Huge Hands

I agree with the others RE: buying used. A couple of years ago my brother's mate bought his young lad a kit that looked alarmingly like those "starter kits" on your link. He asked me to set it up for his son and give him a couple of pointers to practice before he got proper lessons (I used to be a drummer too!). I am normally the last to criticise gear just because of the price tag, but the drums sounded like biscuit tins and after 5 mins I was able to invert the bottom hi-hat cymbal (turn it inside out) just by holding my foot on the pedal. I think your mate's lad will get a lot more wallop for his cash if his dad buys a half decent used kit and it will last him longer. if he doesn't get on with it, then he might even get his money back on resale, which I doubt you ever would with a cr*p starter kit like the one I saw.

Is it just me, or is that paint job really bad? For some strange reason I actually quite like the body shape - it's a bit daft, but it looks like it has been dipped in cottage cheese and then painted with a roller? "A few bumps in the paint, otherwise it could be passed off as new?" .....Erm?

[quote name='Truckstop' timestamp='1349350992' post='1825067'] Yeah it's a right swizz! They say they do a 5 string p, but it's got jazz pups with a P pickguard. Not cool. Is it really that hard to stick a 5 string P pup in there? Truckstop [/quote] I have two 5 string P's. I was told (and it sounds probably true) that Squier would have done a J/J config because it would have been cheaper than trying to design/mass manufacture a 5 string P pickup. I put Wizard Jazz pups in one, and it's my main gigging bass. I do love the sound. The other is my very slow moving project, and the intention was to put a P/J config in it. I have had loads of grief with the EMG set I bought. I had a mate rout out a huge square hole so that I could mess around with location of the P pup, but I can't get it so that the B string response is right for me. The simple answer to your question is that the original hole in the body for the pickup under the scratchplate is squarer than a J pickup, but not big enough to just slot a P in. Funnily enough i haven't touched this bass for about 2 years and I just picked it up again last night. There was some fluttering and popping going on, so I think I need to check my dodgy soldering (first stop check the battery!) *Edit - it also worth noting that the original Jazz pickups in the basses were not elongated for a 5 - they were both the same size as the shorter neck pickup in my 4 string JV.

Here's my regulars: Lequient "Duke" Jobe - Rose Royce Joseph "Lucky" Scott - Curtis Mayfield Russell Jackson - BB King (approx 1976-1983)

Like I said I'm not an expert I just looked on the Canford Audio site, and they are saying a bantam is 4.4mm, and sometimes known as a "tiny telephone" connector. Therefore smaller than the 1/4", but not, from the other guys posts, an old style switchboard one. I also can't guarantee it will fit your Hofner. Confused? I know I am! http://www.canford.co.uk/Index/B/Bantam-jack-plugs/NEUTRIK-BANTAM-JACK-PLUGS-4.4mm

Gusto, I'm not proclaiming to be an expert at all, but I was always told that batam jacks are the same size and spec as the old telephone switchboard cables. The batams I see in use in broadcast are not that much different in size to a normal 1/4" jack. Maybe worth the gamble for a few quid? Either that or investigate replacing the socket on your guitar for a more conventional one?

[quote name='Dad3353' timestamp='1348943295' post='1820046'] I think I remember seeing somewhere that old German guitars had a plug similar to the old telephone switchboard plugs [/quote] I believe these are the bantam plugs that paul_5 mentioned - still often used in studio/broadcast patchbays. I don't know if these are relevant to Hofner guitars though.

My understanding was that the book was written as a biography of James, but "Dr Licks" or whatever his cheesy name is got so involved in talking to the guys that were left that he made the film about all of them. I don't think there's much more hidden about Jamerson than the book and the extras on the film DVD? Not slagging the author off by the way, but I wouldn't have chosen that pseudonym (says a bloke called Huge Hands).

I guess it has all been said before, but: I have just received an Ashdown Little Giant from Martin. It arrived today (i only agreed to buy it late on two nights ago) and have just been trying it out as loud as I dare with the little one in bed. He's a great guy to deal with, kept me updated in all aspects of the transaction and the item was probably one of the best packed I've ever seen. He even included Christmas paper in with the wrapping - probably to remind me that this will be the last present I can get myself in the next few years! He deserves all of his feedback - great guy to deal with.

I have a drunken theory about this that I normally rant on about when I've had a few jars (and it gets very crude- I'll do my best to keep it clean). Apologies lady members if this sounds chauvanistic, but it's tied in with the question "why do bass players never get the girl?" In my opinion, it is the low bass notes that move the air most, that gets the crowd's body moving, and make women's intimate parts rumble (as per the Howard Stern movie). However, non muso's don't understand this, so when the females look up lustfully, they see a guitarist on his knees shredding away or a charismatic front man and think it must be them causing their feelings. I think front men and guitarists owe us more than they realise. Either that or I'm just making excuses because I'm a ginger fat b*****d....

Hi Rick, Interesting comments - don't get me wrong, I am enjoying watching your build (and others) and wish I had the patience and skills to do something like this myself, This is borne out by my own attempt at modifying a bass which is still sitting there nearly 4 years later! I understand what you say about replica v fake, and applaud you if you do burn replica into the neck should it ever be sold. Again none of this is criticism, I'm just typing questions out loud whilst trying to get my head around it. I thought this might be an interesting point of discussion to see what people thought - perhaps I should start another thread instead of hijacking your build (apologies about that).

I'm sorry, but I don't get it. I can understand wanting to make the finish look vintage and look the part from the casual viewer's eye, but why go so far as to fake the date stamps? Even if you're honest and sell with a big REPLICA in your advert, what's to stop the buyer passing it off to someone else as an original? You say it's obvious, but to my untrained eye on your photos, the date stamp looks fairly genuine, even if it is straighter than most I've seen. I would have thought fans of the range would want to stamp out fakes out there on the market? Please note I'm not trying to slag you off or be nasty, each to their own. I'm just interested in discussing the chain of thought that goes into this.

I love the bass player Robert Sledge. Would love to see these guys, but think funds will dissapoint me.

[quote name='bassman344' timestamp='1348087954' post='1809233'] The musician hanging it around their neck ? [/quote] That's the one for me.

I like the slower groove stuff. This one proves it doesn't have to be about the bassline which is dead simple. I love the staccato brass and everything! [media]http://www.youtube.com/watch?v=q-EddWaT7hE[/media]

I've got a bit of a build project going on where I tried to fit an EMG P pup to my Squier 5 string precision (they originally came with Jazz pups). I had the whole pickup area routed out so I could move them around, but I just can't get happy with the B String. It always seems weak when I pull the string up as normal, but it I thumb it down it is ok. I have tried moving the pup further and further towards the top of the guitar until the B was almost in the middle of the pup but it doesn't seem to make a difference. I wondered if the 9V configuration was saturating with the low frequencies, but I gave up for a while. Maybe it is time to revsit! Another possibility to think about - I once fitted a new set of Labella flats to my other Squier precision. The B string felt really "tight" and again didn't have any oomph compared to the other strings. I played the bass in a couple of rehearsals and then in the first gig, the string core snapped. I got a replacement from the supplier, and the bass felt great after that. Just two possibilities that might be something (or nothing!) to do with your problem!

Two main things for me: A decent tuck shop (often miss dinner to get there so Tunnock's World War II confectionery is a must) Plenty of (unused) toilet paper in the bog. I mean paper for using, not loads that has been stuffed in there. The rest I can usually deal with - even distorted poorly amps..

[quote name='thisnameistaken' timestamp='1346774887' post='1793048'] Still fiddling! .... With blobs placed all the way out at the corners ... somewhere between the F hole ... about an inch or so south of the bridge,....but I've spent the last hour just experimenting with putty ....... [/quote] This thread is a Finbarr Saunders dream! Fnarr!

Technically, the SM57 should not be different to the 58. However, with the larger metal popshield, the 58 should be more rugged and put up with a little more abuse. My advice: tell your better half to treat that mic like it is her favourite piece of jewellery and lock it away when not in use. Although comparatively cheap, they are a very popular commodity for thievery, even in the house of the Lord. I've seen many go missing over the years!

[quote name='Bilbo' timestamp='1347629411' post='1803287'] ...Jazz musicians are also completely unaffected by gear-anoraks... [/quote] Whilst I totally agree with what you were saying (i.e. it's all about the music) - I've met a few jazz heads that had spent some silly money on gear. I don't think they're all "holier than thou". Interesting topic though - my old bass teacher (some semi-pro bloke in a smoky flat) once told me (I was only a wee teenager then) that I'd have to have a "serious think" if I decided to buy a cheap 5 string I'd seen as he wouldn't be able to teach me on one of those - "you can't chop and change". I spent the next 10 or so years believing him until I met some pro guys who told me that was a load of old b*****ks and that it was dead easy. I was just angry at myself for being so gullible and missing out on 10 possible years of low B fun. I swap around all the time now - it's great!

[quote name='risingson' post='1081699' date='Jan 8 2011, 12:29 AM']Curtis Mayfield - Billy Jack [/quote] Absolutely loving this track.

[quote name='niceguyhomer' post='1095465' date='Jan 19 2011, 06:37 PM']I'm the proud owner of a Shuker that was made for the late Si Cox (OldGit)[/quote] Jeez - I've only really just come back to BC after a bit of a sabbatical - I didn't know about this. I've just done a search and seen the threads. Although it has all been said before, I had a few PMs with Si here and there and he seemed a thoroughly top bloke. He will be sorely missed. Enjoy that bass NGH - it always looked a beauty to me and I always intended - should I ever win the lottery - to ask Jon to "make me one just like OldGit's". Should the unlikely good fortune ever happen, I'll definitely do it now! Sorry to hijack the thread.

[quote name='1oopus' post='1094016' date='Jan 18 2011, 04:11 PM']I seem to recall Andrew played only on "When you gonna learn" (see links below)[/quote] I stand corrected.

[quote name='1oopus' post='1093278' date='Jan 17 2011, 11:07 PM']Young Stuart Zender did a marvelous job in the studio on this one, and this live version is cool too [url="http://www.youtube.com/watch?v=tOqqsCucf24"]http://www.youtube.com/watch?v=tOqqsCucf24[/url][/quote] Not trying to be pedantic or anything, but I'm sure I once read that they recorded the original before Zender came on board, and it was actually Andrew Levy from the Brand New heavies that recorded this track. It certainly sounded like his style to me. Of course, I could be wrong!

I use Labella flats on my 5 strings. I have had one bad B string which had no real sustain when plucked. I had just put the set on a new bass I had bought and was suspecting it was the bass - when "ping" - at the next gig the string core snapped. I had been getting them from Stringbusters and complained and got a replacement sent through which had a different colour tape on it! Therefore, it was probably either another range of Labella or a different make they naughtily put in a Labella packet. However, it looked and felt close enough to me and is still on the bass now! However, I have had 2 other 5 stringers (of different type) and found the full set of strings (including the B string) to be fine. I think others have alluded to Labella having a QC issue on strings and people often seem to get a duff string here and there. I just thought it worth a mention in case something like this is your issue, rather than Labella just being bad full stop.