Twincam

[quote name='Andyjr1515' timestamp='1498143778' post='3322790'] One of the discussions Mick and I had was about fret marker dots beyond where the neck joins the top horn. I think this works quite elegantly....: It's using the smaller 3mm luminlay... Still loads to do but it's another one off the list [/quote] I like that a lot.

I was looking at getting myself a acoustic bass either the T bucket or the new cb60 which is a bit cheaper. I love the look of the T bucket but the new cb60 come with fenders easy to play neck shape and a rolled fingerboard. Anyone played the cb60 or have any thoughts on which one to get?

[quote name='Chiliwailer' timestamp='1497721983' post='3320271'] Ernie Ball Cobalt flats, that'll sort it They seem like a happy medium and I love them on my Jazz Bass, very versatile. [/quote] Are the cobalts brighter than Fender flats?

I think it pretty much sounds like you have a few high frets. Sometimes you can't feel or see it and you said you felt no rocking? I assume you tried with a credit/bank card over three frets. Sometimes its harder to detect using a plastic card. Really you need a metal fret rocker. There's a few options. Have a go at the frets yourself, its only a inexpensive bass so might be a good option. Or take it to someone in the know or a local guitar tech. There's also a stickied thread in the section of basschat members willing to help other bc members. If your in the North East I'm one of them.

[quote name='Andyjr1515' timestamp='1497537866' post='3318961'] Luminlay fretmarkers installed: By the way, Mick - don't panic. That's the garden chair it was on and not the lower horn! [/quote] As already said the fretmarkers with the surrounds and accent line look fantastic! Also loving the stripy effect on the headstock. I know its nothing new but it really looks classy. And dare I say this but I love the Flock of Seagulls headstock inlays haha. It does remind me of said bands album covers (in a good way).

I agree with HowieBass it could be a setup issue. I wrote this a while ago it might help you. Here is an easy way to set up a bass, with household tools that should give you a very playable bass and a pretty standard setup. Tools need are a 4mm or 3/16 Allen key for the truss rod (assuming its 4mm), a 2.5 mm or 3/32 allen key and a 2mm allen key. Also a small allen key or small flat head screwdriver for the bridge saddle adjustment. Finally a standard business card like the ones from a taxi company not a plastic credit card etc they are too thick. Of course if you can invest in the correct tools but this method is fine for getting a bass in playing condition, for someone with limited tools. First tune your bass normally then fret at the first fret and then with your elbow of your right arm hold down the e string at about the 17th fret. This is so you can check the relief of the neck, place the business card corner first in between the top of 7th fret of the E string while its still held down at the first and last frets. It should slide in nicely with a tiny hint if drag, if it doesn't fit in as the gap is too small then the neck is too straight and needs more relief, if it fits in but there is also any gap the neck has too much relief (too bent). the card should just fit in there nicely maybe a very slight drag. Business cards tend to be around .010 - .015" in size which is around about the average in most factory specs for relief. If you tighten the truss rod turning it right it will make the gap smaller, left for increasing the gap. This is of course while your looking at the nut right on if your holding the bass tightening looks like your going left and vice versa!. Assuming the truss rod access is in the headstock. Ok so turn the allen key small turns at a time, then check the relief as above, remember each time you tighten or loosen the truss rod you must put the A string back and re tune all the strings so you get an accurate reading of the relief. Its time consumming and can sometimes be a pain in the butt, but has to be done right. Once you have the relief set, then we adjust the bridge saddle to alter the final string action (height). There are a two different areas to measure the string height at the 12th and 17th fret i suggest if you play hard we go for the measurements at the 12th if you play lighter the 17th fret. There is also of course the fact nearly everyone likes a different string height but, 2.5mm - 2mm is about standard. To measure the height get your 2.5mm or 3/32 allen key and i will assume you have chosen to measure from the 12th fret. and without fretting the string measure the height of the E string from top of the fret to the bottom, and adjust at the bridge saddle so again the allen key slides nicely in and out with very slight drag. Make sure the bridge saddle is level it does not need to be angled, also while taking measurements make sure the bass is in relatively the same position you play, as necks move slights amounts at different angles. Ok So once the E is at 2.5mm or 3/32 you can set the A, D and G in this way with the smaller 2mm Allen key the final G string should be 2mm. So maybe E and A could be 2.5mm and D and G 2mm in height from the top if the 12th fret to the bottom of the string. And again after every single small movement of the strings you make at the bridge every time before the height is rechecked it need to be put back into tune. The bass other than now needing to be intonated should be in very reasonable playing condition. Feel free to set the string height higher or lower, but using allen keys or even drill bits do a good job of measurements. 4mm is the heightest action that could be considered playable, under 2mm is low but the lower you go the more buzzing you might get if you hit the strings hard. Under 2mm requires a more gently touch. Buzzing from frets 1 to 7 indicate too little relief, buzzing in the higher frets indicate to low an action, buzzing all over might indicate just that your playing too hard for the setup. Then you would set intonation, and recheck the string heights (adjust if needed) if the intonation was well off it will change string height on adjusting. Sometimes you have to go back and forth a bit, setting the action and intonation.

The only bass I owned with a dead spot was actually a USA Fender p bass. And even then it was only noticeable if looking for it. I've had other fenders both p and jazz, mim and usa that didn't have any issues. And in regards to a PJ bass I only had one a fender p special and I loved it! (Wish I never sold it!) It didn't really do the jazz thing as well as a 2 pu jazz bass, but it did the p bass thing as expected and you could dial in the rear j pu for more honk and tone variation. And I loved the jazz neck, p bass body combo. I must of been stupid of selling it, Urgh total regret.

[quote name='guitaradam' timestamp='1497465118' post='3318466'] So, I've got a fretless Jazz in the house, and it's cool - but I prefer 5 strings, so I've picked up a well-loved 5 string, and want to de-fret it, but don't know how. Somebody suggested just use a flap disc and angle grinder to take the tops off the frets and not worry about filling it in... Not sure I like that plan, so what's the best process to de-fret a bass? Cheers, Adam [/quote] An angle grinder and flap disc! Haha. You would need to use a pretty mean grade to flatten the frets and even with a steady hand it would really make a mess of the fret board. And it would take a lot of work to make it right if even possible. Not worth the attempt. A pair of specially ground pliers is essential! That's my tip makes it so much easier.

I know you said you don't want to do it yourself but. You could significantly improve it by spraying the body with clear lacquer from a can then going to town wet sanding, repeating as needed then buffing etc yourself. This would be the cheapest option. Obviously not as good as having it refinished. Its a option though.

[quote name='DanH71' timestamp='1497615052' post='3319504'] found this should anyone else ever need this info: http://www.fretrefinishing.com/ will do this [minus the patented tool;] to my problematic area after checking the levels. [/quote] Terrible method! I actually started to type out the reasons why, but it was turning into an essay. I suppose on a cheap bass it might be ok and for minor adjustment. But even then if you only need a few frets doing its going to significantly take life off the other frets for no reason. Especially if the few frets that need doing are very high and need low grades of paper. I was laughing my arse off at the bs string lifting and weird tuning procedure. I could write a long post on why that alone is wrong, And how it will effect the leveling if the frets. And never mind the issue of recrowning. Ok if you prefer flat frets I suppose. Please if anyone reads this don't do anything in that vid. It might work somewhat but it won't be a good job.

[quote name='dood' timestamp='1497543071' post='3319011'] I really like the truss rod covers on both of my Ibanez guitars. They don't unscrew, they slide to one side to open then back to close. So simple I wonder why it hasn't caught on elsewhere! I love also that a couple of my basses use rare earth magnets to hold the battery compartment covers on. No screws to drop and lose in a darkened venue! [/quote] I also like the Ibanez truss rod hatch design. I think really though all basses should switch to the truss rod wheel design. Makes adjusting that little bit easier and you don't need the correct size key, plus no cover is needed.

[quote name='hamfist' timestamp='1496502621' post='3311953'] Haven't had a good old moan for a few hours now (on my own) so thought it was a good time to observe on here how utterly annoying it is that so many used basses are for sale without truss rod covers (and yes I am talking about basses that were made to have them). About 1 in 5, to 1 in 10, used basses (especially in my budget range) seem to not have them ! Seriously, what do people do with them. I take mine off once in a blue moon to have a tweak (usually when I first receive a bass), put it back on and thats its. What the *%&* is going on ! [/quote] It annoys me too. I have actually been put of buying a bass because of a lost truss rod cover. I just think its indicative of possible shoddy treatment. I have taken off truss rod covers so many times on a lot of different guitars/basses and never lost one. Always make a point of putting the cover somewhere safe before adjusting the truss rod. Ha sods law I will lose a cover now and it will be rare, expensive and on an instrument not belonging to me haha.

Good thing about the fenders is there relatively bright compared to some flats. So they do cover more ground tone wise.

[quote name='ellangus' timestamp='1497465288' post='3318470'] Spoke to Surrey Amps who do all the non-warranty repairs for the Ampeg distributors in the UK. The chap I spoke to in the workshop asked how old the amp was - I told him I wasn't sure but when I described the issue, he said it's probably around 4 years old and was aware of the problem. He said it was in the power amp and that they could replace the part but there are a number (didn't say how many) of this part and that it would be prudent to replace all of them at a cost of £125 - £135 + VAT along with the cost of collection and delivery (£35 +VAT). Obviously a known issue in Ampeg amps!! I wish manufacturers would stand by their products. Luckily I have spoken to the guy we bought it from and he said he'd be prepared to take it back and give us a refund. I've also spoken to a local amp tech who said he'd charge £30 to diagnose it (which would come off the price of fixing it if we went ahead). He reckons it would be cheaper than Surrey Amps quoted. The seller also said he'd be prepared to to pay £50 toward that if we decided to go down that route. [/quote] Hmm I would be tempted just to get the refund and get something different. Just purely for the sake of reliability. The local amp tech could possibly fix it. But if something goes wrong again or if he can't fix it then its just going to be a hassle.

[quote name='Bill Fitzmaurice' timestamp='1497284698' post='3317033'] +1, that's the only time a valve will act all that much differently. IMO valves in the pre are only effective as a sales tool. The real 'magic' of valves happens when they're in the output stage. [/quote] I somewhat agree with it being mainly a sales tool as a valve in the pre can sometimes (depending on amp) make very little difference. Then again I've heard amps with ss or valve pre amp options that do make somewhat more of a differences. But its still not that true valve sound. As already said its the power output valves where the magic is, especially when driven harder. In the case of Ashdowns use of the valve having owned a few abm's, I think the valve is ok for adding a hint of better harmonics when pushed. But not really like a full valve amp.

[quote name='Jack' timestamp='1497003054' post='3315190'] So the Thomann website currently says the pickup is "Pickup system: Roswell VTN4 Vista Alnico-5 PB-style single coil", is that a rebranded Wilkinson or have they changed it? [/quote] I noticed that wonder what the difference is?

[quote name='discreet' timestamp='1458321232' post='3006663'] I finally bowed to pressure from the offspring and painted the guard white. Technically it's 'Royal Ivory', but I think 'white' covers it. I know more people expressed a preference for gold, but I have to live with the great moaning git, so here it is. I think it's not half bad actually... to be more 'authentic' it would need to be a two-tone burst, not a three-tone. And have a two-saddle through-body bridge. And the horn shape is too pointed... and on and on. But I'm hoping it's going to be enough to stem the 50s P-GAS I've been suffering from. Here's the previous gold version, for an easy comparison: I think they both have their merits. Also it was cloudy today, so the white guard pic is a much more accurate real-world colour representation. The pics in full sunlight are very lush - but in reality the bass just isn't that bright. [/quote] I absolutely love the ivory pick guard. The gold looks fantastic too. I am actually gonna buy one of these pb50's asap! (On the strength of this thread) I can't believe I've got gas for a Harley Benton. I've had a one or two pass through my hands before and they are perfectly serviceable instruments especially after good fret and setup work. Never had a pb50 though. Definitely tint nitro the neck. Remove logo. Nitro the body and maybe do some aging. Spray pg not sure what colour tho I love the ivory look. Finger rest remounted to useful position just behind the pu to make it a thumb rest, possibly make thumb rest same colour as resprayed pg.

[quote name='SpikeBass' timestamp='1497186697' post='3316380'] Cheers, what do hate about them? [/quote] Hate is probably too strong a word. They feel a bit toy like to me, or should I say they don't feel substantial. The string spacing, I'm purely a fingers player and although I can play them its still a bit cramped. There odd controls. There just not logical very un German lol. However there's a lot of things I do like about them.

If the screw threads are ok in the old days they used to use a drop of clear nail varnish on the saddle threads to secure them after the saddle height was set.

Easy test is too place your finger down hard on the e string behind the nut, between the nut and the machine head. And play the open e. If the sound is no longer there either the nut slot is too big, in which case the solution is a larger gauge string set. Or new nut. Or the break angle between nut and tunning peg is to shallow. Solution is too have more windings (at least three/four) going down the peg. If the sound is still there during the test. Its either a knackered string. Or the string or bridge saddle is not seated properly.

Lovely looking bass. I have a love/hate thing going on for hofners. I love there looks and that hofner tone.

[quote name='acidbass' timestamp='1496706961' post='3313385'] Hi All Interested to hear opinions on this topic. Recently I've been really enjoying tweaking my basses and setting them up precisely, I think I'm pretty close to finding what suits my playing best. Most of my basses have a 9.5" radiused fingerboard, and yesterday for the first time I set up my string height to match the radius of the board (e.g. 9.5" at the bridge saddles) Well it may just be my imagination, but the bass just plays so much better! A nice even response across the neck. Does anyone else do this as standard? D [/quote] I'm not sure I follow. Unless you have all your strings the exact same height from the fret or board which is how any stringed instrument should be setup, your not following the exact radius. You don't really set string height via a radius. And you don't need a radius gauge just setup the string height from a fret or the board of fretless and you get that radius. And what do you mean by flat? Unless you set up the bass in a weird and totally wrong way you can't get a flat radius unless of course your fret board has no radius and you like the strings all the same height. To set up a flat radius on a bass with a radius you would have to set the e and g the same height and have the a and d lower, that is in relation to the fretboard. In practice most people prefer strings being different heights higher to lower, E to G. As you know. And with any different string heights your not follow the exact radius anyhow. However since the strings are setup from the fret which is also the neck radius then you will get close. Unless you like a wild variation in your string height. After setting up many many basses and guitars I would definetly say setting the string height from the 17th fret gets the best results and the radius of the strings while not perfect will match any radius well enough. One thing that you might be experiencing is on basses with 9.5 radius and smaller 7.5 etc, they do react better to a slightly higher setup. I'm not sure why exactly the science of that is. But every builder/manufacture also recommends higher action heights for more rounder fret boards. So maybe you've raised the action and that's why it feels better.

Love the bass. What an awesome design and build. Great thread! I do find those controls a bit awkward looking from the back and they look maybe hard to adjust on the fly. Not a problem as such. A recess somewhere on the bottom and those, Errm can't remember the name, but these kinda things. Fitted might of looked a bit more elegant and easier to use. [URL=http://s330.photobucket.com/user/Twincam2008/media/Mobile%20Uploads/S_50K_zpsbnugtr1w.jpg.html][IMG]http://i330.photobucket.com/albums/l415/Twincam2008/Mobile%20Uploads/S_50K_zpsbnugtr1w.jpg[/IMG][/URL] Or normal pots (sort shaft) turned around facing the player, direct opposite of how pots normally are fitted. With thin wooden discs fitted. Obviously in a recess too. Or even slide pots mounted in a recess. Just a thought I'm in no way trying to be being cheeky btw. I'm loving the pickups! I also think the way the pole pieces are staggered is logically and should give a more balanced tone in theory. Be interested to see how the bridge works out once finished. Edit are those pots called roller pots?

[quote name='JapanAxe' timestamp='1496253096' post='3309991'] I have tried both side by side, and the Markbass is much louder and beefier, even though it is only rated at 45W as against the BG's 70W. I came home with the Markbass. It is perfect for small acoustic gigs, and loud enough for big band rehearsals, as long as the drummer doesn't go mad! [/quote] Ah good info thanks. The markbass it is.