SpondonBassed

I'd be interested if it was a five... and it wasn't on EB... and the seller was open to a haggle... and it was local so I could try before I buy...and if I wasn't reminded of Leo every time I looked at the body shape... and it... Nah, forget it. I bought my five string Steiny for that sort of money new. I have a B2A as well. I think I've had 'nuff of headless bass for a bit. Funny enough, I never wanted to progress to a composite version or a Status. I like the sound of wood and these days I am mostly tending towards the full bodied guitars with compact heads. @T-Bay I'd like to try the headless Thunderbird still. Making the body from scratch should make it interesting when it comes to hanging it off the strap. "The sit" as @Andyjr1515 describes it. Are you keeping a book as to whether the nut will end up at ear, shoulder or elbow level? I'll have a punt on it floating nicely at the shoulder. (Yippee! I finally got how to tag other members into the conversation. Er, did I really just admit to that out loud?)

Sorry. I'm only halfway through reading it. Hahahaha!

@charic the search engine works. I'm not sure why I can't tag your name like everyone else seems to. Fixed

Agreed. I'll get the pancakes and hoisin sauce.

Aw knackers. We still love ya anyway.

Something to look forward to. Good one.

That's got some lovely clean lines. Very nice.

Cool.

Welcome Simone. That's a nice bass. I really like the direct wiring idea.

That's a very good point. Even my pocket-list is a crutch. I'd not have gone without that though. I seldom needed it but when another member of the group asks How does that go again? just before a performance it's helped me not to lose the plot with nerves.

I am reassured to hear that the ultra-light Bass is the one that you will show-off. The guitar stuff is just to demonstrate that you've been there and done that - right? Heeheehee. I am only jesting when I say that I now think of the ultra-light bass as the Featherlight. Other names are available if Durex decide to get uppity about it.

I'm assuming that you've got a start on singing while playing. It's more than I have so take/reject my advice accordingly; As a lapsed chorister I'd suggest that you do the repetition thing but only up to the point of reading through twice for each song during a session. Too many repetitions in one go can slow you to the point of wanting to give up. If you can, try to do the whole set in one session at the earliest opportunity. It's hateful to think that after doing the work there are yet more songs to tick off the list. Make personal associations in your mind with the lyrics so that you have more of a connection to them. For instance, if you are learning Mustang Sally, picture a horse but with the head of anyone you know called Sally on it. The more silly the association, the more memorable it is. From memory, copy the first line of each song, in hand-writing, onto a piece of low-tech paper. The act of hand-writing the first line (or two or three if needed) made a more lasting imprint on my memory. The sheet used to go in my pocket. It was good to know that it was there, like the key to a lock, any time I needed it. It only got used a few times. You'll be fine but good luck anyway. How many songs have you got to learn and when do you aim to perform them? Is this an indication that there may be a hiatus in the compilation of material for the Hitch-Hikers Guide to the Kebabery? Do little Smugs get fed-up with being felt all of the time?

I agree with you that it is worth checking for equally good mechanical contact beneath the saddle at each string contact point. There must be full contact at each of the transducer's high spots. The example in the photo looks like it fits one way only but could it be that yours went in upside down? I don't think that the following is caused by the same thing as in your case but it sounded similar to your problem; 'In 1968, Baldwin produced the first under-the-saddle transducer, which could reproduce the vibrations of both the guitar’s top and its strings. The pickup—essentially a thin strip of piezos that could be sandwiched under the guitar’s saddle—suffered from uneven string-to-string balance, and it was exclusive to Baldwin’s guitars. But its potential didn’t go unnoticed by modern acoustic pioneers Ovation. When their star endorsee, Glen Campbell, became tempted by the Baldwin system, Ovation’s R&D team worked overtime to produce a better unit. The result was an under-the-saddle pickup with pure tone and exceptional balance. It proved so popular that Ovation became synonymous with the term electric-acoustic.' http://gear-vault.com/how-do-piezo-acoustic-work/

Hahahahahaha. I understand why you'd want to be defensive about the decal. That topic brought out some surprisingly strong feelings here and there. On the decal itself; when you say that you did one, how was it done? Is there a special printer paper that you can get or what?

What? Which Watts? The Watts what you listen to or the ones what you see under 'Members'? I thought that was a nice touch.

I might be interested in taking it as is. Depends on whether he's up for a cheap sale. PM me if you think it's worth pursuing.

It happens. I dropped a contact with a chap who's main thing was keyboards and MIDI. He answered the JMB ad I had up a couple of years ago. He'd looked for bass to go with his guitar and singing. Right from the off his attitude was both patronising and stifling. I suppose he thought he was being hospitable but I couldn't wait to get out of the session. It's right what they say - auditions and interviews cut two-ways. I rejected his application for me to play with him. Heeheehee. Of course I didn't say that to him. Rather I claimed that his set list was too much for my feeble ability and that he'd be better looking elsewhere while I stuck to my humble set. I sometimes wish I had stuck it out but I didn't feel there was any level on which we'd ever click, if you get my meaning.

Fewer expectations? I have a hard time believing that but whatever you say. Heeheehee.

Is that a composite neck then?

I find that just the right amount of dirt on the air delivers a fair amount of heft alright. [A stifled fart murmurs gently behind the conversation]. Smoothness is not guaranteed using dirty air however. An especially lumpy delivery could mean that you have to pick the bits out of it. I run a stench filter on a foot pedal as a matter of routine. I mean, you just don't know who's been pumping it out on stage before you do you?

I'd click the Sad button but I don't want to be negative about it. Crikey! You must have cables everywhere by now. How long have you been doing them? Have a Thanks instead.

So... If you go wireless, is sound reproduction more faithful when you wear a tin foil hat to contain your stray energetic thoughts about what to spend your next tax rebate on? GASsing like a good 'un.

Did you say this is to be a showpiece for AJR guitars Andy? If not, I am sure you'd struggle to find a better example of your art. I'm waiting eagerly to hear news of how it sounds now. No pressure.

I was amazed years ago when I was taught that Balsa is in fact a hardwood. It's all about water content, not perceived hardness apparently. 'Balsa - is a pale white to gray. It has a distinct velvety feel. It has exceptional strength to weight properties. It is the lightest and softest wood on the market. A hardwood.' http://mr-dt.com/materials/hardwoods.htm