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FatDrunkStupid

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    Scarborough, UK

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  1. Thanks all. For some reason it never occurred to me to use threaded/multislot saddles. That's definitely the way to go.
  2. There's been a few comments on here about bridge/neck misalignment issues and occasional poor manufacturer QA in general. I must've been lucky over the years because I've never really run into this kind of problem (not that I've ever really looked for nor noticed it). However, I recently bought a MIM Precision as a back up instrument and one of the first things I noticed was that the bridge seems to be slightly offset, pushing the strings towards the treble side of the fingerboard. The reason I didn't return it immediately is because it plays and intonates perfectly, holds its tune and I've never had issues with the G string slipping off the fingerboard while playing. And I thought that maybe this kind of thing was normal for Fenders. But what has once been seen cannot be unseen, especially for someone as OCD-afflicted as me. Can anyone recommend a drop-in replacement bridge for a recent MIM Precision that allows alignment/string spacing adjustment (I think Schaller used to make one but it seems to be unavailable). Many thanks!
  3. (Slight thread resurrection) I also used to play trombone semi-professionally and it's required to be able to sight read bass clef (jazz, concert bands), tenor clef (orchestral, brass bands), alto clef (orchestral), treble clef Bb transposed (brass bands) and treble clef concert (just because). For bass, bass clef makes most sense (duh). For trombone, tenor clef is best (although not often used) because it's written in concert pitch and requires far fewer ledger lines when playing in the upper register. Take a look at lead trombone parts in big bands or jazz solo transcriptions - 6+ ledger lines on occasion - sometimes up to 8. Sometimes "tradition" is an donkey
  4. It's a case of "adapt or die". The reality is that if you don't have an online store in addition to your high street outlet, your days are numbered unless you already have a very loyal clientele and/or occupy a specific niche that's not well catered for elsewhere. It doesn't matter whether you think this is a good thing or not, it's just how things are. Business doesn't care about sentimentality, it only cares about money. The only guitar store close to me that has a reasonable selection of basses (more than 2 or 3 in a dusty corner) is known for high end and boutique instruments - we're talking Fender Custom Shop, Martin, Taylor and the like with prices of £2000+. Which is fine, there's clearly a market for that kind of thing and they do a lot of online business which is the reason they're still around I guess. But there are a couple of problems: I can't comment on the guitars because I don't know the market but without exception, all of their basses are horrendously overpriced when compared to suppliers such as Anderton's, Thomann and the like. Why would I want to pay £800 for a MIM Jazz? Their customer service had better be exceptional. Which leads me to: The staff look down their nose at you unless you feign interest in one of the more expensive items. They act exasperated if you want to buy something as trivial as a set of strings and are generally rude and unhelpful. These problems aren't isolated to music stores of course but given the current state of the retail market and slow decline in live music you would've thought that they'd want to encourage occasional trade, if only for the sake of "word of mouth" referrals.
  5. I foolishly took a punt on a new, full warranty Yamaha TRB-1005J on eBay since the seller was a "known" shop and the asking price was less than half MRP (significantly cheaper than the several used examples currently on t'bay). It arrived today, brand new in original box, all protective stickies still attached, sealed manual, battery and toolkit. Only a minor setup required. I'm still mystified by it all.
  6. Bass is in Scarborough, North Yorkshire. Could courier at cost.
  7. Ibanez SR705 5-string fretless in brown burst. Little used (2 rehearsals, light home recording use) and as new with no dings or scratches and still with original flatwound strings (and battery!). 3 octave neck, 2 humbuckers + bridge piezo (with individual string balance controls). Controls: Volume (neck), volume (bridge), volume piezo, 2-band EQ, piezo tone. Brilliant jazz bass which does a remarkable acoustic bass impersonation and is also capable of growling like crazy or producing full, classic fretless tones when required. Complete with as new condition Gator semi-hard case (as shown in photos). £450.00. May consider swap for decent nearly new (Fender) MIM Jazz or used MIA Jazz.
  8. Thanks guys. Found a local luthier with an excellent reputation who mentioned the Stu-Mac tool (I'd never heard of them before) who's going to take a look and do a proper setup for me while he's at it. And even after all I've said on here previously and even though the G&L is a lovely bass I find myself wanting another Jazz. If I could sneak a Squire VM under the radar I can keep the G&L for recording...
  9. I recently purchased a (new) G&L M2000. Great sounding bass but the action's very high from the factory. After the usual checking and measuring I attempted to tighten the truss road slightly - it seemed extremely stiff (maybe maxxed out already?). After applying more pressure than felt appropriate (but I carried on anyway...) the allan key seemed to turn. I should've stopped there and then but nope, the key suddenly turned and now I have a truss rod nut with a rounded head. Bugger. Totally my own fault and I feel like a fool. Question is, what now? How badly screwed(!) am I? How common is it for truss rods to be fully tightened from the factory - seems like a QA failure.
  10. Holy thread resurrection! It's taken a while but after trying what feels like a million different instruments including a few that were way out of my price range (just for comparison purposes), I've finally bought a G&L M2000 GTS. Feels great, sounds great. Just wanted to close this one down and thank everyone once more for all the suggestions. I know the M2000 doesn't satisfy ANY of the criteria I outlined in my original post but I guess the lesson to be learned is that you shouldn't limit yourself to what you [i]think[/i] you need...
  11. Thanks for the tip on the G&Ls - I never really considered them because of the close pickup spacing on most models and the fact that the neck pickup is a long way from the neck. How does this affect the bottom end? I guess I need to try one. The reason the Rithmic is top of my list is because I've heard nothing but good things about them and it looks like the kind of thing I'm after in terms of scale, pickup configuration and string spacing (not that that means a lot, I know and I've yet to play one myself). Thanks for all the advice, keep it coming!
  12. Hi inmates. I hope that this isn't one of "those" posts. Apologies in advance if it is but I did do due lurking dilligence, honest. I'm an ex-semi-pro bassist (did music college, sessions, pit work etc.) who was forced to join the rat race and sell most of my gear for the usual reasons. 25 years later I want to get back into playing and am fortunate to be able to afford some decent gear. Apart from a brief fliration with Yamahas I've always been a jazz bass guy and I guess I still am although due to a bout of middle-aged contrarian-ism I don't want another Fender or Fender-alike although I do want a 4 string with a jazz-style passive, dual pickup configuration and correspondingly simple controls. These are not "musts" but my starting point. So my short list currently is:[list] [*]Cort Rithmic (Jeff Berlin) [*]PRS SE Kingfisher [*]Chapman MLB-1 [*]?? [/list] What other instruments should I be looking at? I'll mostly be doing home recording and small club gigs so I've pretty much decided on a Mark Bass 300 combo but are open to suggestions in this area as well. All advice and/or personal abuse welcomed!
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