Norris

If you intend to paint it you would need to remove the oil afaik. Touching up an oil-finished bass is relatively easy, but if you want a change of colour that would make it a little more awkward Edit: it sounds a bit to me like you're after a complete strip, dye and lacquer job - and that will need all traces of oil removing

I'm not a huge fan of the usual arm cut through veneer, but I'm looking forward to you extending the cut all round the body. This bass is going to look terrific

I suppose it's what you're used to. I haven't played through anything more than waist high since about 1995. I'm used to gauging it by the trouser flapping

Depending how much material you need to remove, I'd stick to hand tools - probably a file. Power tools can remove a lot of material very quickly, sometimes too quickly.

[quote name='Delberthot' timestamp='1446262115' post='2898217'] I've been toying with the idea of adding the 2x10" cab all year but I've never been in a situation where I thought I would benefit from having it [/quote] Same here. I love the thought of an extension cab, but can't think of any situation where I'd actually *need* one

[quote name='Lozz196' timestamp='1446217813' post='2897853'] Yep, no issues in my band. We`re a 3-piece which cuts down opinions anyway, but in general (all the time in fact) the singer/guitarist sorts everything and the drummer and I agree with it. We have a good laugh but we put the hours in, gig very regularly, make sure we`re always on time for soundchecks, stay to watch the other bands after we`ve played etc. I think age comes into it - we`re all late 40s/early 50s, we`ve had the attitude in our younger years and realised it`s all so much better when that`s dropped, plus as we all drive to gigs we don`t drink much (at all in my case) so there aren`t the follow-ons from someone being drunk and stupid. I also think a willingness to try out the others ideas on your own instrument helps - if someone suggests "try this on bass" I will. Just cos I didn`t think of it doesn`t make it any lesser and it may well improve the song - often does in fact. We have that ethic throughout, all happy to try someone elses ideas. [/quote] Are you me? Exactly this

I think most BCers have gone for the combo. I'm not aware of anybody running the head

Showaddlewaddle

That's a gorgeous hunk of wood

Did anyone find a fix for this issue?

I must admit that I was going to mention his hearing. Maybe the screeching is all he can hear.

I have the 500 combo. I've heard that they are very good with a 2x10 extension cab. However the combo on its own is plenty for my needs. In fact I used it in preference to the Hartke house rig at our gig on Friday night and got a much better sound from the combo. (LH1000 + 4x10 + 1x15)

I have the 500 combo. I've heard that they are very good with a 2x10 extension cab. However the combo on its own is plenty for my needs. In fact I used it in preference to the Hartke house rig at our gig on Friday night and got a much better sound from the combo. (LH1000 + 4x10 + 1x15)

For several years I played in a band where the lead guitarist loved his sound, which the rest of the band referred to as "middly fuzz". Every song, no matter the genre, was given the same indistinct widdling. We did manage to have a rehearsal or two where we got him to play while the rest of us twiddled with the tone controls - and got some lovely sounds. The next gig we'd be straight back to the weedy mess sound. Unfortunately it didn't end well. After several weeks of "haranguing" he quit the band. Some people you can't change

[quote name='goonieman' timestamp='1438341715' post='2833696'] yeah, I guess some copper shielding is required. The cavity is painted in conductive paint - but not exceptionally well. [/quote] Quite probably this

You could always practice routing with your template on a scrap piece of 6mm MDF first and then see how the pickup fits. Then you won't wreck your scratchplate if it's not quite right.

I guess I'm lucky. Our drummer is quite jazz influenced so can actually play with dynamics and subtlety. The guitarist has a 30W Mesa combo and a range of pedals that can go anywhere between shimmering cleanliness and screaming feedback. And all at volumes that customers can still order beer over the bar. I've never had to wear ear plugs. We've had a lot of landlords comment on how we are one of their quieter bands, but we can still kick arse.

It looks a very clean job. Well done

If you can describe the pickup position in terms of the (virtual) fret number it should make it easier to translate to a different scale length.

There should be some indication of polarity like on the attached picture. In this case the centre contact should be the negative supply.

Sounds like it's broken then. I'd still check the polarity on the pedal as there is a fair chance that you might have blown it by accidentally connecting the power the wrong way round (and avoid repeating it if/when you get it repaired). If that is the case, hopefully it should be relatively easy to repair. I'd find a local electronics repair guy to take a look at it. Your local music shops might be a good place to start

Possibly. Have you tried the pedal on it's own with a battery in it?

Your power supply lead has two contacts - the bit on the outside and the inner bit. One of these will be positive and the other negative, just like on a battery. When it comes to pedals there is no standard as to whether the middle bit should be positive or the outer bit. They can differ. Usually your power supply will have a "polarity" switch, or you can somehow switch the cable round. Look at your pedal and there should be a diagram either next to the power socket or printed on the label, that should tell you which way round the power should go. I'm guessing here that maybe the pedal that is giving you problems needs the power the other way round to your other pedals

It could be a shark's head popping out of the water with a few pointy teeth drawn on Looks good though. Somewhere between a Jaguar and an elongated Telecaster. Kind of - if Teles had a top horn.

Looking sweet