Musicman666

the old adage "whatever the market will bear" comes to mind.

.. sports casual if you please.

Well there is some talk about carbon being the new asbestos, unproven but its one of those things that by the time you find out then its too late. In my dealings with rob he did say to always cut carbon graphite in a well ventilated space ie the open air ..not something one would specifically say about wood although I'm sure its a good practice no matter what you are cutting.

I thought the working with carbon graphite process was unhealthy over the long term .. not sure if this was directly the cause of any health problems but I can see why going back to all wood construction would at this stage be the understandable thing to do.

not quite sure what i have on my fretless status ..i think it's a type ebanol or epoxy based compound but all i know is it's diamond rock hard compared to the ebony that i had on my wal ..that carved up like butter with a set of round wounds.

..i had a wal pro 1 with an ebony fretless neck which i had to sell because it had more worn grooves than a crazy golf course.

yes.. i totally agree with what you say, ..however i have another identical bass stored in exactly the same bag and location which is perfect as are all my other guitars in the same room so i am trying to figure out why the pots on this particular bass oxidated so readily ...i suspect the builder ran out of his usual pot stock and used some others that were made of less stringent materials ..these appear to be a no brand ie no case markings.

i wonder what mm use because i have those basses for decades without a hint of noise and kept in the exact same conditions.... i assume the ones that they use are the pricey ones.

further to my original post ..upon removing the back electrical cover plates of both identical active basses (fretted and fretless) the one that is real bad not just in terms of noise but also squealing and transistor like digital feedback has this weird oxidation all over the pot metal casings, like a real thick hardened dusty coating ... the one that is pretty much ok, maybe ever so slightly noisy has shiny perfect pot casings. Both basses were stored in identical conditions. Is it possible the builder of the bass used sub par pots on the problem bass, ie do cheaper pots readily oxidise whereas the more expensive ones tend not to? you can see by the pot case markings that different ones were used between builds. i am considering asking the builder to replace these suspect pots under warranty.

Yes ..all my other basses have rock solid pots after many years of abuse so I’m thinking of getting these two done under warranty but I’m thinking they might play the wear and tear card on me.

I have a couple of brand new high end bases that I left in gig bags in an empty house for six months ..now they both have noisy pots I assume from cold and humidity .. generally how long should good quality pots last before they need maintenance and would something like this be covered by a warranty or is it just considered wear and tear?

i think drop d standard is a great compromise between wanting that lower register but still wanting to stick with 4 strings

i never knew ken did...

curt smith is bass player for tff....how can this possibly be a surprise?

just went through this thread...everything sort of made sense except for mirror in the bathroom...somebody have a word.

i am a great who fan but somehow i feel a bit let down over this... the thing is i absolutely love johns playing on the real me, it's probably my favourite bass part of all time however a lot of it is tied up in the phrasing and note choice which i always assumed came from john ...now i realise that this was really pete ...the same with the drumming, the aspects of keith's drumming that i thought brought something to the table is pete again ...somehow i am a little disappointed to find that the who is in fact mostly pete and the other three are in many ways just hired hands to get the job done. It's ironic when one of the threads of thought behind quadrophenia was that the who was comprised of four people hence the "quad" part ....am i now to assume that the four personalities of the who just like the protagonist in the film really inside his head? ...

thanks ..yes, any info would be most welcomed.

i always thought john had more of a hand in the writing of the who bass lines but listening to this would suggest otherwise, did john have any input on these townsend demos?? also the drums..is pete that good a drummer as well, keith seems to play just like him? i would have expected the demos to be a bit more basic than this waiting for john and keith to do their thing on the real album.

i used to go to some place in romford during the 80s ...trace elliot gear and status basses all in one shop if my memory serves me right...then there was alan gordon's in walthamstow ..holiday and freedman's in leytonstone...wapping bass center not so much as i never could work out where it was.

not forgetting the drummer neil conti who was so much in the pocket on the sprout stuff..

a hard one but if pressed mid 70s to mid 80s...

what was the price?

if its the one im thinking of it looked just like a cassidy but it was a gibson.

i have gone through ebony quite easily with rounds, never tried ebonol but i am a big fan of the phenolic fingerboard, seems hard to even mark much less to wear down and great for fretless.