossover unit in the combo. The main combo speaker is 8ohms, meaning I could run an extension cab at another 8ohms, putting a combined load of 4ohms on the amp. The piezo tweeter running from the crossover didn't seem to affect the loading. BUT, the new tweeter I have fitted (connected in the same way to the crossover) is a proper magnetic speaker, rated 8ohms. How do I calculate the load on my amp now...? Do the two 8ohm speakers separated by a crossover combine to a load of 4ohms ... meaning I can't run my ext cab? Or does the crosover unit with two 8ohm speakers still represent just a single 8ohm load?

[quote name='ubassman' timestamp='1364399167' post='2025952'] "The boys just knew that this would get at least a fiver at the car boot!" [/quote] Great pic - looks like the Long Tall Texans around 1983/4? Where did you find that...?

If you're amplifying, any acoustic difference in the bass itself starts to make much less difference than your technique, strings, pick up and amplifiers used. For anything other than orchestral / concert performance that Czech laminate should give you awesome amplified tone ... though I'd recommend Underwood / Bassmax / Shadow / TM / Schatten over Realist. Markbass gives accurate transparent sound. If your set up is good, it'll sound great thru Markbass. Alternatively, if it sounds crappy, Markbass won't fix it.

For many years, rotosound were the only choice if you couldn't afford authentic real gut. Innovation and Presto (called Eurosonic in USA) are now pretty much the main choice. Plenty people play Labella Supernil too. Cheap nylon weedwhackers, home made or otherwise are the new kids on the block - great for low budgets, and great for easy slapping, but the E and A can be pretty much useless. Recently pimped up whackers like Superior, Cordes Lambert and a handful of similar have emerged - they variously offer slightly improved whackers, cosmetically improved whackers ... or completely original alternatives to gut. They are strings for connoisseurs really ... If you want some cheap sh*t to learn slapping with, get whackers. If you have a mag pickup get presto, or the new Superior TriCore ... But don't expect authentic 50s gut sound, just something pretty close to most ears.

Some of the more ... 'helpful' ... US traders , suggest on the packaging that the enclosed is a gift. They are so thoughtful to do so ... as it can mean zero taxes. Buying from the US is always painful otherwise.

I used to run my Markbass 121 with the tweeter disconnected because it is a bit hissy and scratchy. Then I reconnected it, and realised what I'd been missing - just have to ease off the top end. Then I blew it (too much slapping... too much unplugging without killing volume ... doh) Then I bought a kickass replacement piezo tweeter and wired it into a little box that sits on top of the cab like a satellite tweeter. It sounds awesome. I knkow I slap a lot, but i think it defines the pizz tone and adds air and finger noise that helps realise that DB tone, not just bassy whump.

... .... though you never know

Excellent, happy ending. I have just one word of advice on jacks and leads ... WIRELESS it's not just about running around the stage and venue, it's about not getting electrocuted (it happens) and about not snagging cables and damaging delicate equipment. And running about the stage. And arsing about with bass antics.

Useful ... I've been having trouble with the piezo tweeter in my CMD121P, and I think it just died. Although its not as nice sounding as the horn tweeter in the 121H cab, it really does add a clarity and crisp top end that I've got used to having now (for a long while I ran it with the piezo disconnected). I don't miss it so much when I'm using the extension cab, but when I use the combo on its own I do. So, time to found out how deep my pockets need to be for a Markbass repair...

Thanks all, it was a stonking gig. Yes, the stage is a bit wider these days John, so that's better. Although they've replaced that behringer with a crappy Ashdown. Last time I played there With Tim I went thru the pa instead. Took the little mark bass on Sat and it blew the place apart, I had such an awesome tone, clear, punchy, crisp... And loud. Steve is a loud harpist, but I was clear as day all night - did wonders for my confidence. Anyway, seems I did OK , I had a blast, Steve was really complementary, gave me a solo amidst much whooping and fanfare, and he went to the trouble of texting the morning after to say thanks, and promise more jobs in future. Yay! Look out for Steve and his Bluesonics backing Mud Morganfield on Jools Holland next week.

Aye, cheers both! Other players being unavailable kinda helps... but still, right time, right place. And it is very flattering to be recommended by fellow musos. Now I just have to relax and make sure I don't balls up!

Cheers dude! Upright only ... no messing with little guitars..

[color=#660000][font=verdana, geneva, lucida,]One of the greatest pleasures of making music is doing it with other people, and for the entertainment of other people who love the same music. [/font][/color] [color=#660000][font=verdana, geneva, lucida,]And one of the pleasures of doing this as a part time hobby, is being able to stand in with varied bands and respected musicians.[/font][/color] [color=#660000][font=verdana, geneva, lucida,]And one of the pleasures of playing double bass is that there aren't that many of us around.[/font][/color] [color=#660000][font=verdana, geneva, lucida,]The blues circuit over here is small enough, and the number of West Coast/Jump style bassists few enough, that I've had the pleasure of playing alongside some of the UK's best bluesmen this year. And of course, the more your name gets around, the more you get the calls.[/font][/color] [color=#660000][font=verdana, geneva, lucida,]After a handful of slots this year with Gentleman Tim and the Contenders, with Jules and the Gamblers, then more recently the fantastic Rollo Markee and the Tailshakers (TONIGHT: Round Midnight bar, Islington, 9.30-12), plus odd gigs with Rock and Rollers Johnny and the Zephyrs, and a planned reunion gig with 'billy band Wild (15 years after last gig with them...), I just got called out of the blue by Britain's top blues harpist West Weston (plays all over the world with Mud Morganfield, and in Trickbag's All Star line up) ... so tomorrow night I'll be lining up with West Weston's Bluesonics at London's premier juke joint, Ain't Nothing But the Blues. [/font][/color] [color=#660000][font=verdana, geneva, lucida,]To me, that is cool... I'm chuffed to bits.[/font][/color]

Very cool poster... ;o)

Hi all This Thursday 25th Oct will be the latest night of fine live music at the re-born Ealing Club, opposite Ealing Broadway Station, West London. It's where the Stones met, formed and played their first gigs, and it's where US blues first caught the attention of a generation of Brits eager to make their own music, which became rock. In honour of those formative sessions 50 years ago, live music is back in that same sweaty basement at the Ealing Club. This Thursday: Jules and the Gamblers - the finest West Coast harmonica blues (with me on double bass). Plus: Paint it Blue, and Ryan Spendlove Details here: [url="http://www.ealing-club.com/ealing-gigs-and-live-music/"]http://www.ealing-club.com/ealing-gigs-and-live-music/[/url] [i]Ealing Club needs support from music lovers. Help us to help the club back to life![/i]