SubsonicSimpleton

[quote name='dazza14' timestamp='1404123585' post='2489412'] I tried it and was blown away by how playable and comfortable it was. [/quote] You should have just bought it. IME Squiers(or indeed any of the "buget" instruments) can vary quite a lot between individual examples of the same model and it makes a lot of sense to try them in person, and if you find one that really sings for you, obvious course of action is obvious. I would guess that most Squiers sold from retailers are P's bought by teenagers who want to start punk bands based on Squier's roster of endorsees, and that regardless of how good the Jaguar HB is they probably don't sell many.

Try it and see - the inline couplers are very cheap, and you can test the cable run at home to see if there are issues with signal degradation due to the increased capacitance and resistance of the cable. As you already own a wireless system I would go with using the wireless for soundcheck then swapping back to a regular lead for the gig especially if you play venues that have lots of chairs/tables etc.

Maybe something like this would work as a gigging solution (seller has other vox lookalike offerings including a 1x18 125w fane), http://www.ebay.co.uk/itm/VOX-PEAVEY-2-x-15-bass-cab-/191220166976?pt=UK_MusicalInstr_Amplifiers_RL&hash=item2c859c3140 pimped with peavey black widow drivers, and you could keep the 1x18 cab original for the studio (the modern drivers might not have the same PCD and hole centers for mounting as the original) Maybe also worth considering building a cab designed around a modern driver, and then using period appropriate grill cloth and detailing so it looks the part, but the performance isn't compromised.

Just kill it with fire before it lays eggs.

Perfect for those gigs where the landlord/father of the bride is reluctant to pay the band and needs a little percussive attitude adjustment therapy to loosen his wallet.

I really don't understand the fuss about this, limelight are replicas, sold as such and identifiable from the real thing, this isn't the same deal as the asswipes who regularly try to pass off squires as fender custom shop instruments on ebay (they include custom shop logos and fake serial numbers on the headstock) or criminals recombining the parts of genuine vintage instruments to disguise their identities [url="http://www.dailymail.co.uk/news/article-2107289/Posh-music-shop-owners-hob-nobbed-celebrity-clients-convicted-1million-stolen-guitar-plot.html"]like this case[/url] I like old worn things, I find them much more interesting than shiny new off the production line items, would there be the same sort of fuss about decals and copyright if limelight made a reliced 80s squier (or early 90s silver series) complete with squier logo?

[quote name='Meddle' timestamp='1403724590' post='2485705'] Any cap wired this way would become a master tone control, as it straddles the hot and ground sides of the circuit. You cannot isolate a tone control to work on a single pickup, effectively, using mono, passive electronics. [/quote] I'd seen much discussion about modern vs 50s Les Paul wiring, and how the interaction of the volume and tone controls changes in the combined switch position - if you adopted the 50s wiring scheme, doesn't this change the interaction of the circuit and prevent this happening?

[quote name='Weststarx' timestamp='1403694142' post='2485323'] My question is why on earth would you want to spend $1000 on EARPHONES?!!? [/quote] Because iphones have lost most of their pose value?

Bought an ashdown mag combo and extension cab from Paul, nice bloke to deal with, relaxed straightforward and fair transaction, even helped load the gear into the car.

Maybe Pino never owned either of them - imagine random guy from street who looks like Pino's delight when shopkeeper offers him £50 to hold a couple of basses for some pics . I'd want to see some proper authentication from Pino's mum that the guy in the photo is actually Pino and not an imposter.

Normally when you see a band advertising for a bass player who describe themselves as "post-rock" or "alternative rock" you can simply substitute "can't play for toffee, but own very loud guitar amps" and you will have a pretty accurate idea of what to expect.

[quote name='throwoff' timestamp='1403010325' post='2478794'] The violin point is slightly out of sync with the argument (despite me being one of the people who used it! ) The quality of wood on an acoustic instrument does alter the sound as the whole thing vibrates as one. Sold bodied electrics do not. [/quote] So are dead spots on necks a placebo effect? And why can you still hear the effect of the dead spot when you are using an amp?

Just go to somewhere like PMT and try a bunch of supposedly identical spec guitars or basses through one amp - If you can't tell any difference then the only thing you really need to worry about when buying an instrument is whether you like the finish. In the strad versus modern blind test, the musicians couldn't identify whether an instrument was vintage or modern, but they did consistently identify instruments that they thought were better than others [quote] ‘[u]Soloists readily distinguished instruments they liked from those they did not[/u] but were unable to tell old from new at better than chance levels,’ the report concluded. ‘Given the stature and experience of our soloists, continuing claims for the existence of playing qualities unique to old Italian violins are strongly in need of empirical support.’ [/quote] http://thestrad.com/latest/news/blind-tested-soloists-unable-to-tell-stradivarius-violins-from-modern-instruments Human beings don't function like scientific precision measuring apparatus, but the senses are potentially very sensitive in a very non-linear way, so small differences in frequency response can make a big subjective difference in whether or not you like something. Ultimately it doesn't really matter why you find an instrument inspiring to play or like the sound it produces, the most important thing is the joy you get and bring to others from the music you produce with it.

That was a piss poor guide, not a single mention of waistcoats and lunging poses

[quote name='throwoff' timestamp='1402911458' post='2477698'] Wood is not a homogenous material no, that's why it's lucky that ALL the tone of a bass comes from the strings, pickups and electronics. The wood makes not one jot of difference. [/quote] [quote name='throwoff' timestamp='1402913145' post='2477722'] Ok, perhaps I worded it poorly, the wood has no effect on tone, the feel and attachment to an instrument can come from the wood. [/quote] The sound is generated by string vibration, which is in turn affected by the mechanical integrity of the structure which supports it at each end - as the instrument vibrates in sympathy with the strings, certain frenquencies will be cancelled, attenuated or boosted by the interaction between the string and the structure, this isn't some dippy xyz wood species sounds a certain way BS, but simple physics, and the same reason that deadspots occur on bass necks. Propagation of vibration through solid materials is directly affected by their physical properties, for engineering purposes, these properties are easy to control for refined metal and plastics, but trees not so much. IMHO the grain structure, density and moisture content of the timber is way more important than specific wood species, and is one of the reasons why if you try a bunch of identically specced mass manufactured guitars or basses back to back, you will find that some are better than others and this is noticable both amplified and unamplified, and that weight can vary quite a bit from one example of a given design to another. The main variable that cannot be controlled easily in a modern production enviroment is the quality of the individual bits of wood. The cheaper the instruments, the bigger the variation as they are being built down to a price, so lower grade timber isn't being screened from the production process. When I've made comparisons like this in the past, the difference in tone tends to be subtle, but responsiveness to playing dynamics, clarity and sustain is much more noticable and makes certain instruments seem to "sing" easily in comparison to others, or the notes in certain registers have more energy or definition, with the exact same strings, pickups & electrics through the same amp on the same settings. You could also make the argument that some of this variation might be caused by inconsistency in the amount of glue used in joints, neck/pocket seating accuracy, nut seating etc and I would be in agreement, but modern manufacturing processes have really tightened the overall QC on even the cheapest instruments and consistency is much more about variations in materials now from what I've seen of modern buget offerings including basses that retail new in the sub £100 bracket.

Would it be worth considering wiring the J neck pup with its own tone control or a switch for the neck pup that engages a tone cap so it acts in the same way that rolling the tone control all the way off does. This would save routing and magnetic string pull issues, and you could hook it up easily to test before commiting to any permanent mods.

Play lots and pick what works for you. As wood is not a homogenous engineering material, there is no substitute for hands on testing, and quality of strings and attention to good setup make a massive difference. A neck profile that fits your hand is way more important than the badge on the headstock IMHO.

[quote name='Si600' timestamp='1402644139' post='2475528'] The cabs are instrument cable connected [/quote] I sincerely hope you mean that you used proper speaker cables with 1/4" jack connectors, and didn't actually use instrument cables to hook up the cabs to your amp.

I don't own one of the cabs, so I was just making an educated guess - once you have measured and calculated it might be a good idea to revisit the thread with the numbers and discuss further with the guys who really know about cab design. Before you commit to a build it might be worth considering the loss in efficiency without the horn loading and whether you will still have enough SPL, but that is going to depend a lot on your individual band circumstances. I'm sure one of the more knowledgeable speaker builders would be able to make a pretty good guess about the decrease in efficiency if you also measured up the dimensions of the woofer horn.

@OP before you consider buying different gear, how about posting a picture/detailed description of how you normally set the EQ and whether you use the deep setting and subharmonic generator on your amp. You may not need to buy anything at all.

Is your cab is like the one pictured here http://www.wikizic.org/Cerwin-Vega-V-35/gallery-2.htm Bit hard to tell from a photo, but that looks to me like the cab is a bass reflex enclosure with horn coupling for the woofer rather than a folded horn arrangement - have you confirmed the cabs internal construction details by removing the drivers and access panels so you can get a good look inside? If I'm right, then you should have the correct port dimensions and cab volume right there, and providing you can work out the capacity of the awkward shaped voids around the horn it should shrink down to a nice neat ported box.

Maybe try posting a picture of your bass, clearly showing the machinehead with the missing part and at least one other machinehead without the part missing. If it is the cog retaining screw, then the best bet is take one of the others to an engineers merchant who will be able to identify the correct thread size and should be ably to provide you with a replacement that will keep the bass functional even if you cannot get an exact cosmetic match.

[quote name='xgsjx' timestamp='1402469283' post='2473729'] I know many of you wont understand the reasons fully, but thanks for the encouraging words. After spending quite some time praying that I'm doing the right thing, I've found it's because music has always been an idol to me. One of the first things I do in the morning & last things I do at night is read about music & come on here (still doing it too!). Every spare minute if I'm not on here, I'm playing my bass or playing about with something related to music. It needs to be broken so that I have no idols. Once this has been done, then maybe music can be part of my life & not be idolised by me. Doing this has a strange feeling with it, very similar to when I quit smoking. I feel like I'm breaking free, but there's a part that is sad that the good parts shall be missed. It's not about the playing of an instrument, but my relationship with instruments. If I'm to be a musician, I'm sure it will be. I can always buy another bass/pedalboard/rig, I might come back to keys or to an instrument I've never played before like cello or sax. If it's my calling to praise God in worship songs, then most churches have their own instruments. Maybe God is just like the rest of you & hates it when I play a bit of slap bass & he's had enough. [/quote] This sounds to me like talking to a professional counsellor and getting some perspective on what is going on in your life emotionally and psychologically would be a good idea. Are you unhappy about your behaviour, or about music? I suspect that maybe the root cause if this is that obsessing about bass is eating too much time, and as a result other aspects of your life are being neglected and this is causing you to feel unhappy, and reach for the nearest thing you like to try to fill the void which is making a feedback loop. My advice would be not to quit, but dedicate some time for family/friends and other activities that enrich your life other than playing bass. And maybe playing "donald where's your trousers"(or whatever they can relate to) down the local old folks home and getting them to join in is a suitably positive contribution to humanity to be worthy of consideration in addition to playing worship songs in church.

Could this be resolved simply with a shelf/slot port, either a single or double ([url="http://www.markbass.it/upload_area/photos/0/Standard_104HF.jpg"]like this maybe[/url]) port slot arrangement? I'm not really up to speed on the intricacies of port design, but could the testing results from the round port tubes you are using on the prototype be translated into dimensions for different shaped ports relatively easily based on area and length, or are there more complex factors that would prevent a mathematical transposition?

The ad reads £4,000,000 not £4,000