Twincam

If it needs moving in the future say for higher gauge/tension strings. Loosen the truss rod till neck is straight, use a straight edge. Then gently apply back bow with one hand at the top of the neck by the nut and your knee in the middle of the neck, your other hand on the frets just before the neck to body joint is. DO NOT use a hand on the body to bend the neck! And make sure the guitar body is supported. Keep pressure on and get someone to re tighten the truss rod. This is an easy way to get a little bit more adjustment. If that isn't enough then there's more intensive methods but they are probably for the more experienced instrument tech people. Being a 90s reissue it's more likely that it will have a 2 way trussrod so likely the washer truck won't work. I maybe wrong however

Use lead solder. It's just easier, plus it's more durable to movement and heat. Soldering irons with a temp gauge on are good. I find I use 350 degrees c. For lead free you may need to go higher. But honestly get some lead solder. Also something to hold wires down with. For starters a good pair of thin long nose pliers will do. Watch out when soldering say a wire to a pot that it stays there, and not flick up and splat molten solder all over your face! Also move little bits of solder well away from working area. I once had a tiny, left over bit of soldering wire that was slightly wrapped around the soldering iron drop off, right onto an amp circuit bored. Right onto the charged caps! There was a flash and molten solder vaporised outwards! There's also a lesson in capacitor discharging in that story to.

Interesting. I had a open backed valve Wem dominator combo a few years back. 15w 1x15. It sounded fine for bass practice at home. And micd recording. Wasn't very loud until paired with a guitar then was seriously loud! I believe the amp was the same as the guitar version, just the 1x15 was bass specific celestion g15m 50w

No 2 basses will be the same in neck stability that's the nature of wood. Even if they were made one after each other. From my experience stingrays are pretty stable. I believe I've worked on ones dating from 78/79 to modern ones. That's not to say that some won't need more regular adjustment. Did you check the relief with a feeler blade? What you might of done is loosened it off a bit too much for example going from .004 to .014 which might only be half a turn in some basses. Which would cure the fretting out and still feel playable but then the strings pulled the neck just a touch, as it didn't really have enough tension in the rod. And then the neck is say .019 measured at the 7th which is a noticeable bow! These tiny measurements actually make big changes.

As a experiment I converted a little sealed practice combo, an Ibanez soundwave. To ported with the help of winisd and a new speaker. That was a few years ago. Beforehand I felt the combo had a great neutral sound, which in my opinion, was the best I had heard in an inexpensive combo. Great for jazz. It just lacked any real authority. I also liked the fact it didn't rattle or have any funny resonance. I can't remember all the details but after porting, and the new speaker. It sounded not that different in its basic sound signature. Apart from it had better low end and the volume was maybe very slightly increased. There was limitations to the small box as to what I could actually achieve. Many bass and guitar players have plugged into the little combo and said how good it sounds. It's far better than my previous practice amp a fender rumble v3 1x12 100, not that was just boomy and also rattled badly. On another note. It's funny how in the early days some bass cabs were open backed. Just sealing them surely would of made a big difference.

Excellent story! Out of curiosity. Was there any bowing of the neck, with it being stored all that time? Or did it still relatively have the right relief?

Had one purely as a practice amp. The fan, which may of been broken or something was annoyingly loud though.

I've worked on a good few yamaha trbs. And one thing that's struck me is they have always set up very well. In fact all yamaha basses I've worked have been very good in this way. I like the trb sound too. Yeah the treble had hiss but don't think it was/is that bad. Quality instrument!

Disappointing!

I really hope it gets sorted now. Should do. Looks like was taken to exactly where I would expect it to go then unsuspecting shop sold it.

Well the best way would be to drill and fill the dots and redo them at the lines. Being careful to match the wood in the old dot holes to the colour of the neck. Maybe as a temporary option, some larger bright coloured stickers that you can stand. Placed upon the lines. You will soon get used to looking at those instead of the others.

I'm in the ne area and often in various shops with used instruments. I shall keep an eye out. Very sorry to hear of the theft. To add its maybe a good idea to email a pic to any shops that buy instruments in the ne area. In case there offered it.

Excellent thread!

Did you try a Rick previously? I've only ever tried one once, even though it was brand new off the shelf. It had a terrible action, so high my fingers kept slipping when fretting. Still fancy one though, even though it would no doubt be a mistake. I suppose you convince yourself it will all be fine.

Then yeah wire it as you said.

First thought is It would depend on the ohms you require to how you would wire it. If your cab is 8 ohm that's easier. If your current cab is 4 ohms then wiring in parallel will make it 2 ohms when connecting another 4ohm cab, which likely you may not want! Or 6 ohm if you connect up a 8 ohm cab to your 4ohm. So you might want to wire a 4ohm cab out in series instead.

Again I'm tired so I could be wrong here. But I'm sure he did say earlier in the thread angle effects the dynamics of a shimmed electric instrument. On page 1. And that's what I was replying too. And this whole thread is really about bolt on neck electric instruments.

I'm writing this while tired so please forgive me. I understand for the most part but I don't think that totally works out in my initial thoughts. To me if I draw a line on paper representating a string from one point the nut, and to another point the saddle. And there is another line under it for the fretboard and I tilt the paper the angle is different but the string tension is the same. If not it would be out of tune. And surely if break angle alters playing dynamics string through bodies would be vastly different to through the bridge. Also there are plenty of very good instruments with parallel necks or only tiny tiny amounts of angle. A through body string through design is going to have the same downward pressure no matter how high the bridge once tuned. Angle a neck you raise the bridge but you then have to detuned the string. Why are we not playing instruments with loads of neck angle and high bridges? I'm not saying your wrong by the way, I'm just trying to understand the principle more so I can form a better opinion on this one.

Do not, just pop a shim! Likely the neck relief is wrong. And the truss rod needs some adjustment. Very unlikely a sandberg would need a shim. Absolutely no way should the bridge be maxed out at 2mm on any string. You would be surprised how to much relief or little. Even in tiny amounts makes a big difference, for saddle height. The neck may of developed a tiny amount of bow which could be the difference between 2.0mm and 1.2mm. Assuming neck relief started around .007 and might of drifted to double that over time. Does happen with string changes or atmospheric conditions. Only if the nut adjustment is correct, frets are level and the relief is correct then and only then, a shim considered. And even then I would suggest saddle shaving before a shim. For multiple reasons. Others may differ in opinion. See the thread, Shims just say no in general discussion.

2 shims removed from a bass the other day. Little plastic one and on top a bands card! Don't know why they were there, neck has perfect angle I would say. Strings contact the bridge well and sit in the saddle perfectly. The saddles have plenty of adjustment there, setup was better by 0.1 mil haha. But it made me feel better.

I'm not sure I follow on the tilt for dynamics? There's through neck basses that have level fretboards with the body. I'm keen to hear your thoughts. As this kind of thing interests me. The break angle annoys me as there should be sufficient angle in the design in the first place and the neck pocket wasn't correct in first place or has a poor bridge placement/design. Of course if putting a bass together from parts or bits from other makes then shims are going to help there. It's just that most of the time people put them in for no good reason. And that's my issue.

I think they were there because vintage instruments of certain periods just didn't have good neck pockets. Which would be a valid reason for having a shim or micro tilt feature.

Indeed. But we should not have too! I cry. Of course shims are useful but the majority I find are not.