NHM

I'm working on a body refurb of a short scale bass (fitted with flats) which has a single TV Jones Thunderblade pickup installed. I really like the humbucker sound, but while I'm doing the refurb I'm considering fitting a switch to tap into other sounds available by splitting the coils.

Are there other modes available that will give a distinctive sound to significantly contrast with the humbucker sound? Or, given short scales with flats have such a narrow sonic/harmonic band, is it worth the bother?

I'd welcome any advice from your esteemed coil-tapping experiences!

Thanks for all the advice, bassers. I've just bought a Schaller 3D-4: it looks great and is not a look that is immediately associated with a particular instrument (to my knowledge!), it's fully adjustable with a very wide range for string spacing so I should be able to fine-tune it exactly to my needs. German engineering and a reasonable price to boot.

Maude - I've also got a Musicmaster so I've had sleepless nights over the intonation problems - now sorted with Hosco compensated saddles, an expensive solution but it has sorted out this bass without compromising the look. And I didn't want such a distinctive look for the bass I'm working on at the moment.

DocJ, I don't mind putting in extra holes as it means I can set the bridge a little further back now and the Schaller will cover the outgoing bridges' holes.

best wishes to all

yeah I'd seen the one on Reverb but it's listed as sold out.

The DV247 is 5 string.

Thanks for the Schaller and Hipshot suggestions, I'll get my tape measure out...

Does anyone know where to get a bridge with 17mm string spacing for a four string ? After an hour or so trawling the 'net I've drawn a blank.

Preferably traditional 'Fender' style (if there's a choice) but other options might be workable. The bass has already been customised, so a particular vibe isn't essential. 

Why has 19mm spacing become so common? To me it feels far too wide.

When I play with a pick I cut the mids a little as I find the pick over-emphasises the first and second harmonic - cutting the mids can balance this out, depending on which bit of the string you're playing, so I'm talking about playing the area at the neck p/u which is my standard address point. This keeps you in your own sonic space (as Steve XFR says), whilst giving the benefit of the attack of the pick.

nice one. Hope you're enjoying it. bet it sounds great through the ampeg.

What strings have you gone for?

Bass player available, Kent.

I'm a very experienced gigging musician, recently retired from full time work so with the time and energy to commit to a fulfilling project. Pro attitude, gear, transport and a quick learner.

Ideally I want to join a stable and established band, preferably at the rock end of the style-spectrum. I'm happy to play covers or contribute to developing original music.

probably should be discreet over names...

If you know anyone you think might be interested, do send them my way...

We've been going with the current line up of guitar, bass and drums for a year and for most of that time we had a brilliant singer - however he's left us to resume a pro-touring career which had been curtailed by lockdown (we knew this would happen sooner or later). So we are looking to replace him. As for choosing a name, it hasn't been a high priority as we haven't yet put out any publicity - but we're currently calling ourselves 'Slow Burn' - which is turning out to be prophetic! 

It takes time and experiment to find the best strings for you. If you can start by deciding whether it is rounds or flats, then buy a set and see how they suit you. Tension is a big issue with flats (my choice, I don't know much about round wounds).  You may have to try various manufacturers before finding the right ones. Don't pay too much attention to what people recommend as it is a very personal decision. Be prepared to leave a set of flats on for some time as they mellow out as they settle in, so you may grow to like them more after time (or not!). All very subjective, no right or wrong answers!

When you find a set that really suit you, you'll know as the instrument will have come alive!

I recommend the Gibson LPJT. I've a number of short scale basses, they're the only type I play now, and the Gibson is my current favourite.

Having said that, choice of strings is probably more important than the model you choose, especially for a short scale.

either

We'd be also open to a singer who is also a 2nd guitarist or keyboard player.

If anyone knows a decent singer in the area who is looking for a new band, please will you pass this on?

(just spoke to our guitarist who reckons he's better that 'terrific')

No, you come and sing and I'll still play bass!

Doghouse in Sturry

I'm a bass player, many years experience, and have been in a classic rock covers band for the last year with a terrific guitarist and an amazing ex-pro drummer - we're very tight/gig ready but we just don't seem to be able to recruit a singer up to the job or willing to commit.

Anyone out there who fancies a bit of serious fun and who loves classic rock repertoire?

We rehearse in studios in Canterbury.

taken the lid off the DtE this morning - nothing obviously wrong, but gave all the connectors a press down, reassembled and the problem has gone away - well for now. I expect it will return just before the first set of our next gig!

Another positive comment to add about this pedal is that being able to set the drive before or after the compressor gives another significant addition to the tonal palette readily available.

A downside to this pedal is that it is hard (or I haven't figured out) how to keep the gain sections of each effect under control, so that there's not either a significant increase or decrease in gain when you kick things in or out. It would be interesting to see a circuit diagram (if one exists) to see how the signal path is routed through this baby.

Hi, thanks for confirming I have the tuner plugged up correctly.

I hadn't thought about trying a separate power supply.  But just tried it and the problem doesn't go away.

I'll probably take the top off the DtE to see whether there is an obvious loose wire or something fouling the jack socket.

This problem aside, I think the DtE is fab. I've found a compression setting that stays on all the time, and the EQ can kick in as a boost. The drive is OK and pushes into the natural drive of the Bassman to give another switch-controlled tonal variation, but I haven't really found a need it for it the style I play.

Of course when it comes to anything subjective, each to their own!

Hi

I recently bought a Fender Downtown Express pedal, which I'm really enjoying.

But at rehearsals yesterday for the first time I plugged my tuner pedal into the 'Tuner Output' of the DtE and immediately there were electrical problems - loud 'popping' whenever I hit a switch, and also if I tapped my finger on the case or on a pot. When I got home I went through every item systematically in case it was the power supply or a patch cable, and all items seems fine - but the problem persists. (The pedal is fine if you disconnect the tuner patch cable).

I'm assuming that the function of the Tuner Out is to connect directly to a tuner pedal, or have I got this wrong?

1 hour ago, Cuzzie said:

https://www.instagram.com/tv/CPiB9XRBK8O/?utm_medium=copy_link

terrific bass playing - a great musical contribution, really imaginative despite a fairly simple construction, he adds so much energy to the song - as much by his silence as by his playing

I'm in a four piece classic rock covers band, but the singer doesn't play an instrument so I think this applies to my set-up.

When our guitarist solos the 'body' of the sound seems more exposed in some songs than others. I don't think there is a pattern - some songs originally created for a three piece can feel empty, others created for a four seem fine without a rhythm guitar/keys part underpinning the solo.

Some interesting ideas already mentioned. For me, starting in a higher register when the solo begins (e.g. Crossroads) works well and smooths the transition; equally, dropping to a low note can create some drama. I wonder too if the singer started playing the tambourine and jumping around a bit no-one would notice the dynamic change.

well let's wait for the wisdom to emerge!

Our guitarist is very capable, it is an interesting thought that he may want a second to 'cover his back'. He doesn't need to, although it may be a confidence /perception issue.

I'm interested to explore the musicality around this. Of course there's lots of great three piece bands playing songs with structures where in the transition from verse into solo the role of the guitarist changes from, essentially, rhythm to lead. Do bass players change too at this point in the song? Does the bass player need to make any sort of adjustment to 'smooth' this transition? My experience has been that if I go low and the guitarist is high, there is a massive frequency gap left which can make a song suddenly feel empty with a sense that momentum is lost. 

So it's fine to say 'embrace it, it's what three pieces are all about'. But are there techniques the band can use to smooth this over when you'd expect there to be a rhythm guitar or keys also playing through the solo, as the original song was crafted for a four-piece?

Some interesting reflections on my point about songs going 'flat' during guitar solos when you're in a trio.

Actually it mostly doesn't worry me, I agree it's just part of the sound of being in a three and it should be valued. However, the issue comes from the guitarist (who is the band leader), who wants to add a second guitarist as he perceives we go 'flat' when he solos. Hence why I'm trying to find strategies to take his mind off hearing this and stop it blowing it up into a problem. I'm against moving to a four as I think it might spoil our distinct sound; there again it could be a good thing if we find the right person, who knows?

Whatever, it will take us ages to properly orchestrate a new band member in and will deflect from polishing our sets and playing gigs in the short term.

Nail Soup, please feel free to start a new thread if you wish, I won't feel I've been hijacked!

I play in a four piece classic-rock covers band, although the singer doesn't play an instrument so I guess I'm eligible to contribute to this thread...

The guitarist plays a Les Paul into a Marshall, he is a bit on the loud side but he makes a great sound so he gets some slack cut his way. The drummer is pretty loud too, so high volume is the band style and I just accept my lot and get on with it.

We recently did some recording, and I was really impressed at how much work the guitarist was doing to cover rhythm work with lead licks during verses, to keep the songs identity going alongside the rhythm/harmonic structure. I hadn't previously heard a lot of his detail when we play live. While I'm dum dumming along on for example lots of Ds then the odd C and G, he has covered a massive amount of material with great aplomb. We play covers from many bands who have a second guitar and/or a third and/or keys, and I take my hat off to him for his ability to still get the essence of the song. As we try to be reasonable faithful to the original, he gives me the spaces I expect to have to fill or contribute with details.

The real issue for me is when he solos, as the sound can suddenly empty. My instinct has always been to play low during solos but I've come to realise this might not be the best approach. I've found that one strategy to fill the sonic void left by him coming off rhythm work is for me to start playing high as he starts his solo, transitioning later to lower notes. This seems to smooth over the hole. I got the idea from Jack Bruce playing 'Crossroads' (ironic!) who starts one of the solos high and then moves low and this seems to make for a great blend from the verse and doesn't let the song go flat. I'd be interested to hear how other three-piece bassist scope with this 'emptying' of the sound during solos. Some songs it doesn't seem to matter, but in others the hole is glaring.