Lfalex v1.1

[quote name='LukeFRC' post='140755' date='Feb 15 2008, 12:56 AM']meh if it sounds good ild play it.[/quote] Ditto! Especially if it plays well, too!

[quote name='dlloyd' post='140102' date='Feb 14 2008, 09:53 AM']That sort of makes sense. I'll have to dig out the review... I'm sure they were talking about directional electron flow or some such nonsense.[/quote] There's a school of thought about [i]that[/i] sort of directionality, but even my (allegedly) snake-oil impregnated golden ears can't hear any difference! I think you're [i]supposed[/i] to run the signal in the same direction that the cable was drawn/cast in. Something to do with the flow of electrons being "better" if they follow the orientation/alignment of the copper molecules in the conductor. Hmmm.

[quote name='tauzero' post='138870' date='Feb 12 2008, 02:17 PM']They're already doing it [url="http://www.fuel-optimiser.co.uk/how.html"]for petrol[/url] and obviously have managed to make a profit on it...[/quote] Mmmm Fossilised Snake oil treatments!

[quote name='dlloyd' post='138721' date='Feb 12 2008, 10:45 AM']You know, I swear I've read that before... Might have been in a Bass Player mag review for some directional cable that costs over a hundred quid. I don't think I ever got to the end of the review, it struck me as a waste of effort to read it any longer. How can a jack to jack cable be directional?[/quote] The PWaves ones are. Because the outer shield is supposed to be grounded at the amp end, it suppresses noise better if you use it in the correct orientation QED (that's a little hi fi cable joke!)

[quote name='TheRinser' post='138326' date='Feb 11 2008, 05:22 PM']... Hmm, I'll give Mike a call and see what he suggests... Lfalex, that's exactly the setup of mine. Seems like kind of a half arsed way of doing it eh? Especially with the tension of all five strings on it...[/quote] Calling Mike's a good idea. He's always very helpful. Re: the string tree- Yes it isn't ideal. Mine bows upward at the centre under the strain of a .60 "D" and a .80 "A"... Roundwounds at that!

I stand. Always. Sure, I can play seated, but prefer not to.

[quote name='Paul Cooke' post='130588' date='Jan 30 2008, 12:28 PM']the book Bass Fitness... [url="http://www.musicroom.com/se/ID_No/09/details.html"]http://www.musicroom.com/se/ID_No/09/details.html[/url] real killer workouts... very boring to do though... and they really stretch you...[/quote] I've got this. Ouch! Is all I can say. I'm a little at odds with some practice regimes. Yes, they do improve flexiblity etc, but at the expense of making you play in a slightly mechanical fashion. If I have to s-t-r-e-t-c-h for something, I sort of like it to sound like I had to work for it, but still nailed it anyway. That suits my style of play. If I did it too effortlessly, it would seem to remove some of the "excitement"!

[quote name='warwickhunt' post='138072' date='Feb 11 2008, 11:42 AM']Cable (and connectors) will affect tone, but hey unless you've got the DB's bass/amp/cab you'll hear differing degrees of difference ( I deliberately didn't say improvement as it may not always be an improvement). Hi-fi/audio buffs have been pursuing perfection for years but you get diminishing returns the more you spend.[/quote] All true, especially the part about the law of diminishing returns. I use an 8 track mini desk and good (Sennheiser) Closed-back headphones at home for practice purposes. I had the cables kicking about, so it cost me nothing to try it out. That's what I'd encourage- Low cost, semi-permanent experimentation. If you like the changes it makes, stick with it. If not, no harm done. I certainly wouldn't endorse spending a fortune based on some cable manufacturer's tenuous claims of sonic perfection!

[quote name='bilbo230763' post='138053' date='Feb 11 2008, 11:18 AM']I can accept this in principle but my question is this: can a cable effect tone in a manner that impacts significantly on the perceived tonal results in the context of the other environmental variables in play? Or, in English, is the effect significant enough to be heard against the other things that effect it such as the shape of a room, the amp's/bass's eq, flat surfaces, carpets/tileds floors etc. My perspective is that it probably doesn't so, whilst it is worth noting, it ain't worth lying awake over. I am open to challenge.[/quote] As an (ex) Hifi Anorak, I've used cables that were laying around for various purposes. I recall a piece of parallel (spaced) DNM Reson solid core interconnect sounding great between my Ampeg SVP Pro and QSC Power amp. It sounded cleaner and less cluttered than a regular patch cable. On the other hand, I too, generally use Whirlwind and Planet Waves Instrument cables as neither have ever squeaked, popped, banged or broken, on stage or in a studio. Suitablity for intended use is also key; Is said cable tough enough to survive its task? You raise a fair point with regard to other (physical, acoustic and electrical) factors in play that determine overall perceived tone, but it is worth considering that there are some attempts to control these in many of the environments we routinely encounter; Studios. Need I say more? Isolation booths, screens, DI+Miking techniques. All attempt to control the acoustic environment. Live. Who here relies purely on their amp for FOH sound? Many of us DI through a desk. It is in these (largely electrical) domains that cable can make a contribution. Live, you're still at the mercy of the multicore, but if your signal's lacking in the first place, it certainly isn't going to get any better...

[quote name='bass_ferret' post='136934' date='Feb 9 2008, 12:11 AM']In the context of the intent of the OP it is most of all the cost of premises and staff that makes business in this country so expensive. How much do you think the Bass Centre shop in the city costs. Thats the City of London, just outside the square mile, probably the most expensive place in the world apart from Wall St.[/quote] Agreed, but I don't recall any of us forcing them to move from Wapping High Street... That was probably cheaper methinks.

If your Zoot's like mine, the (bar) string tree covers all the strings (in my case, 4) and is placed very close to the nut, causing the strings to break at a very sharp angle. I found that this, coupled to the sharp break angle at the (string-thru-body) bridge causes the overall string tension to be very high. Mike's newer basses have angled headstocks as players preferred them. Perhaps the switch to flats (often a larger gauge, but generally lower tension for a given gauge) has caused this, especially as I can't see a flat string wrap taking kindly to being bent through large angles over short distances... The original tree used quite small screws if it's like mine. I can't see an easy fix, except (perhaps) having it drilled to take 2 more screws, giving a screw between each string, thus; B (screw) E (screw) A (screw) D (screw) G But take care that this might foul access the the truss rod adjuster if the string tree is really close to the nut... Hope this helps a bit!

[quote name='wateroftyne' post='135088' date='Feb 6 2008, 03:29 PM']Compression...[/quote] And more than a little, too. Sometimes as much as 20:1!

The favoured material for acoustic (as opposed to orchestral or upright) basses is generally phosphor bronze. Electrics usually use our old favourites; Stainless Steel or Nickel. I've never tried Electric strings on an acoustic. Anyone else?

[quote name='Sparky' post='134111' date='Feb 5 2008, 09:20 AM']Chaps, what's the craic if my open, fretted 12th and 12th harmonic are all sweet, but then some frets around the 7th are out? i've Always found myself having to tweek the tuning when playing in B... i'm still adjusting (slowly - tiny tweeks every other day) everything on my new bass so haven't quite settled on saddle height and neck relief so i guess these may change - but when i finally do find the right balance, can you offer any other general rules of thumb for intonation other than the open & 12th fretted & harmonic? cheers, sparky.[/quote] Dunno about the 7th issue, but... It is possible to harmonically tune at the 5th fret, but it only works well on fresh/bright strings. The sustain is better at the 12th position. With regard to intonation, I use the fretted 12th vs harmonic (above) 12th fret method. THEN use fretted 19th vs harmonic (above) 19th fret. This helps to make the intonation better still. Do go bake and check that the intonation at 12th is still right. This method is a good idea for frequent visitors to the dusty end of the fretboard.

[quote name='GreeneKing' post='129545' date='Jan 28 2008, 08:21 PM']Ref Audio vs Linear I thought that it was Audio for volume and Linear for tone (or was it t'other way around?). No I'm fairly sure I'm right.[/quote] I'm fairly sure you're right, too! [quote name='lex_luthier' post='129547' date='Jan 28 2008, 08:29 PM']It's the right type of pot (Audio taper) If you have 'push-on' knobs you want a 'Split shaft pot', if it has a small 'grub screw' in the side of the knob then you want a 'Solid shaft pot' 500k pots are good for volume & tone pots 250k pots can be used as tone pots[/quote] I thought dogma suggested 250k for single coils and 500k for humbuckers. That said, my Squier 70's VMJ has 500k for single coils. Gives a Brighter edge to dark-sounding pick-ups...

[quote name='bassbloke' post='129450' date='Jan 28 2008, 05:34 PM']Yes, but was it an inevitability because that's the way things are generally heading or was it an inevitabilitybecause the shop has been a pale shadow of it's former self after relocating from Wapping. I loved the old bass centre and really enjoyed the odd trip up there. I also bought quite a lot from them. I still regret the day I saw two Vigier basses, a Passion 5 in blueburst and a Passion delta metal fretless in black and went for the fretless. I reckon I'd still have the 5 to this day.[/quote] I played both of those! But I already own a Vigier 5. Which I bought at the Wapping BC, along with several other instrumnets and my current (long-suffering) amp!

If it helps at all, here's my scenario; I've plenty of instruments, including a Squier VMJ and an MIA Fender Jazz. Still, I hanker after a G&L (ideally an ASAT, but you never know) I have arguably kept basses I might (or even should) have sold, only to come back to them later and appreciate them more! If you can, find a way to keep the G&L, and save up for the Squier...

I have a B2A V. They'll fit in any hard case that will hold a Gibson Les Paul / Epiphone equivalent. I used one a couple of times and it fitted just fine. Just ensure it's a snug fit lengthwise and you shouldn't have any issues.

You guys are right. It is all about maintaining the interest of a student. That, and being flexible to both their wants, needs and ability. I had a tutor once. It didn't last long. He could sight read, his theory was strong, and his technique good. But he couldn't learn/play by ear, or play straight "rock" numbers! I asked him for some pointers on slap technique (etc.) and he flatly refused (?) He could slap, too, so it wasn't that. I quit there and then. I still can't slap on any of my basses (but most are tightly spaced, and me thumbs is HUGE!)

[quote name='dood' post='127630' date='Jan 25 2008, 11:25 AM']Guys.. you'll love this.... in an emergency, I once recorded acoustic guitar using....... the cartridge and styles from a turntable!! You have to get the stylus to rest gently on the bridge, unhindered by the cartridge (in the same way that it does on a record.) Depending on where you sit it, you'll have a multitude of different tones available. I found that the treble side of the bridge was good. The only downside to a great guitar tone, was that the pickup will pick up every tap and scrape from the top of the guitar. - The cartridge was a pretty good one too ;o) - You don't need an RIAA phono preamp or anything, but a channel strip will do fine to get the gain up.[/quote] In fact, I once amplified my Westone through a phono stage on a hifi amp. The RIAA eq doesn't help much (!) Oakbear, I reckon the reason EUBs are less susceptible to noise from "contact" is the fact that the piezos are under the bridge, and get a good signal to "contact noise" ratio. Also, the EUB is mechanically earthed through its spike or endpin, which may be helping.

[quote name='Oakbear' post='127113' date='Jan 24 2008, 05:30 PM']Thanks very much for the replies folks! I'm thinking of attempting a fretless 6 self build soon (possibly semi-hollowbody), and had considered either a piezo system or a dual magnetic and piezo combo. I like the idea of an extra bite or ambient resonance for that upright sound. Now i'm taking my time on this one, but am aiming for making as much of it myself as possible, for as little as possible Purely for aethetics i also really fancy the idea of a smooth top with no pickups visible! On paper piezos (even the cheap buzzers) have a great frequecy reponse. I like the sound on cellos or uprights, but have only heard it on an acoustic bass, and then through a preamp. Any more recommendations?[/quote] Hmmmm. Just a thought; On a Semi hollow, perhaps having a thin front face of good quality timber (Spruce? Maple?) with a chambered body beneath. leave the area under the strings free of internal obstructions, and fit however many piezo elements you fancy under the "top" by bonding them there. Allow acces from the rear for maintenance/ further mods Leave a solid chunk of wood for the bridge to screw into (assuming you use a clunky metal one, not a nylon piezo "bar") Presto! There's your smooth top, at least!

[i]Dave[/i] Muad Dib? Shouldn't your name be Paul? Good luck with the Kustom. Just don't get any sand in it!!

I'm no expert, but Piezos require contact with the string. That means integrating them into the bridge saddles (as per implementations used by Fender, Ibanez, Musicman, Warwick etc) OR attaching them to the bridge/ top of acoustic instruments (Just about all electroacoustic instruments!) Even if you have the engineering capabilities, I would still doubt that the elements and crystals in a cheapo buzzer would be as good as or have the right frequency response for this application. What instrument did you have in mind for this mod? Lots of basses with Magnetic pick-ups AND piezos just use the piezos for a bit more bite, and couple them to passive tone controls. (Electro)Acoustics often have only the piezo, and this is a full-range (frequency-wise) system usually coupled a pre-amp to give more tonal control. Check out; Ovation Status (Electro model) Musicman Stingray (W/Piezo!) Fender Power Jazz Basses Ibanez EDA 900 / 905 (now discontinued)