Twincam

I tried left handed didn't work at all. My left hand was not suited at all and I hated it tbh. In many ways your plucking hand has to be just as good as your fretting hand anyhow. And I hate the sound of a pick so wouldn't even try.

[quote name='ambient' timestamp='1455974640' post='2984122'] What's the action like on your bass ? [/quote] Lowish 2.4 - 2.0 mm any lower and i sound like crap, higher I actually sound better as muting is easier and i get less noise, but its harder work for my fingers. Thanks for the advice I shall look into things and possibly see about getting someone to actually look at my playing. Doctors and physio wont help my hand much if at all anymore, basically its as good as it will get. Bass playing and as said weights has helped even more. I'm hoping that of course I will improve its slow going though. I mentioned in my quitting thread my gf whom I'm teaching is already able to match me on some tunes and can play ones I can't she has been playing less than a year, ive been learning for nearly three, and she puts in a lot less time than me. I shall post on talkbass too see I I can talk to this fergie guy

My TE combo has an annoyingly loud fan and it constantly blows cold air on me when I'm practicing. So I want to fit a simple off/on switch to the fan. Just for low volume practicing in the house typically gain is at no more than 7 and the master volume is never past 2 in fact 1.5 is pretty loud and audible outside the house. Now before I do this I thought I best ask for advice on doing so. What's going to be the best method? And of course on a 7215 smc is it safe to do it at that volume?

Ok so a few times I've mentioned I have a problem in my left (fretting) hand but never went into detail or even thought about asking for specific advice on this till now. And frankly I don't like thinking about it as it wasn't a pleasant time in my life. I also get a little embarrassed. Anyhow. A long time ago in another life it almost seems I got a hand and forearm injury, although it had some rehabilitation etc I was left with a hand that had greatly reduced dexterity, strength and my little finger is pretty rubbish. It's also very susceptible to cramping and tendonitis and often carpal tunnel syndrome sometimes parts of my hand are left with no feeling. Weight lifting, bass playing and recent intensive stretching has helped a lot but it's still very poor and limited somewhat compared to even your average person. This often leaves me very frustrated as I have made progress but I still play in a rather clunky fashion and find it almost impossible to use my little finger although I do certain exercises for it incorporated in my warm up its still useless I did hope it would of improved. Things that help are thinner necks and short scale improves my playing too although sometimes I play better on a P bass as my fingers can trip up on some bass lines. I find tapewounds really help too. With my recent thread about quitting I got some advice and encouragement (thank you) which has made me want to really try that bit harder. So I'm wondering what else can I do to work around my hand issues and ultimately get better. Would it be worth looking for someone that gives lessons and explain the issues and get some help that way? I've always been a bit afraid of going and being told I will never play to a certain level and it would upset me and actually mentally be not so good for me. I know there are lots of musicians with injuries or are disabled who have managed and sound great even developing new styles of playing.

[quote name='skankdelvar' timestamp='1455914710' post='2983679'] I regret that neither account is correct. The issue of 'clay dots' was explored in successive articles in Guitar Player during the 1980's; the definitive explanation emerged in an interview with long-time Fender employee and consultant Freddie Tavares by GP staffer Kirk Esanvantio in the July '83 issue: [/quote] Pmsl!

I read recently that the Lino story is the untrue myth it may even be on the fender site or some fender facts thing and that there actually a type of wood filler of the time that was already in use somewhere in the factory this saved money and was already in stock Leo liked the efficiency of this.

Hmmm Carol Kaye not sure about her yes she could kick my ass on bass and a great player. Dislike her personality a bit. I don't know why as I started off liking her and thought she was cool and had some great bass lines and have really enjoyed reading or watching documentaries about her. I respect what she has done but she grates on me.

Yeah I agree with mr zed. You really do need to try both. My view is the USA ones are better the the MIM ones, especially the standard mim models, because the hardware is generally better, electrics mainly the pu's are better and the overall quality here and there is just a touch better. Things like rolled finger board edges and graphite reinforcement in the necks, better bridge do add something. And for the sentimental romantics, It is also a nice feeling owning a usa one. The choice gets more difficult when looking at higher end mim models which can be just as good as the us ones, some say better even but of course you pay a premium. If it's just mim standard vs US standard it's definitely the USA model I would go for. And the standard mim ones are well built and have been for a long time, the higher end mim models do seem to get that bit extra attention paid to them over the bog standard mex models. The us ones typically do have higher qc, but saying that they are all mass made and you will always get that bit of variation.

[quote name='3below' timestamp='1455830156' post='2982873'] This has mileage, seems like one of the best moves I have encountered in a long time. Someone should organise a poll - what colour is the basschat 'deceiver' bass [/quote] It shall be a basschat fav http://www.ebay.co.uk/itm/TENNESSEE-15-STRING-EXTENDED-RANGE-BASS-/291674941903?hash=item43e92e69cf:g:bJwAAOxycgVTixwQ

Nice looking bass. Especially for a six string.

[quote name='briansbrew' timestamp='1455792332' post='2982421'] Well guys I took the pick guard off and the finish below it was satin and original, it is indeed a Highway one, never came across one of these before. Plays and sound great by the way but I purchased was I thought was a standard precision and paid a good price for it 600 with shipping. I guess the highways can be got for a little less. Anyone here any experience of them I don't know if I should keep it and ask for some cash back due to it being mis-sold or get my money back and get the standard model thanks for all your input gentlemen, much appreciated [/quote] I think that price was a little too high but not a rip off. You can get std models for between 550 and 700. There's a near mint condition highway one jazz in black near to me for £500. If it was advertised as a standard you could ask for some money back but if it was advertised as a precision bass USA etc then it's doubtful if they would refund. So if you felt you have been mislead then go for it.

By chance how much should one pay for a highway one there's a very good condition one local, but they want £500 seems a bit much even in very good condition. How do these feel compared to the USA std? Is it true the body wears very quickly.

[quote name='fretmeister' timestamp='1455649490' post='2981166'] There's a guy on another forum who claims he can hear the difference in his hifi depending on whether the IEC power cable is straight or curved. [/quote] Lol! The thing is even if the curve made a slight difference to the power which it won't (As we know). Then how would that even slight change actually effect the sound anyhow? It wouldn't. If the power was somehow changed in voltage, current or frequency by a curve it would be more likely just to blow the amp after a time. Some people!

[quote name='mimsy89' timestamp='1455623305' post='2980732'] https://youtu.be/d77ceBv8CGw Here's one I've been working on. Had to use some awful video editor to upload it as the general camera on my phone keeps crashing so ignore the weird imprint and double shot on the sides Trying to incorporate the octave picking/typewriter technique in some of my playing Cheers [/quote] I liked that thought it was cool, liked the tone too and always nice to see some playing too. It reminded me of something don't know what though. And not that bad a quality a recording.

[quote name='ambient' timestamp='1455655151' post='2981264'] I once told someone that I had a police record. The look on his face was comical. I then said Synchronicity. He hadn't heard of it. Cue rather embossing explanation that it was the name of an album by a band called the police. [/quote] Hahaha. I would have laughed. I also am stealing this joke. I will make sure if I ever use it the person knows the reference. In fact it would be amusing to use if ever nik 'd for something and while down at the station. Not that I ever have been in of course or plan to be.

[quote name='TrevorR' timestamp='1455613422' post='2980594'] Just saw this on one of the "for sale" pages on Facebook... now THAT'S what I call that great Trace Elliott tone... Yikes! Zoinks!. PS no connection/interests etc... just thought it was a stonker of a photo... [/quote] I bet that can just about handle a loud drummer haha. My combo came from a similar setup two combos and two extension cabs I'm not sure the benefits of doing it that way? I guess never pushing the equipment hard is one, but surely the effort of loading and unloading would be such a pain. Good if your leaving the equipment on site tho.

One thing I think makes a cool bass is the question will it look good when it's old? and genuinely road worn. Simple classic designs like fenders etc will suit this more than others. To me a bass must be able to look right when it's older. This is very very subjective. One thing that does make a cool bass is if it's associated with a famous player or associated with a particular style of music and been used on so many recordings. I own a very nice USA fender p bass I don't think there the best basses in the world but they look good when old, many famous players and been used on many great recordings and though simple they cover a lot of ground. Too me they are very cool. Another thing to consider for me is the location made, there are many great basses made in Asia etc etc but although they can be as good and much better even. They don't have as much as a cool factor there are exeptions of course but certainly instruments made in the manufactures original home location carry more respect than there overseas factory. Again many exceptions to this but I'm generalising.

Apparently I'm getting something later on. Lumbered with the washing up! Haha

I like the truss rod adjuster think it's very cool unlikely to fail and allows easy access and less risk of the slight markings around truss rod access you see on many older basses. Really liking the mojo of this bass.

The shorty is decent enough and a useable instrument when set up when I got one it had one high fret tho still useable. One thing to mention is that the body is downsized too. Makes it in some ways easy to handle so might be good for a beginner. Another thing to mention although short scale the neck is full width and might feel larger to small handed players although guitar necks are wider so maybe not an issue in your case but worth a mention. As with all the lower end range of hb's the string they come with are not the best useable but really you need to budget for some nicer strings.

[quote name='Phil Starr' timestamp='1455435326' post='2978996'] Any energy used in vibrating the cab itself is wasted energy of course. Since the amount of energy absorbed is frequency dependant the cab vibration will result in changes in the frequency response and a resonating cab is going to have an uneven frequency response. Most speaker designers are going to be designing to get as smooth a response as possible and even if you are going for a tailored response then it is hard to predict what a cab will do to the response so tailoring a cab by making it resonant is pretty nearly impossible. However non-flat cabs and music sometimes work well together. Guitarists go for highly coloured cabs to get their 'sound'. In a sense a lot of 60's and 70's cabs were 'experimenting' with this as they were often put together with very little theoretical knowledge and then just tested by playing through them. Some of those designs still continue and people love their sound, so yes theoretically and in practice there can be benefit in a non-flat, resonant design. Currently the trend in boutique bass cabs is to make them as flat as possible. Personally I think that is the way to go, with cab and amp simulators getting better and cheaper all the time. With a flat cab and some electronics you can have all the sounds from clean to Ampeg with a couple of lightweight cabs. Finally on bracing, There will come a point where bracing makes little difference to what you can actually hear, and all that bracing adds weight. Alex Claber has said here that the main aim of his bracing was rigidity rather than weight reduction which comes as a side benefit. Thick panels on small cabs are inherently rigid and mass is a useful damper of resonances so for a small cab you can have a successful speaker with minimal bracing. It's also critical how you do the bracing, you can simply shift the frequency of panel vibration to higher and more irritating frequencies in the worst cases. I think what BFM has said about a well designed thin walled braced cab being better than a poorly designed thick walled cab is absolutely fair but that adds considerable expense in manufacture. It might be better to spend that money on the drive unit and stick to a simple cab at a particular price point. [/quote] Excellent post! Thank you for taking your time posting that, especially if on a mobile device. I agree about the flat response cabs being better especially as you said with amp technology getting better. Although the romantic in me loves the idea of cabs having a certain signiture sound.

Can not believe it sold for that!. Hold on I have an old bass lying about an epiphone eb0 its horrible and has some nasty marks I'm pretty sure I could re lick it like this guy lol Maybe would go for £200 haha I might actually test this theory out ha

[quote name='Bill Fitzmaurice' timestamp='1455369861' post='2978499'] Energy expended vibrating cabinet walls is energy that doesn't get translated into sound output. [/quote] Yes that is simple to understand of course, I'm just wondering if anyone has experimented with this in some sort of strange cab design. I don't think myself there would be any benefit or it would work I just like to hear any off theory experiments.

[quote name='KingBollock' timestamp='1455371343' post='2978525'] In that case I like Twincam's idea of cannibalising a new pot and putting the innards, or just the track into the old pot. But I am not sure of the ethics of such a plan. [/quote] Yes you would need to state this in an ad if sold. Or you could of course look for an old pot with the correct date might be difficult but not impossible.