NHM

Hi I've been exploring the High Pass and Low Pass filters on the B3n. The first knob on each filter determines whether the filter is set to HPF or Shelf. I get how the HPF works, but I can't figure out the Shelf - this, working in conjunction with the Gain, seems to boost or cut all frequencies, not those determined by the Frequency knob. Any insight on how the Shelf/Gain works, and how it differs from the H/LPF, would be greatly appreciated.

Air on a G string

that lot's from me!

well I'll buck the love, I thought this was pretty disappointing fare from such esteemed musicians. Can't see much use for self indulgent bass-lead-noodling at a gig (leave that to others) although it might be OK with a chum at home after a few beers. Perhaps that's what they're doing here. Given we're in an education platform, I'd be more interested in seeing what bass patterns could be used under a single repeated chord to keep the interest going without resorting to being showy. We had a repeating root after a minute or so of fluff, but I didn't see much 'extended vamping' to develop this classic bass support-pattern which would have been more useful to see what a maestro can do to educate mere mortals like me into how a pattern can be developed, so I gave up at 3.30. Perhaps it was all in the second half. For me 'going off on one' doesn't make great music, it's better if development is structured.

Hi I've various spares, bridges, strings etc. If you pm me your address I'll make up a parcel. You're doing a great job for a worthy cause. best wishes

if you're interested I've just posted a review of the Schaller in the 'Reviews: Hardware and Accessories: section.

Schaller 3D-4 Bridge I wanted a replacement 4 string bridge to give me a narrower string spacing than the standard 19mm. I like a spacing of 17mm, but there aren't that many options out there. When looking at the Schaller product literature online, it said that the string spacing had a range from 14.5mm to 24.5mm; so I took the plunge as the spacing range would give me the 17mm plus scope to experiment. Also I liked the aesthetic of the design, which is really important to me. When it arrived I was very impressed by the build quality / engineering. The bridge oozes class, it really is stylish. My first impression was 'every bridge should be of this standard'. Even the box it is packaged in is one of the classiest you'll come across! However, there are a few pitfalls to be aware of: (1) String spacing: you may be able to set two strings to a 14.5mm spacing, but not all four, so that figure is pretty misleading! The narrowest the bridge will go is about 53.5mm overall (E-G), so a string spacing of about 18mm is the tightest you'll get. Also, when you fit the strings the rollers rotate, so it is hard to get accurate/consistent spacing without a fair bit of trial and error. (2) The saddles are so long the intonation range is much more limited than a standard 'barrel' saddle bridge. That isn't a problem in itself - before fitting the bridge I lined up the saddles as much as possible with the existing bridge, which meant there was only about 5mm of intonation travel available. Care is needed when screwing the bridge down to get its location spot on, as there is such little amount of play available to adjust the octaves. Also, this meant new screw holes were needed in the bass body. Fortunately for me, these were nearer the strap button so the bridge covered the old holes. (3) The bridge comes with a 3mm thick base plate to raise it up should you need to. I didn't, which I was glad about as the base plate alone weighs 48g and this just adds unnecessary weight to the instrument (the bridge without the bass plate weighs 195g). Instead of using the plate it seems longer grub screws can be fitted in each saddle to get the same effect. The grub screws Schaller supply are quite short; the ones I took off the outgoing saddles were about 5mm longer so more than compensated for the base plate thickness and I'd have used these had I needed to. (4) the strings come through the back of the bridge at 19mm spacing, so there is a bit of a change in linear direction as they pass over the saddle. I hope this doesn't cause the saddles to move or encourage the strings to jump out if played aggressively. We'll see. Overall a stunning looking bridge. However, you need to give some careful thought to how to fit it before you start drilling new mounting holes. There are some design issues that could be improved: I think it would be a better bridge if the saddles were a little shorter and the string spacing was set at 18mm rather than 19. Finally, if I'd known that 18mm string spacing was the narrowest I could get, then there are other (and cheaper) options out there to consider and I wouldn't have bought this bridge; I'm disappointed that I could not get the 17mm spacing that the literature lead me to believe.

It's only a bit of re-soldering to try out both parallel and single options see which one works best. Thanks for the help.

we're still looking. Auditioned about half a dozen since my last posting, sadly none cut the mustard for one reason or another. Is it asking too much to find someone that ticks these five boxes: a bit of charisma a decent range a bit of raw power reliable gets 'em in while we're setting up no. 5 obvs being the critical one.

Thanks itu, that's really interesting. So parallel has the advantage over single coil of slightly higher gain; single coil has the advantage of a bit more edge (I assume you mean more 'cut' as in an eq-shape - or is it better 'attack' - or something else?). I can't see the point of having impractical options available (sort of devalues the modification), so perhaps I'd be better off going with a two way switch rather than a three. Decisions, decisions, another thing to worry about at night!

Thanks Maude. It is a four wire pickup, so I expect I'll go for a series/parallel/single as you suggest.

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.