Twincam

Cool colour combo BTW! Kinda is different not wrong but good lol. Would look extra cool with a one piece b&w cheq pick guard ala early 80s one piece guards.

So did whomever borrowed it strip it? If I loaned a bass out and someone messed about with it and didn't use the right key which is normally the cause, I would go ape sh*t! Anyhow get a flat headed screw driver and see if you can turn the nut and see if it will come off. Or if you can tighten it via flathead screwdriver. I suppose you could just leave it like that if it won't come out, so long as you can tighten it with said screwdriver to get correct relief of course. And lastly can anyone borrow me a jazz bass? Lol

I can't see why a little stretch could guess an issue. Really tugging on a string might though. I don't do it but might if I needed quick tuning stability. And I wouldn't do it on a flatwound just In case, as they seem to be a bit more sensitive to stretching or twisting.

To add that if something hurts don't carry on using it. Rest it for a bit I learnt the hard way and got thumb tendonitis badly my thumb kept hurting while playing but I carried on and on. It got so bad I had to stop playing for literally three nonth.

[quote name='Grangur' timestamp='1479406254' post='3176350'] Well, you live and learn. I've never really had a problem with changing radius, but then I don't play as fast and intensive as many others. If I did, maybe I too would suffer? Thanks [/quote] Well it's a very personal thing I suppose. I'm really not too good a player and I'm not fast etc but I still have that sensitivity to bass setup including radius. I've met others the same. I've met others that are not so fussy and all they need in a bass is that its relatively well setup and in tune lol. And as mentioned there's people who can play any bass no matter the setup. Some folk need higher actions and can not play with a low action. There's the famous story of Will Lee complaining of fret buzz on his sadowsky even though the action was 4mm and Roger is known for his excellent setup and attention to frets.

[quote name='tedmanzie' timestamp='1479405887' post='3176344'] Where do you measure action from? 12th fret to bottom of string? I've currently got 1.9mm on the E and 1.5mm on the G at the 12th fret, very tiny bit of relief in the neck. I could get it a touch lower with heavier gauge like you say but the extra tension doesn't work for my left hand. [/quote] Well that's a excellent action already if no fret buzz and you can play that low. If you can get that setup on a vintage radius board then I doubt you will have trouble on any other thinner jazz neck you wish to try no matter the radius or fret size. But you may feel more comfortable playing a flatter board and different size frets. You will have to experiment.

I have big issues with my fretting hand which developed from an nasty accident. Its maybe more the width and depth of the neck rather than scale. Borrow a thin necked bass and see if it helps. If not then try a shorter scale.

My school in the mid to late 90s had a half decent I suppose music department. Not so much in the way of equipment although there were plenty of keyboards and a few other bits and pieces but there was plenty of people who brought a guitar and got lessons. Violin lessons were avaible too I think. As well as some wind instruments. And there was always some activity in the music rooms going on during breaks etc. Our music teachers seemed good too. However I was a little sh*t and taken zero interest. I wish I had now though. Although I did win a little competition to design a new instrument. A one handed guitar which was essentially a wooden block that fitted in the palm, a pickup, a few strings and a tremolo system worked by the fingers on the same hand to control pitch. A prototype was even made it worked but was limited and uncomfortable. A individual trem system for each string would have been in the mk2 version as well as better ergonomics. Anyhow I think its a good idea that the government is going to do this.

Yes I think there's been some confusion here. That as said its a double action rod. If you turn either way it will get tighter clockwise less relief and anti clockwise more relief. But even going anti clockwise on a duel action rod you will feel the nut tighten not to the degree it would however going clockwise.

Any wooden neck can get issues in the right or should that be wrong circumstances. Most are fine of course, but you need to look after them still to some degree. Its a shame you don't have pics of said neck. Atmospheric conditions can make wood behave oddly. And bring in a bass from cold to hot conditions or humid to dry or leaving a bass close to any source of heat, multiple times for years and years over its life and that can affect the wood of the neck. Its a very individual thing some basses can seem to withstand anything and another exact same bass will develop issues. I guess that's the nature of an imperfect material, wood in this case. Also its a possibility that if its never been setup and had no or little influence from the truss rod those conditions could of effected the wood more. And there's also a possibility that the wood had such natural imperfections it was more susceptible to twisting anyhow. Don't all USA fenders post 1996 have graphite reinforced necks? This should of gave it more stability. The way to get around this depends on how much the neck has twisted and how good the individual working on it is. For very small degrees of twist then its possible that it can be put right and it will stay that way. For a large degree of twist then it becomes more difficult. Larger twists can also re appear after a while, again this depends on how bad it was and the individual piece of wood. If a twist can be fully fixed great. If its bad and can't be fully remedied, then maybe it can be managed and brought to a level that's still playable and acceptable to you. That's an option too. And obviously the last option is a new neck and associated work that goes with it.

[quote name='yorks5stringer' timestamp='1479417736' post='3176470'] On a totally separate but nevertheless related theme, I also like Sprouts [/quote] Some prefabs are cool too. Lol

[quote name='mikel' timestamp='1479400210' post='3176276'] They are from Co Durham, hence the "Langley Park to Memphis" Album title. [/quote] Way off topic but I used to date a lass from Langley park. So the title sometimes makes me think off her.

[quote name='yorks5stringer' timestamp='1479398865' post='3176261'] Have to take gentle issue around 'average filler stuff' ! They were doing material with quirky arrangements, haunting vocals and meaningful lyrics at a time when it was not fashionable, the British Steely Dan? Just looking for my copy of one of their CDs. I believe they were signed to the Kitchenware label initally and based in the NE. Hot dog, jumpin frog, Albuquerque! [/quote] Indeed. Maybe filler was not the correct word. Some of there stuff isn't as strong but that's probably because there better stuff is so so good. There one of those bands I think you could place them in other era's and they would come up with great stuff.

And a Rik in action. https://youtu.be/QeZkLV3ZjeI

Wal in action https://youtu.be/-IpBRMm_QAg

Was just listening to some prefab sprout which I do like, I think they had a fair few great and memorable songs. But some imo average filler stuff too. Great band non the less, possibly underrated and should of had a bit more success maybe? I was way too young in the 80s to notice them so I'm just guessing that. Anyhow one thing that struck me is the bass. Its not overplayed, is very fitting and has a imo great tone. Pretty much all there well known tunes have a great bass line. Amyone else appreciate Martin McAloons playing? I don't think I've seen him mentioned much if at all on here.

I'm sure someone else will chime in here. But the cv instruments are of a very good standard all round and really do punch above there cost. And the electrics are of a good/reasonable quality and are of the higher squire range and the fender modern player series. In other words highly reliable and of good output and tone. Unless you don't like the tone of the electrics and want a different sound or have a problem then theres no reason to upgrade at all. In fact I wouldn't be surprised if the electrics are reliable for a life time of gigs!. Of course you could upgrade anyway get a higher output pickup(s) and cts pots and a different tone cap etc etc. If you really wanted. So the question is the bass doing it for you tone wise atm?

[quote name='Skol303' timestamp='1479074353' post='3173775'] Well it's been a while, but I'm in... An excerpt of something I've been recording this weekend, played on a Fender Precision: [url="http://soundcloud.com/skol-mixes/november-noodle"]http://soundcloud.co...november-noodle[/url] [url="http://www.indabamusic.com/opportunities/justine-skye-u-dont-know-remix-contest/submissions/64c45d50-a9e7-11e6-aa57-0ef6abf8e455"][b]Full track here[/b][/url] if you want to hear this bassline in the mix. [/quote] Shock horror the noodle has drums in!!! Lol Great tone if I may say so. I was listening too it and thinking p bass, please let that be a p bass. And clicking back here you indeed state it is. Unmistakable a true classic tone. And ive already heard the mix and really liked it! Again as last month its cool to here a separate bass line for the noodle bar and an example of it in the mix. Maybe just maybe we could get a few more cross entries from the composition challenge. I certainly enjoyed last months composition entry by moonbassalpha and his isolated line in the noodle bar. The definition of noodle doesn't have to be an off the bat performance per say. Isolated bass is welcome from an composed piece.

Sometimes taller frets with a very very fine very pointed crown can make fretting easier. The contact point is much better with the string and requires just that little bit less pressure to fret. You can get just a hint of the same benefits a scalloped board gives too with a tall fret. The downside is the frets need attention often to keep them crowned like that, then they quickly need fully replacing unless using stainless frets.

[quote name='Grangur' timestamp='1479298179' post='3175400'] But do you believe that amount of difference would result in the bass being significantly harder to play and result in muscle ache? [/quote] Depends on the player. I myself have a heavy hand but at the same time I'm incredible sensitive to setup. My fretting hand really aches and fatigues fast if a bass is not setup to my liking and even a tiny change in action for some songs or passages could be the difference between fatigue or not. Oddly string choice effects it less lighter gauge easier to press down but heavy gauge I can lower the action more without fret buzz so it equals out. And I genuinely can feel tiny differences not quite on the 0.1mm scale but I guess some might. After all 0.1mm can be the difference of fret buzz or not also. However for the op I do feel flat 10" and above boards are that slight bit easier to play and you can get that tiny bit of a better setup. Also finding strings that feel right. I guess its an accumlative effect of feeling comfortable. Some players have the extra ability too play anything and any setup. I envy them but I still believe in optimising these tiny differences for everyone. Even if they don't feel it lol.

On the subject does anyone want to buy my Gibson Thunderbird??? Its made by Epiphone Lol. (Ps that is not a serious sale ad)

Imo any bass that uses the typical fender jazz or p bass pattern is a Fender ... I'm kidding btw. I do think while there is a very close relationship between the brands mentioned its wrong too advertise either Fender or Gibson in the sale of squire or epiphone. This is not because someone may get ripped off as anyone should know the difference. But because of ease of search if I want to buy a Fender jazz for example it bugs me having to trawl through ads of squire jazz basses.

Radius does make a difference to the action but its by a tiny tiny amount though. A vintage radius of 7.25 is a different feel also to a flat board. In general after a fret level, recrown and extensive multi stage polish a 7.25 radius board I can set up 2.4 - 1.9mm e-g in action at a relief of .007 - .015 in relief (personal relief preference is induvidual). And that would be absolutely no fret buzz even digging in. Where in general any flatter boards I can get a better action sub 2.2mm - 1.5mm e-g. With a slightly flatter neck relief on average. Again that's a no fret buzz even digging in setup. Obviosly some like a bit of buzz if digging in so setups can get lower. It seems to me from all the basses ive set up on average a flatter board allows anywhere from a 0.2 to 0.4mm improvement (lowering) in setup. So not exactly much but some will notice that. Also a 7.25 or even 9" radius might feel like its higher action when its not just because the tops of the e and g being lower than the a and d measured from the top. Not from the frets.