Stub Mandrel

How about an onboard compressor? 🙂 The Elf is 200W but doesn't have a preshape although it claims to be able to give that ';classic Trace sound' with the three band EQ. Is it fair to say the Ashdown preshape is pretty close to the TE one?

Can I suggest rounding the internal corner to avoid creating a stress raiser, even a 3-4mmm radius will make a significant increase in resistance to a split starting at this point if it fall backwards and the headstock hits something.

Well they've taken it down... Other than lack of handwritten date marks or a serial number that works on Fender's database, what's the give away?

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I've started feeling uncomfortable about 'cultural appropriation' ever since an American bride got slated for wearing a kimono to her wedding. My daughter, who speaks some Japanese and has Japanese friends says they were all horrified and couldn't understand what was wrong with other people appreciating and enjoying something they are very proud off - after all it was being used in a respectful ceremony (why don't people boycot Gilbert and Sullivan?) Personally I think 'cultural appropriation' is only an issue when people 'pick and mix' aspects of a culture in a way that is genuinely disrespectful - thing like bastardised versions of religious ceremonies or using special symbols as decorations. I don't think most of the stuff criticised is any more direspectful than non-Scots wearing tartan kilts. But one point you raise is really about 'do you need to have a black experience' to sing this song? To be honest, most black people in the UK have no more validity to sing about lynching than anyone else. The author of American Dirt was on the radio today, she's of Puerto Rican extraction but has written a book about Mexican refugees. She made some compelling arguments such as 'do we replace one set of gatekeepers/censors with another'. I also feel that raising such issues is more important that who raises the issues; if no Mexican immigrants feel able to write their story in the current climate in the USA, it's good that someone, anyone, is. So I'd argue that yes, white people or anyone can sing this song. On this level, is it materially different to a man singing a song about a woman's experiences or vice versa? What I do think is the real issue is the sincerity and authenticity brought to the performance, and that reflects where and when it is performed, to whom and the motivations of those involved. Personally I feel it should only be performed if the occasion suited it and that performers had the audience's 'permission' to do so. This may or may not involve issues of ethnicity or cultural heritage depending on the situation. After all Woody Guthrie sang about lynchings, racism and other such things with no disrespect.

Do you play very near the bridge?

I'm a bit worried about my Squier J-bass. I got it, after a few weeks, it needed truss rod adjustment, and ran out, so I added a washer rather than risk stripping the thread. Since then it's needed two fairly generous tweaks. Not sure if this is it settling in after taking all the tension off or something worse like the rod slowly crushing into soft wood at one end 😞 Be a shame if it does end up running out of adjustment as its a lovely neck. String at one end on a bridge saddle, the other supported at the high point of a curved fret. If nothing else contacts the string what can affect it's vibration. Trignometry tells us differences in tension change with action will be (almost) negligible, as are any minute differences in break angle. But I'm aware that every one of my basses feels different and I therefore play each one slightly differently, I argue this is where perceived changes in sound with action come from - higher action tends to encourage a more aggressive style and more staccato playing by damping with the left hand. Obviously when strings start contacting other frets, that does make changes beyond just buzz, like introducing more harmonics if played hard. Another variable could be if you fret very lightly/close to the fret so the string doesn't contact the fingerboard behind the fret (especially with jumbo frets, light action). I imagine this could reduce sustain and harmonic content. Would be interesting for someone with a spectrum analyser to do an experiment.

Agreed, that's the 'step too far...'

Agreed - one reason why I got one!

Abbey Road Music in Nottingham has one of those 🙂

A bit of googling shows 'Fender Edge' suitcases are not particularly scarce!

A brief bit of thought will make it clear that if the strings don't actually buzz on the frets, the height of the action won't affect the sound directly, just your playing. I'm all for low action as it suits my style and I don't find it stops me 'digging in'. If I want to use a plectrum (Ace of Spades), then I want to get some fret rattle as well! Anyway you are all wimps, Carol Kaye went for 1/4" above the fretboard at the 12th fret; she could probably strangle someone just with her fretting hand alone...

I'm nervous now... does bass playing cause bad knees?

Oysterband country?

Probably but just one pedal at a time, they are a bit 'chipper'...

That's 88 ms per note, 15ms latency still probably won't be audible. It will be worth doing, might be able to set something up next week when the SO is away.

Or Crucial Taunt!

No one's mention Wild Stallyns!

Beat me to it by a wafer thin mint... Every meddling kid's favourite Eco-goth band. Shame they haven't got a bass player...

I have to ask one big question. WHY???? If they aren't into funk, how the hell can thay offer advice on funk basslines. Or have they watched the Bootsy 'keep it on the one' video?

Interesting, when trying jazzes out, I found the bridge pickup sounded nasty through a Markbass combo, the shop swapped me to a Rumble on 'vintage' setting and joy was assured. It's interesting that people think a 'speaker without tweeter' amp won't fizz, I found most combos with a dirty channel (e.g. Orange Crush 50) sound pretty fizzy. I do like the way the standard channel on the crush amps sounds when they are pushed though.

The 'pedals for sale' sections suggest that (a) lots of people agree and (b) as many people want to find out for themselves...

I have a sort of sound in my head. It's a bit like Boz Burrell on 'Can't Get Enough' (fretless P), Paul Simonon on London Calling (P) and Ronnie Lane on Stay with Me (?) so it's not very bass specific, and I assume it's a classic softly overloaded valve amp sound. It's pretty much for those songs and songs in that vein... Of course I'm a J-bass fan.... Does that help? Edit actually I have no idea what this is...

Never mind fun to be had learning that riff 🙂

I'm looking for suggestions for an overdrive that isn't 'fizzy' like the OD channel on many amps. For adding a bit of grit when playing heavier numbers, but not as in your face as fuzz/distortion pedals - classic subtle overdrive sound really. Ideally one that works well without having to overdrive the amp input. The Boss ODB3 bass ooverdrive appears a poor choice by the vast number that have been sold on here! Must be a stand alone pedal, does not need to provide more severe effects as I've got those. Ideally modest cost.