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Looks nothing like a Fender neck to my eyes. But you need to upload a pic of the neck end where it joins the body, there should probably be a date stamp on there. The headstock is not a Fender shape, it's is clearly wrong, looks like a Jap copy. The binding is too thick on the fretboard. The machines plates screw holes are for small plates, not full sized Fenders. The neck carve is not like any Fender I've seen, either at the heel or the headstock end. It all looks wrong to me, and it's a real mess, I wouldn't touch it for more than a fiver EDIT: I would hazard a guess it's 1980s Jap Crap.

This is Vinnie Moore, he's a guitarist. Forget the hair and that, he's a fabulous guitarist and he explains the modes really well for the novice/intermediate player. It's in three parts, this is the first. You'll see links in youtube to the other two.

[quote name='51m0n' post='1252627' date='Jun 1 2011, 01:08 PM']Fair enough, I will redouble my efforts to get the lot done so she can post them up as soon as possible, just the wedding & honeymoon slowing me down....[/quote] Don't you worry about that mate, your wedding and honymoon are the absolute priority. Wait until afterwards then you can concentrate on you both having the best day of your lives so far

[quote name='51m0n' post='1252612' date='Jun 1 2011, 12:55 PM']You'll have to post some examples or people will think I'm bribing you mate [/quote] I'd love to, but then Kit would kill me Honestly, I know my tones are decent to begin with, but my bass has never sounded so good mate!

[quote name='Beedster' post='1252597' date='Jun 1 2011, 12:45 PM']How unlike you to mention compression 51m0n Thanks mate, thought you'd be along pretty quick! Having thought about it a little more, [b]I guess what I've noticed with adding some dirt to the bass in recording is that whilst soloed it sounds distorted, in the mix it doesn't, and in fact sounds surprisingly like the original bass track, just without the needles and cones bouncing around so much (i.e., the natural compression you mention). It definitely doesn't sound more middy to my ear, that's for sure. [/b] Another reason for my line of thinking in this is that, like Clarky, I play DB against a big drummer and it can be a struggle to get the bass up in the mix without changing the tone dramatically. I'm wondering whether, somewhat counter-intuitively, I should be ramping up the gain of the DB signal a little also? C[/quote] Exactly my approach for the last couple of years. I never use a clean bass sound now, it's always dirty but sounds lovely and warm in the mix. I just clean it up in the quiet parts by being gentle on the strings.

If the bass sound 5im0n is getting on my band's mixes is anything to go by, I can only concur. 5imon makes me sound like I have the best tone in the world It's a delight to listen to. The tone had some drive and a fair amount of low mid, but it sounds amazing now Si's got hold of it!

[quote name='matej4444' post='1251172' date='May 31 2011, 10:25 AM']warwick uses schaller straplocks. you can find them on thomann.de original made for warwick[/quote] No they don't. Warwick use Warwick Security Locks. The nearest to them is the Dunlop system What you have is the old style Warwick recessed straplocks, there is nothing I'm aware of currently on the market. You may be able to get hold of them somewhere. Contact Warwick in the first instance about your options, they are very helpful. [url="http://warwick.de/modules/support/request.php?katID=14549&cl=EN"]http://warwick.de/modules/support/request....14549&cl=EN[/url]

[quote name='Soliloquy' post='1250431' date='May 30 2011, 04:07 PM']Speaking from personal experience. I would be a little careful when adjusting a Warwick bass truss rod. The bit that the adjusting tool fits into is made from aluminium, and is very soft. I had a Thumb bass last year that ended up needing a new truss rod. I'm not trying to scare the OP here. It does seem to be a common problem with them, have a look on the Warwick bass forum and you'll see what I mean.[/quote] Not all Warwick truss rods are created equal I have never had any issues of this nature with four Warwicks I've had. And I messed with the truss rods quite a lot.

Am I allowed to enter the competition with this? [url="http://basschat.co.uk/index.php?showtopic=48946&st=60&p=489127&hl=sash&#entry489127"]http://basschat.co.uk/index.php?showtopic=...mp;#entry489127[/url]

I'm not really sure what this poll is telling me

[quote name='stevie' post='1250448' date='May 30 2011, 04:28 PM']I think you mean 0.5cm. [/quote] No, I didn't. I meant 0.5mm

He got back to me saying he's tried almost every string going, including DRs. Didn't say if they were round core though. He reckons I may have over-tightened the screws. Anyway, he's cool and will refund me including the return shipping. Live and learn, and spend cash doing it

[quote name='carl0s' post='1249368' date='May 29 2011, 04:28 PM']I've decided that the buzz I'm getting is actually my headphones resonating. I have some AKG K240 MK2s that I bought for my drum kit. I've Googled "bass practice headphones" but not had much luck. Any recommendations? Running from my POD X3 live. cheers, Carl[/quote] I also have a POD X3 LIVE. I bought some new proper monitoring headphones a few weeks ago for my studio. A good few people are recommending KRK KNS 8400 so that's what I got. [url="http://www.krksys.com/krk-headphones/kns-8400.html"]http://www.krksys.com/krk-headphones/kns-8400.html[/url] They are brilliant! [u]Plenty[/u] of bass, down to 5Hz, up to 23kHz and very low distortion. The bass gets better after a few days use, you have to run them in like most speakers. £129 from Digital Village. KRK KNS 8400 Overview RECORD. MIX. MONITOR. ENJOY. KRK Headphones provide a precise listening experience that takes you from personal studio to commercial studio to on-the-go track evaluations -- and they allow you to accurately enjoy your music with the consistent voicing philosophy and honest reproduction top producers, studio musicians, performers and engineers have come to trust. KRK headphones provide incredibly natural frequency response that gives you a reference standard unaffected by your location. Day or night. Studio or home. Without disturbing others. Without compromising your tracks. Passionate about music and interested in experiencing the artist's vision as it was intended to be heard? Then experience KRK. Headphones for Educated Ears. Looking for a pair of headphones that are specifically designed to replicate music as it should be heard with the ability to satisfy experienced ears? Get your head around this: KRK has always been focused solely on accurate monitoring. The KNS 8400 -- with their ability to reveal exactly what you have on the tracks is an ideal choice for critical listening. Being able to discern the most subtle differences in pitch, timbre and tone helps you to get it right every mix, every take, every performance. Isolating memory foam in the ear cushions delivers improved low end response and because they gently conform to your unique head shape you'll be comfortable wearing them all day. PERFORMANCE Accurate, natural and wide frequency response Class leading KRK sound clarity, very low-distortion Precise Imaging and extended LF response High isolation for both noise rejection and leakage UTILITY Detachable and replaceable locking cable Rotating ear cups for travel and storage Durable, impact resistant materials throughout Replaceable ear and head cushions COMFORT Lightweight construction for use over long sessions Adjustable low-pressure headband system Ear and head cushions utilize advanced memory foam Self-aligning yoke system ensures the best possible fit

Excellent work!

I LOVE the JANs. JAN III is by miles the best design. Warwick admitted the JAN I had a number of design faults, the stupid screw design being the main one, the JAN II was total sh*t, sharp edge, and the retainers broke off. But the JAN III is fabulous. I have had the moulded one and currently have the brass one. The brass one is lovely but the moulded one is just as good, it's purely a looks and money issue I reckon. I think the height adjustment is useful, just for getting the optimum set up. The four string only comes in 38mm (Jazz Bass nut width) so bear that in mind.

[quote name='dc2009' post='1248750' date='May 28 2011, 10:52 PM']Attached are a very small part of the notes for my maths exam a week on thursday, they include a nice analysis on how guitar strings work the way the do. The section can be read on it's own, and is very short (think it's 3.3) but the stuff before is decent background reading if you need it to rejig your maths brain. Personally I find it very comforting to know that we understand how these things work, and can exploit them to make lovely sounding guitars and basses. Just uploaded it for anyone who is interested. So please enjoy, Dan[/quote] Thanks for that. Cocktail with Tom Cruise is about to start so I'll finish reading it later. Ta.

[quote name='Lfalex v1.1' post='1248610' date='May 28 2011, 08:29 PM']It's a known issue. Well, it certainly is at Status towers. During a lengthy conversation with Dawn, she explained that whilst they'd love to do round-cored Hotwires, they just keep coming unwrapped. Even Double Ball-ended ones, and always at the head(less?) end. Strange.[/quote] Mmm, I've never had a problem with DRs but they flatten the core at the tuner end.

[quote name='stu_g' post='1248679' date='May 28 2011, 09:31 PM']they are both totally loosened off[/quote] The one with the back bow can't be, it must be something else.

Regarding the nut width, a Jazz is 38mm, so are most 4 string Warwicks. Ps are wider with 44.5mm being the widest I believe, but there are three common widths for the P. Far too wide for me, Jazz is perfect. 44.5 nut width feels like you need a passport to get from string to string.

[url="http://cgi.ebay.co.uk/Steinberger-Headless-Hohner-Cort-String-Adapter-/320705667153?_trksid=p4340.m506&_trkparms=algo%3DNGRI%26its%3DI%26itu%3DUA%26otn%3D8%26pmod%3D320699726503%26ps%3D63%26clkid%3D250358189248232068#ht_608wt_1141"]http://cgi.ebay.co.uk/Steinberger-Headless...8#ht_608wt_1141[/url] The guy is really nice and offered me a full refund, but I'm about £40 down on strings now. I think the problem is that my strings have round cores. DR are quite clear that round core strings do not allow the wraps to grip the cores in the way hex cores do, therefore they flatten the core at the end of the string that gets clipped and wound around the tuning machine post so the wraps don't unravel. I am now pretty sure that must be the problem as the clamp on the unit affects the part of the string with the round core, therefore the wrap has no grip and unravels. This happened to me on five strings. So, headless owners who want one of these, check your strings are hex core.

Assuming your bass is in decent nick, the neck's not warped, and the truss rod does not need much force to turn it, try the following. Fret the low string at the first fret, use a capo if you've got one. at the same time fret the same string at the twelfth fret. there should be a tiny gap between the string and the 6th, 7th and 8th frets. If it's more than about 0.5mm you could tighten your truss rod a 8th of a turn at a time until the gap is tiny. If there is no gap, loosen an 8th of a turn. Righty Tighty / Lefty Loosey looking along the neck from the end you are adjusting the truss rod at. DO NOT FORCE IT! If it does not want to move, take it to a good music shop with a good repairer. When you've got the gap right you'll probably have the right relief on your neck. Sight down the neck from the body end, in a playing position, the neck should have a slight concave bow in it, away from the strings. Bolt-ons can develop a slight S shaped relief due to the rigidity near where they join the body. To get a very low action you will probably need a fret level in this case. Even my Warwick 'vette had this. Then adjust the bridge saddles until you can play all the strings at all the frets without getting more than a little fret buzz when played firmly. Any proud frets should make themselves apparent by buzzing more than others. Remember it will be the fret above the one you have fretted the string on. You could then try leveling it with a stone or a fret file but take it to a good shop if you're not confident. Disclaimer: if you force the truss rod when it doesn't want to move, and it breaks off or you damage your instrument in some way, it is not going to be my fault

[quote name='RhysP' post='1248253' date='May 28 2011, 02:13 PM']If the bass plays fine & the wear isn't causing any problems I'd leave it. You could always have the frets dressed if it's bothering you.[/quote] I agree. But I would go for a fret level and dress, at a reputable luthier.

I really like the format of [url="http://www.andybaxterbass.com/guitars.php"]http://www.andybaxterbass.com/guitars.php[/url] In Basschat I would probably format an index for sale thread with one pic and a short summary of each bass, a bit like Andy's. And set up individual for sale threads for each bass with more pictures and details and link to them from the index - again, like Andy's.

[quote name='deepbass5' post='1248082' date='May 28 2011, 11:38 AM']Yes Chris-b i believe you are right, how your brain is wired is what marks us out between Technicians and gifted artists. [/quote] I tend to agree with Chris too. I think it's about whether you choose music, or music chooses you. That said, I think music chose me, but I only practice when I have a need to, so technically I'm very poor. Sitting on the sofa playing a bass doesn't normally float my rubber duck, but I'm thinking about music almost constantly. I tend to think that the music you make should be strongly linked to your emotions and how you feel about experiences, almost an unconscious expression of yourself through your instrument. Those musicians who spend much of their time practicing and not interacting with the world, or demonstrate little interest in the world and other people, I think often suffer a lack of expression and life in their playing. I think it takes extremely talented and naturally sociable musicians to achieve both great technical and theoretical ability AND have the time to experience the world and develop complexity in their feelings and emotions, and how they interact with and understand other people, and therefore achieve great levels of communication through their music. I think these people are rare, their synapses need to fire quicker, and need to make connections between concepts much quicker in order to have the time and energy to be interested in, and experience, the world and connect it to their music. There are plenty of people with either quality, but very few with both.

[quote name='CrazyDavey' post='1247766' date='May 28 2011, 12:05 AM']get a new bridge on there... Babicz Full Contact Hardware > Badass II.[/quote] There was a Tech Bench review of the Babicz in Bass Player recently, he reckoned he couldn't really hear any difference. Not sure about the Badass, mine was not really very helpful I don't think. The new owner of my Jazz took it off and but a standard Fender bridge on and he's happier with it. Scott Thunes reckons the Badass he put on his 65 P was a piece of junk and took it straight off. Geddy loves them. Who can say?