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rmorris

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Everything posted by rmorris

  1. Yes - and that's why I put a caveat in there 🙂 If I were considering a new (to me) bass then I would have the advantage of being within daily reach of that London so that does put a perspective on it.
  2. Yes SS not easy to cut although that varies with grade/quality. I have worked SS with hand tools and Dremel type multitools. Though not for guitar stuff. SS frets get worked. I guess thinking pre cut SS nuts for end users. Hassle of fine adjustments might be outweighed by benefits of longevity.
  3. Yeah - I vote: Visit shop ('proper bass /guitar' place that does setups etc.) Choose bass Play bass Play bass some more Buy bass only if it's set up and play in a way you like (also confirm that truss rod is not maxxed out or near to it) I know that it's not always easy to get to a good retailer and you don't get the advantage of distance selling rights but for something as tactile as a bass it has to be worth it ?
  4. Fair Enough. Lots of people seem to advocate making much use of the BLEND control but tbh I hardly ever back it off from 100% ! I will say that I only really like it with moderate amount of DRIVE before it gets obviously grossly distorted. But even online Sansamp demos seem to go for the 'Speaker Break Up' thing. And it can get too noisy for comfort if you crank the TREBLE and - especially - PRESENCE. Not wanting to sound negative - I'm still happy to turn up with a bass and BDDI and confident of getting a decent tone to desk / monitors. I find it the (gasp!) Behringer BD121 to sound just as good and less capable of giving me too much distortion but ability to run BDDI on phantom is a bonus.
  5. Well it seems the OP has had enough ? But in any case getting back to the issue I think the issue with the 'clack' likely comes down to: "I mean the 'clack' when I press a string and it hits the fret above and below." Taking that to mean that the OP tends to 'fret' somewhere behind the target fret rather than more 'on' it. Some setups won't have the same result and some basses won't make it as audible. And some players don't mind it. Raising the height at the nut might give some benefit depending on the fretting technique.
  6. I think it was referring to the lead time before they'd be able to do it due to other work lined up. As it happens I was emailing with the Bass Gallery a couple of months ago and the turnaround time was advised as around two weeks.
  7. Oh - let's not kick off the fretboard oil issue again 🙃 Meanwhile I'll have my frets level please regardless of the fret material !
  8. Just shorthand (not real shorthand obvs) to say I don't see the sense of the statement. Particularly why the frets being of stainless steel is relevant.
  9. Right. I see. That is proper interesting from an electronics approach cf the standard Hi-Z passive. Many Thanks.
  10. No. I was questioning the value, not the SI unit. 2.5k - I'm reading that as 2500 Ohms (2K5). Most pots in passive basses are min 250 kOhm (250K) and often 500K or 1M0. 2K5 is likely less than the DCR of a passive pickup. Even active EMGs typically spec 25K. 2K5 would be possible with active circuitry but other considerations eg power consumption of a battery powered circuit often lead to higher values of potentiometer resistance being used.
  11. I think we need some clarification on this from the OP...
  12. "...since it has stainless steel frets they would need to be making sure that they are level before leaving the factory" ????
  13. I think the issue is whether it would rigid enough for a scratch plate if it's covering cavities ?
  14. Isn't the message here that it will likely be fine but in some cases not ? Basically - Quality Control. So what is the returns policy. Obviously that doesn't cover long term performance. But in that context - I have both Westone basses (Matsomoku) and OLP basses. All good stuff but different constructions (apart from anything else) but the Westones are much more stable (basically never need adjustment) cf the OLPs that often need monitoring and truss rod tweaks.
  15. It depends on how much fret buzz you're willing to tolerate. Judging by the interweb a lot of people don't mind it to a degree that I find intrusive and just unpleasant.
  16. Yes - this. If the string is a tad sharp give it a pull - like when you stretch new strings for tuning stability.
  17. Well it's really based more on pro audio rather than HiFi. HiFi 'nonsense' sort of frowned upon and sort of an "Anti-Gearspace". Some good knowledge and advice there plus a good deal on valves and transformers too.
  18. If they are like the black multipin pre to power connector in my old GP7 head then it probably is a good solution to interconnection. I think the manufacturer is AMP. The connectors are basically aimed at automotive / vehicular applications and there are definitely vibration issues in that environment. They can seem not very 'solid' as the pins noticeably move (ie 'floating' pins) but is a deliberate design point so that the connection can move within limits and not snap as they might if 'solid'. They have a good deal of contact area so should be fine esp as they would be disconnected only for service or maintenance. Problems can and do arise where the quality of the crimp connection is not good - inappropriate size / type of wire or crimping technique / tooling in poor condition...
  19. Thanks. As it happens I work with / use test equipment that is very very serious kit and calibrated so I should be able to compare if I get one of these for my own use.
  20. Guess that's right. I did know about graphite in the slots. Sort of obvious - Graphtec etc. I guess graphite powder would be useful too.
  21. Hey ! Look at you matching transistors 🙂 You should come over and have a look at the GroupDIY "Pro Audio" website (my better half is disappointed that it's not about putting up shelves etc...)
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