HowieBass

Great looking bass. Ummmm, how about mint?

Have you gone into the TV menu, Sound option and gone through the settings (stuff like Additional Settings and Speaker Settings) just in case you're not routing the sound out correctly?

The pickups installed in the Squier Classic Vibe series are reputed to be the same as Toneriders and I've read of a few BCers who've swapped out the Duncan Designed pups for Toneriders when looking for a more vintage sound. They're also roughly a third the price of the Bare Knuckle option but I've no idea how they compare. [url="http://www.tonerider.com/en/pages/product/21"]http://www.tonerider...ages/product/21[/url]

The previous owner hadn't looked after it thus demanding the unique refurbishing... f*ck knows what it looked like previously then (probably a rather nice looking bass).

I know very little about crossover design and even less about Mark Bass gear but could there have been some fault on the PCB affecting one speakon input such that the blue capacitor went out of circuit for that input only and a second capacitor (the brown one) was added to the circuit in substitution? As has been suggested someobody's looked at the blue capacitor (was there some fault at one point) and then had to make a workaround. I presume the cap is there to cut high frequencies from the signal going to the 10" drivers. I can't tell if the blue and brown caps have the same values. I wonder if the soldering for the brown cap is where the volume drop/loss problem originates?

No love for Yootha?

Video here of a guy using super glue to fill the chip/hole first before using paint/lacquer over the repair (video only shows the first stage) http://youtu.be/Xr2kUhVekxU

We all love the bass, it's mostly everything else we argue over

I think you're looking for a filter-based preamp (like Wal and ACG electronics). There's something similar in my Westone Spectrum LX (and for that matter I think in the Westone Thunder IA) where you can have the bass in both passive and active modes. In passive mode only there's just a conventional treble cut tone control available but in active mode an additional tone pot becomes available where, as far as I can determine, a fixed amount of boost is introduced, sweepable through bass frequencies in one direction and treble frequencies in the other direction about a centre detente and this boost is superimposed over whatever the passive tone is set to.

[quote name='Annoying Twit' timestamp='1411629891' post='2561238'] Yet another debranded Harley Benton being sold for more than the new price. About twice the new price for this one. [url="http://www.ebay.co.uk/itm/Six-String-Black-6-string-Active-bass-guitar-Sold-By-UK-Session-player-/201178396204?pt=UK_Musical_Instruments_Guitars_CV&hash=item2ed72ab62c"]http://www.ebay.co.u...=item2ed72ab62c[/url] [/quote] Times must be bad when a professional session bassist has to flog off a 6 string Shine bass for £250.

Watched the clip and heard at best about a clear 5 seconds of music with (probably) an ambient mic so I wasn't able to hear much of either guitar or bass but I doubt the lack of volume I heard was because of the 3D printed body - but this to me seems like a solution looking for a problem... CNC milling of timber is probably orders of magnitude faster than 3D printing an intricate body which is made complicated just for show. Electronic instruments such as keyboards already have injection moulded plastic bodies and clear acrylic drum shells too; then you've got carbon fibre and moulded composite bass bodies (Luthite used in Cort Curbows) so what's the point of printing?

I've read that if you're careful you can open up an old pot and clean it up inside and bend the wiper arms so they are in firmer contact with the track... this might be where your old pots have developed their wobble. Have a look at this http://www.michaelshell.org/gadgetsandfixes/fixingscratchypots.html

You can't even threaten him with "go to your room" now you've given him that

The TC Switch-3 footswitch allows you to mute the combo as well as turn the Toneprint effects on/off, might be worth considering.

There's a fair bit of affection here for decently screwed together budget basses - I think a decent setup can do much to improve playability and tone and my most expensive bass also happens to be my oldest (Japanese built Westone).

Have you checked to see if you have the latest version of Adobe Flash installed? http://helpx.adobe.com/flash-player.html

A BCer is selling a very nice condition Hofner 185 Artist bass on here with pics included so you can see what it would have looked like http://basschat.co.uk/topic/245732-1964-hofner-185-artist-bass-for-sale/page__fromsearch__1

I think 'Happy Jack' has already passed comment on that Hofner in a separate thread

Is the bass currently wired as a Volume, Blend, Tone pot arrangement? If so that's maybe why the pickup hot wires go to the same middle (blend) pot.

Definitely interested in the Stanley Clarke film, 'Lopsy Lu' is still a huge favourite of mine and had I the spare cash I suppose I'd be tempted by an Alembic though I'd never coax the sounds out of one the way he does

I did think the lengthy CNC process (with what's available in the Fab Lab) would become an issue, hence my suggestion about reducing the cutting area/time. I think you'd be better using a rasp/surform for the forearm chamfer and belly cut, at least in the initial stages. The roughness you've got might be partly down to the choice of timber (is it swamp ash?) and you'd probably find alder would tear less.

[quote name='SlapbassSteve' timestamp='1411296498' post='2558169'] the 'ebanol'(plastic) fretboard is something I utterly despise, it sucks all the life out of the tone... [/quote] Ebonol is a paper phenolic, a composite that includes plastic, it's also referred to as micarta. You'll find composite boards on various basses including Vigier fretless models where they call it 'phenowood' and Greg Curbow's basses that used 'rockwood'. As with many things I guess it's just personal experience regarding what/if any tonal colouration occurs with it. I know some people hate it whilst others love it... YMMV.

You'll perhaps notice a difference in how flexible the fingers of your left hand are compared to the right after you've played for a while. I can curl the little finger of my left hand down towards the palm reasonably independently of the ring finger moving, whereas on my right hand if I try the same thing my ring finger moves to follow the little finger when I curl it.

I was wondering how you were intending to keep the body stable as the body was approaching the point of dropping out of the slab (wondered if you were going to use dowels into holes in the bridge area and screws through the neck heel). Looking forward to photos of the next stage.

This might help explain when to use the three finger (1,2,4) technique: http://youtu.be/SPr3WjHDIOo