Soledad
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Everything posted by Soledad
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Well spotted - didn't see that.
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I don't think it's very good physics - as I recall, the idea is get the flux gap down as low as poss, hence flux density as high as poss, plus better heat dissipation from voice coil. Then pack the coil as close as poss (max voicecoil density). So tapping the coil is not a great idea from performance p.o.v. surely. I remember the U.S. built JBLs featuring flat ribbon wire in order to max the coil packing into the flux gap - neat indeed. And a good mate who had a Fender Twin with the optional JBLs fitted - his Strat through that... cut you in half it would ')
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(ON HOLD) 1986 Ernie Ball Musicman Stingray Fretless
Soledad replied to JMT3781's topic in Basses For Sale
Isn't this just a bit Pino Palladino...?! Saw him playing an MM fretless natural in 1986 backing Go West at a showcase gig. Lovely bass -
Yep, it's just not in the right place, needed to be south east, far away from Ireland Never played one but I really liked my Thumb NT (fretless again) and the Mayones looks an absolute match (except BO) - the body wood may be a tads brighter than bubinga too. I looked it up and depending on source, amazaque, or maybe amazique, possibly AKA ovankol although some say it's a close relative to ovankol... bored yet?? Still want it, just can't reach it. -
Got it, I'd forgotten about that. Seems neat but I suspect efficiency would drop a bit when one coil (or half total whichever) is bypassed, half the copper in the flux gap doing nowt. Thanks for sorting that for me anyway - i'd been browsing 15" cabs and it came up.
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I know there's a very long thread here re impedance and it may be mentioned somewhere but - I notice Hartke (maybe others) feature switcheable impedance on their single-driver cabs - how? An example is the HD112, single 12", switchable 4/8 ohm. The only way I can think is to build a 4 ohm driver and put a dummy load in series, to turn half the power into heat inside the box. Excellent. Any knowledge please? I
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I've had to give up on this, at least for now. Too far away. Stunning Mayones bass hiding behind an obscure brand name. Deserves a good home and a bump from me. Sorry I couldn't sort it Bigthumb.
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PM sent
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The burst & t'shell board suit all the bling SO well - the neck binding, block markers, more knobs than our cooker.... coooer. If you need white get some trainers. Off to check this over tomorrow:
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I'd say yes, pretty much. Most of the woods and processes I have come across seem to emanate from the U.S. (not all, most) and they tend to talk about 'heat-treated' or 'thermally modified' - the latter if you are a lumber merchant as it helps justify the high prices Jabba - i will do some pics of the poplar I have - colour is quite a shock if you are familiar with unprocessed poplar (or tulipwood). Pleased I asked this - some very fine examples of applications here. Could be some really nice alternatives to bubinga to be had. I don't like bubinga - it stinks when you work it (like zebrano) - it's the wood's way of telling you it was happier where it was, in the forest. And it appears several species are protected now anyway. Very nice indeed - the ash takes on a very attractive honey tone - love both of those. The ash neck on the Marco is very distinctive, not the application I was expecting!
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vintage bits
Soledad replied to Soledad's topic in Accessories & Other Musically Related Items For Sale
The single tuner is gone - still got the bridge and Schallers - offers or swaps on the Schallers welcome, Fender bridge is a freebieswapthing. -
Warwick Reds - I checked G4M and Amazon, why don't they make scale length clear on packaging or in listing (unless I missed it). I've used D'addario for years but mayb try these, and investigate the Fenders mentioned. And I resiously dislike silk wraps - they look naff and don't seem to serve a useful purpose. The colours clash with my headstock and that hurts
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Hi, any buiders using or investigating the relatively new thermally modified hardwoods at all? I'm no luthier but build furniture and through that have come across TM (or heat treated) ash, maple and poplar - TM maple being used now by Veritas on their premium chisels for example. I've just collected a load of TM poplar (tulipwood) for a couple of things (some cabinet doors and a table top). I'm interested because the TM maple and ash could be interesting body woods (though might be over-bright) and colours are quite something. here's a pic of the Veritas chisel just for info- I doubt the poplar would be useful for instruments, but it comes out close to euro walnut and is consistent through a 2" board. Interesting stuff anyway. (I'll get some pics of the poplar once it's sized / planed).
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please can you tell me the wood used on the first pics here - some nice interlocked grain in there. And I'm guessing the second one is ash?
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OK, that's quite solid then. I'll have to up my guess a bit. I know a bloke, I'll get him to weigh his. Weird they don't put weight on the spec sheet. I do think some mass is a good thing tonally - all else equal it should aid sustain and help the mid-lower frequencies I believe. As for the active/passive switch adding weight, so does going from 40-100s to 45-105s
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anyone know the weight on a V7, can't even find it on the U.S. Sire site. I'll punt a guess: 8lb 6 oz / 3.8Kg. That's an alder/rosewood guess btw. Someone just chuck a V7/4 on thee scales please.
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My first fretless was a BC from The Bass Centre Wapping, around '93 I think. Very good indeed, would happily go for another. Traded it about 2 years later for a Thumb NT fretless but that BC was very nice. I really like the understated finishes too. If I ever saw a 5 fretless I'd be on it. Mine was light, v well balanced, excellent fingerboard (rosewood I think but very dark) - it looked a bit fragile after my Precision, but was well up to it. In the price range now (2nd hand) I'd recommend a look and play. BTW - there's a 4 fretless on FB at the mo - £270 >
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It's the superficial appeal of the deep cutaways that does it.
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That looks good, better already. If you're fussy you'd need to match the finish though - any ideas? Reminds me the number of makers that have tried to design a head shape so they didn't just copy Fender, or whoever. There aren't any good ideas left. I recall seeing an early Wal - boy was that an ugly headstock (IMHO).
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yep, I'm thinking late 64. I'd say any serious buyer would want the neck and plate off anyway. 54 years and no P/U or pot swaps? Handy link that ! Just dated my earlier one (S/N 42423) to 60 - 61 - all those years I'd never known.
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This is about serial numbers. There's a Precision on FB at the mo - claimed '63 and looks right (those mucky dot markers, the yellowing s'plate etc). But the SN is L20608. I know there would be a date on neck but he's not showing. Thing is I owned L16277 for years (also a Precision) and that was dated FEB '64 (on neck). Anyone got a similar vintage Precision? I think this one is genuine but may be rather later, say late 64 or early '65. Is there anything odd about S/N sequences on Fenders of this period. Oh, and it's 5.5k asking
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I think the prices are high (and will only get higher) for a few reasons: - players form strong emotional bonds with an instrument, so it's not an entirely rational purchase - the original Fender designs define 'the electric bass'. There aren't 2 classic cars that define 'classic cars' - those early basses are strongly associated with near mythical players - go back to the formative years of pop, rock, country, whatever. Fender bass is in every groove. - the buyers were kids then and have big cash now (same reason '60s classic cars fetch so much) - scarcity value The shame is that few of the 60s Fenders get played anymore, surely not in anger anyway. I think the early Fenders deserve to be many thousands, they have earned that right... bless them and move on.
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thanks for all your help. Got a pair of those Sony phones on way - s/h on the bay, £12.50 re passive, there is some risk of a Fender Jazz in there soon (MIJ '65 reissue maybe). Also have to dig out the 6.3 - 3.5 phone jack adapter - in a box somewhere very close now, report back soon as poss.
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JJ was my first inspiration, but I want to offer up the late Alan Spenner, starting with Delta Lady (Joe Cocker). These guys are exactly why I went Precision and stayed there. Please let me just slip the 'r' back in: Jamerson. That's it for me, prob took me years to get it. What you give to the track is THE point - the great bass players are generous to their fellow musicians - use of space, the value of silence (rests), subtle trading... I like some of the Nashville session guys for that too.
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One set Schaller heads, paired 2 right, 2 left. Never actually used and I guarantee these are 70s vintage.NOTE to fit 12mm hole in headstock. Guide price £40 One bridge and one m/c head believed off one of my old Fenders - that's where I think they came from and that would be very late 60s. These are just odd bits so offer, swap or just give them a useful home (is a single machine head useful??). No money changes hands here - swap or freebie. I'd very happily swap any of this - maybe pick-ups, even a bass with cash your way, W.H.Y...
