steve-soar

I can't see a ground wire coming from the bridge to the controls, does it make the noises when you don't play it? Does it make the noises in active and passive mode? Can you give me more details. I have a J retro that I fitted and a U Retro, so hopefully I can help. It is probably a grounding issue or it could be that the tops and bottoms of the control knobs are breaking contact, PM me and I'll give you details. Steve.

Yozzer, yozzer, yozzer. How much is the re-fin going to cost?

Ehhhh? Get your petrol money back from the numpty. How old is he? (Had to go out with mummy and daddy) and make you look like a tool? Not good.

Great live photos, get down with your bad self.

No, just put the bass in a "Leftigulator" so I can play it. It looks like Barbara Hepworth carved it.

I hope all this discussion results in more people commissioning instruments from Jim, as I think they are probably great value for a handmade piece. If all custom builders sold their creations based on a reasonable hourly rate of construction and cost price of materials, the vast majority of us wouldn't be able to afford them. I've done the maths on a certain UK builder based on instruments built in one year and approximate costs of woods and hardware and believe me, they do it for their love of the art.

[quote name='ARGH' post='306457' date='Oct 14 2008, 05:58 PM']The answer is tone,regarding bridge choice.....I asked Jim and his reply was "Its what he (The Customer) wanted" Lets not get into the idiotic discussion of the level I had on sevenstring.org a year ago...re: wooden bridges,they play in tune are easy to live with and work perfectly well. So you have a perfectly intonated fretless Ped?? Is that possible? Seeing as the fretting hand IS the intonation...thus bringing into question a players technique..I highly doubt your claim to be true,which then brings the question of what is perfect intonation,the answer being practically an impossibility in the western scale of a fretted neck and in the fretless players case the ears and hands. The 'lines' are guides..but as you know one little movement..the rolling of the fingertip and all the setting up and intonating in the world aint gonna help you out there..if we were really hardcore we wouldnt have dots on the side either (ala Jeff Ament) would we? On the question on adjusting the action upon the instrument? WHY?? WTF would you want to adjust the action after purchase?..you try it out when Jim finishes it,and if you dont like it its changed in the shop there and then,if you get a shift a week or two later,or its not to your taste then its easy enough to do,via a qualified Luthier...I dont know anyone on here that radically changes string guages week in week out,nor travels vast distances between timezones and climates,and if you were to get a big neck shift its why Trussrods are in existance...Of course any changes upon a Jim Fleeting are subject to a free setup at a 6 month interval (might be 12 months as well email Jim for information). If you can afford to change strings every week,and need diffent guages upon one instrument,I have the feeling you might be in enough money to own more than one instrument.[/quote]So, what you are saying is that you have never altered the action on any of the basses you have owned? As for different types of wood making no difference in the tone of basses, and if that is the case, any instrument made of wood, I have never heard anything so ostrich-like in my life! So, I don't like the action after a few days, I then have to take the time to go to Jims to have it tweeked, say if I live 200 miles away?

Wish bass? if I wished for a bass and one of these turned up, I'd put a brick over my Fairy Godmothers head. They look like the kind of basses Ren and Stimpy would play.

How would one alter the action?

Hi Doc I know what you mean, it could only do one thing well and that was punk fuzz bass, everything else played through it sounded grim. I use to have a McGregor Bassman 200 head with a HH 2X15, that sounded terrible and I knew that after only 3 months of playing bass. The first time I was anywhere even remotely happy with my sound was with a Peavey Combo 300, then I got an SVT II and that does put things into perspective. I didn't find anything that truely satisfied me until now, with the Aguilar DB680 or SVT IIP into a power amp, into my Tech cab, this rig gives my a mind blowing sound, ultra slam and as loud as an SVT stack and a third of the weight.

I couldn't get transport for the Tech 6x10 last night, so I hired an amp at the rehearsal rooms, I was told on the phone that it would be "working but we don't know which one it will be". I walked into the room with the drummer and there it was, a Carlsbro Stingray, probably 25+ years old, single 15" speaker in a big old box. As I remember, they were 150 watts into the single 15", I plugged in and guess what? it sounded sh*t, it was farting straight away and everything inside the cab was rattling but I will tell you this, it was stupidly loud and with a good replacement speaker, it would be one hell of a powerful amp. I had the volume on my bass at about 2/3 and the amp was no more than 3 and it totally overpowered drums, keys and vocals if I turned it up any more. If anybody is looking for a dirt cheap combo for punk/rock type sounds, here's your baby, it had a murderous natural distortion just from all of its problems but it sounded great when we were jamming punk/thrash riffs when we wre warming up. If you're looking for that kind of sound buy it and let it melt the face off the front row, with a pick and a Precision, you've got instant JJ Burnel circa 77-79. It's not all roses, there is no bottom end from it and a low B would be useless through it but I loved the time we spent together last night, I'll never forget you Carly. :wub: What other so-called "crappy" amps have suprised you?

[quote name='4000' post='305091' date='Oct 12 2008, 10:30 PM']Thanks! It actually is hollow; still weighs about 11 pounds though. Thought about a 32" scale, decided against it at the time for tonal reasons (although with hindsight I'm sure I'd have loved it just as much). If I ever have another built it will be 32" (or even 30").[/quote]We need to meet up.

[quote name='4000' post='304803' date='Oct 12 2008, 01:24 PM'][/quote]That is the most incredible bass I have ever seen. I would have mine hollowed out to save weight, 20 fret, 32". Again, it is stunning, I'm in love.

I've ordered it for myself, I hope it's good, better than his stand-up anyway. :brow:

[quote name='7string' post='293241' date='Sep 27 2008, 01:19 AM']Well we do have a Rottweiller already. My wife is really good with names though. We have a labrador called Bonnie, (as Bonnie is bonnie), a collie-cross called 'Satay' (as the favourite takeaway at the time was Malaysian satay chicken) and Rotty called 'Luna' (as we wanted a name which was passive rather than aggressive). Not all my basses have names though. My double bass which was sold to finance the 9 was called 'Delilah' and my Sei 7 is called 'Jezebel'. I'll keep you posted on the christening of the 9. Yup, that right [b]Finbar[/b], the tuning will be F# B E A D G C F Bb. [b]Fekalizatorius[/b] - Even at this stage the bass is looking really great and I'm really chuffed with it. Have a look at [url="http://www.acguitars.co.uk"]www.acguitars.co.uk[/url] for all the lowdown on AC Guitars. I'm sure Alan will be more than happy to answer any questions you might have about the 9 or anything ACG.[/quote]I think you should call it the "Brindle Bass" because of the pattern of the top.

[quote name='ARGH' post='303193' date='Oct 9 2008, 05:39 PM']Yummy innit![/quote]Couple of things, the tuners look to be too close to the sides of the headstock and too small, I would imagine tuning to be awkward and there seems to be little or no contouring on the body. One more, would intonation be a bit of a hit and miss affair with the saddle arrangement?