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About Obrienp

  • Birthday 25/10/1955

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  1. Funny the blurb on Project Music website says they give it a setup in their in-house workshop. Obviously forgot on yours, or is it just cursory? This has cured my GAS anyway! Project Music website says they still have a Daphne Blue one in stock, so it might be worth sending yours back now to bag the other one.
  2. That’s very disappointing because it’s not exactly the cheapest in that general price sector! I am glad I saw your post, as I was having serious GAS for the remaining Daphne Blue one at Project Music. That has cured it, so thanks! I wonder if the general quality of these SS Rays has gone down since they were released. All of the reviews I have seen online, which are all from a couple of years ago, say how well it was made. At that point it was retailing for a couple of hundred quid less I believe. I think I’ll keep my eyes peeled for a secondhand example. It might have had some of the issues ironed out and if it hasn’t, a bit of remedial work on a £400-450 bass is acceptable but not when it’s near £700.
  3. Thanks. Some more good ideas to follow up on people!
  4. Thanks for that. I’ll give them a go.👍
  5. I was just going to place an order until I found out the shipping cost: £12. About 5 times the cost of the pot.
  6. I wasn’t that impressed with the side markers on my EHB1000S at first but I got used to them and it didn’t cause me problems gigging it. Admittedly I tend to play pub gigs rather than dark stages. I never really tested the effectiveness of the luminous markers. I thought the locking jack socket was great. It was a little tricky to operate when I first got it but after a few weeks I was releasing the cable one handed without even looking at it. Perhaps it eased a bit with use, or I just got used to it. I think it is a great little bass that you can play for hours. It balances well on a strap, is ergonomically contoured and light weight. I only sold mine because I had a long term order for a Nordstrand Acinonyx about to come to fruition (as it happens it still hasn’t arrived) and I am having to operate a one-in, one-out policy.
  7. Thanks Mate! That sounds really interesting. Yes, I was wondering about having to enlarge the hole if I sleeved the threaded collar. I really don’t want to have to do that. I have put the project to one side for the while as it is my main gigging bass and I have a few coming up. Once the Acinonyx, that I ordered months ago, finally arrives, I will have an alternative solid bass to use and I will be able to crack on with it. I was kind of resigned to having the control cavity routed out a bit more. It’s got to go back to the luthier anyway because it has some fret sprout. Apparently the woods available to luthiers these days are not what they used to be: not seasoned enough and consequently subject to shrinkage but he thought this was one of the better blanks. Anyway, if there is away of avoiding routing it would be great.
  8. Wish I had browsed earlier! If per chance it falls through, and I hope it doesn’t, give me a ping. I’m in Fakenham so can do cash on collection.
  9. Tone is very subjective isn’t it. All my short scale basses have heavier gauges than 40-90/95 and all sound fine to me, wherever I am fretting. My custom P/J has Labella standard tension flats 45-105. It sounds great all the way up the neck and incidentally that is the gauge it came supplied with from the luthier who made it. I have Labella Beatle Bass flats 50-100 on my violin bass and they are perfect for the bass IMO. My fretless acoustic has Labella black nylon flats 50-105 (or is it 110) and they really work on it all over the neck. That came with 45-105, so I assume Guild thought that was the ideal gauge for the instrument. I had 40-95 gauge round wounds on a Squier SS Jaguar and I thought they sounded really boingy. I changed them for 45-105 and it sounded much better IMO. On the other hand I kept the 40-95s on a Bronco, even after I had put a precision pickup in it. They just seemed to suit the bass. I don’t know if fundamentals and harmonics are better or worse with my choice of strings but they work for me, and the instruments concerned. My conclusion has to be that you can’t make a hard and fast rule about string gauges that will suit every instrument and every player.
  10. I had a black Jaguar and it was a great bass but as has already been said, it did neck dive badly. I did change the pickups for the D’Addario matched P/J set and it sounded great with those. Although, like every P/J set I have tried, the Jazz bridge sounded weak in comparison to the P and putting both on full volume was like flicking a pad switch. I put a push/pull pot in the neck volume position and wired it to give me both pickups in series when pulled. Now that had cojones! I also took the opportunity to shield the the cavities with copper tape; not really necessary with the D’Addarios as the Jazz has stacked coils to quieten it and Ps are humbucking by their nature. The shielding came in useful when I put the original pickups back in it to sell it. I remember it being a bit noisy out of the box. I also put a high mass bridge on it, which helped a bit with the neck dive and improved tone/sustain. Yours already has that, which is a big plus IMO. Good call to change from the standard 40-95s, they really didn’t do it justice IMO. They were super easy to play but they sounded boingy: a bit like playing with giant rubber bands. Anyway, enjoy it. I regret selling mine because they seem to have become sought after now they are out of production.
  11. I’ll probably do it myself anyway. I think risk was minimal but I wanted a cheap approach rather than his more thorough but more costly method. No doubts about his ability. He is extremely proficient but also extremely busy. I guess the one follows the other in that trade but it does mean having to wait until he has a slot. I’m just being lazy regarding the shielding. It took a while to get it as quiet as it is now and I don’t want to mess that up.
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