luckydog

Yes, but only if the two single coil PUs are made as a mirrored pair, ie magnet sense AND winding sense reversed on one of them relative to the other - that is what makes a humbucking arrangement.

If the PUs are identical, it won't buck hum but will otherwise work.

To check what you've got, see if the magnets attract when the PUs top surfaces are brought together, that means the mag sense is different and you have a go-er. If so, coil sense is just down to which way round you connect the output leads, so trial and error it will sound thin the wrong way round - HTH !

LD

PS: Hope I understood what you mean to do, neck/bridge/humbucker from 2 single coil PUs ?!

[QUOTE]Opticaleye said: "I used Markbass for years while not being keen on the look (yellow cones and ugly large plastic-y logo) but the build quality/components were excellent. I now use the fairly divisive V-framed TKS cabs but I personally love the look."[/QUOTE]Yes, these are modern classics and make their place in the history of it al both visually and sonically. Bass amp brand has a strong visual element, love it or hate it. I suppose even GK has a brand look !

LD

My 2p worth:

Classic amps/cabs are iconic in both sound and style, as are guitars of course. To me such things matter more than I'd ever care to admit, even though I've owned and used plenty of style-less rigs that sounded good.

LD

[QUOTE]I have to wonder how you create the acceleration required to break off a speaker basket. Dropped from a great height or slammed down only begins to cover it. [/QUOTE] Guess the basket is a casting and brittle, and the magnet is a thumping large mass as you say, DBerriff. I've seen my share of damaged speaker drivers, but this is something else..........?!

Tea and sympathy.

LD

[font=Calibri][size=4][color=#000000]Thank you DiMarco for that fine post. And yes, overtones which determine character of sound depend on both strings and the instrument itself, inc material and shape. So horses for courses, strings for basses, and instruments of the same type can sound different, and that's even before one overlays the effect of different strings ![/color][/size][/font]

[font=Calibri][size=4][color=#000000]LD[/color][/size][/font]

[font="Calibri"][size="3"][color="#000000"]My 2p worth is that it’s good to both rehearse and gig with the same sound and playability, so always the same rig and guitar for a given project. [/color][/size][/font]

[font="Calibri"][size="3"][color="#000000"]LD[/color][/size][/font]

Ernie Ball roundwound NPS for me.

It's more that they are familiar than I prefer them - in fact when they are new I can't wait for them to lose some of the zing. On Fender P and J basses, and in heavy gauge.

LD

I'm too new to the forum ! The story will have to wait, I doubt many would believe me and I wouldn't blame them !

But I figure it was destiny that I should change the neck, maybe for you too, who knows ?!

LD

Thanks - hard to tell, but seems that what's catching is the bridge end frets - in which case you simply need to raise the saddle, which will have most effect at the bridge end frets. This will raise the whole action a little, but looks like it will stand that. Don't tickle it, raise the saddle quite a bit and see if the action is then workable/playable when the problem goes away.

Otherwise, it is also possible that setup of one or more of nut/bow/bridge is out, in which case getting it set up will be 40 quid or so well invested, and at least you'll know. Check out 'ski-ramp' too on google. HTH!

LD

The only genuine Fender neck I have experience of did not come pre-drilled, and this was quite a skilled operation to get the right gauge, depth and location when making the holes.

I have a fantastic story about what I found when I took the old neck off, used as packing material in the body pocket, but that's for another day !

LD

Try a 110 or 120 string: perhaps there's an overtone sting resonance with the guitar, and if so that should move it? On a P bass I wouldn't be afraid to set the action high, it does good things when you can dig in to it and maybe more punch that way - at the penalty of making it a physical play, not a bad thing nec. Wouldn't be afraid to lower the PU either, but doesn't look wildly out. HTH!

LD

FinnDave, my bad about which finger is hurt.

Perhaps you can grip well just using index finger and thumb, no 2nd finger involved even for support? If you point your small finger straight and down away from your thumb it happens naturally I think, but in time that shouldn't be necessary and a relaxed hand is good. That is my normal grip, BTW, no 2nd finger involved even for support and relaxed hand, but the pick needs to be small and short really. HTH!

LD

Well, at least you gave it a shot FinnDave. Did you get a stubby to try ? Also, I think a grip between thumb and 2nd finger (supported by 3rd finger) might just work, keeping your index finger up and out of the way if that helps ? Bummer on the delay to the graft.....

LD

Thank you, Ped. This seems a genuine, friendly, informed and interesting site - nice and thank you.

Yes I played at, and regularly saw bands at, the Hollybush decades ago now....or was it all a dream ? Maybe the echoes of your playing around here still draws players to your site ?

LD

Wow, Mike.

"Things are getting strange, I'm starting to worry
This could be a case for Mulder and Scully"



LD

[QUOTE]As far as I'm aware, if they pay you as a friend/gift, they can't reclaim the money.[/QUOTE]Even if so, the buyer would then have no protection (so why would they?), and in fact it is not a gift payment so in event of a dispute none of this is going to look very clever at all to Paypal......?

[QUOTE]add to that a tone alters a lot as you get further away and without a sound engineer and a separate mixing desk you're relying on people you trust to advise you what you sound like....[/QUOTE]Good FOH engineer operating good PA who knows what you're aiming for, and as quiet bass sound as works pointing across the band for monitoring so that FOH engineer actually has control of what it sounds like at the front......that's the way to fly IMO. Discipline in the whole band as to levels. Even for pub gigs that's what we do these days, and it helps keep FOH level relatively quiet and under control.

Takes the strain out of getting good sound, and can focus on playing, no twidling as the gig wears on, just focus on playing. It means thinking of the FOH engineer as part of the band - that's what we do.

LD

Different sound when playing the same note on different strings is probably due to overtones/harmonic content being different and the way the instrument or the amp/cab/room behaves with those overtones.......

Different tonal quality of the same note on different strings is normal to an extent, it's part of the instrument. If overtones resonate that is when it becomes prominent.

Try different gauge/brand/wind strings HTH!

LD

Here's a sort of rough rule of thumb of for how eq settings might generally map on to sounds

31Hz Chest/Gut
63Hz Bottom
125Hz Thump
250Hz Fullness
500Hz Honk
1kHz Whack
2kHz Pluck
4kHz Edge

I thought the OP settings looked plausible for a good band mix with a precision in a difficult room without mid preshape.....but much depends what one is aiming for in character of bass sound and one has to be guided by ears not by eyes.

LD

Ha ! This is way beyond coincidence, and demands explanation ! Where's Mulder and Scully when you need them........?

Thank you, Telebass.

LD

Oh yes, +1 what is already posted that gauge, wind and material seriously affect tone.

I generally use heavy strings, 120 or 110 through 60 or 55 NPS roundwound. It works for me on P and J basses, but makes for a physical play. The sound has gravity over lighter strings, richer/deeper, and still has mid character.

Well worth finding what works for your bass and for you IMO, and get your action set to suit.

LD

[QUOTE]Doesn't take long to realise how amazing they are but as you say, weight, storage and transport are a nightmare. [/QUOTE]An SVT rig is not just for Christmas.....
.
And it can't be worse than our Hammond/Leslie.....but we adapt and love it like a pet I suppose! And it does sound fabulous......

LD

For sure, I'm up for that !

That would be 288W rms per cab at the onset of clipping. That would be [i]seriously[/i] loud, and most of the time you won't come anywhere close. Personally, I'd feel fine about a 300W rms rated cab in your situation, but the more important factor in deciding IMO is how the rig sounds at normal playing levels.

HTH!

LD

Perception of loudness I think would be higher today because of the fashion for prominent upper mids and highs. Drums/cymbals about the same when unmiked, but the whole level gets set by drums really, and mic'ing is more common these days, and bass level has to fit to cover drum level. Louder today then on average, I think.
LD