Paul_C

[quote name='mildmanofrock' post='501153' date='May 29 2009, 06:23 PM']Who/what is that about?[/quote] Steve Lawson, solo bass player - so he's only got himself to sack - though he's gigging a lot with Mrs Lawson now, so it's a little more complicated

I had a Fender Lead II (bought from a mate from my local pub for £25) made in the early 80s that had the same black/crazed finish - IIRC I was told at the time that Fender had to stop using nitro because of all the fumes being pumped out of the factory, and the finish was an early poly that didn't work too well I stripped off the bits that didn't just fall off and oiled/waxed it, sold on ebay a year later for £200

[quote name='Beedster' post='498634' date='May 27 2009, 12:06 PM']I'm currently putting together a Jazz Bass and have the opposite problem, that is I need an earth strip as it's a 62' RI body and there's no way I'm gonna take a drill to the control cavity! However, as I'm installing a J-Retro, I'm getting the idea from the abovge posts that I can do so without needing to earth the bridge, is that the case? Cheers Chris[/quote] IIRC you are correct

[quote name='BassKS' post='498602' date='May 27 2009, 11:30 AM']hahah, good one. Thats what I was hoping to do. the difficulty arises to find a long enough drill bit. But it can be done then thanks neepheid. BTW. If I chose to get a set of bartolinis passive with epoxy casing it shouldnt be bad, should it?[/quote] .... if you fitted a set of EMGs you wouldn't need an earth from the strings of course EMGs might not be to your taste ..

As an alternative to the business card, you might want to try a piece of wet and dry paper the length of the pocket - folded a third of the way along and cut to shape - that way you get something that grips both neck and body.

[quote name='rslaing' post='498019' date='May 26 2009, 02:41 PM']Exactly, this is a forum and the rules are to stay on topic. Which is exactly what I do, and others obviously don't. I ain't arrogant or egotistical - I make strong points about things which I know about and have experience. I say nothing about any subject about which I have no knowledge, which are many I assure you. Anyway, I'll keep this short, because it isn't on topic. But really, if people in here want to spend all day trolling, baiting, or as you put it, busting chops, maybe they should find a suitable forum exactly for that.[/quote]

Two things you might try: 1) find some thin foam as extra packing between speaker and cab, I had an Ashdown cab that buzzed annoyingly and like you I couldn't find anything loose, finally I added some thin strips on top of the foam already there and it disappeared. 2) I had an EBS 1x12 that made some curious noises which I finally traced to the jack socket - I was plugged into the speakon connector and as the back plate wasn't in a sealed box, it allowed air to pass out of it - I plugged a jack in to seal the hole and the sound disappeared.

I recall getting quite a good DB-ish tone out of a defretted Washburn acoustic AB10 by using a wad of kitchen towel wedged under the strings right by the bridge - I'd tried all sorts of different density sponge, but the kitchen towel worked better.

while it isn't as good as the stuff developed for medical use, I have used superglue a couple of times when I've stabbed/sliced myself, in my experience it peels off quite quickly, especially if you sweat, so might not be of much use unless you sit quietly when you gig

[quote name='Lfalex v1.1' post='496854' date='May 24 2009, 09:35 PM']Jeez, all I was trying to express was that increased tuning accuracy was arguably a moot point when compared to other factors which might well make a greater (negative) contribution than a cheaper tuner. So... How does one install a BFTS shelf nut or compensated nut to an instrument with a zero fret and have it make any difference?[/quote] you can't - you could move the zero fret though (before the shelf nut, the nut slot had to be filled and a new one cut)

a proper wood glue is going to be a much better choice than superglue Titebond is what I use, both for repairs and for building instruments. [url="http://www.axminster.co.uk/product.asp?pf_id=22581"]http://www.axminster.co.uk/product.asp?pf_id=22581[/url]

[quote name='dlloyd' post='496758' date='May 24 2009, 07:10 PM']The Buzz Feiten system that rslaing is advocating along with this tuner is a neat system for dealing with a mechanical problem that's inherent in fretted instruments, in that the lower frets play sharper than they should due to the way the string stretches to a greater degree when you fret in these positions. This particular system involves requires an adjustment to the open string tuning, which means that you need to use a tuner with a special function that will tune the open string slightly flat (2 cents on most strings, it varies on guitar though). There are other tuners that have this function and they will work just as well as a strobostomp. Other manufacturers compensated nuts use standard tuning. I'd like to try out a Buzz Feiten system guitar, just to see if it does seem any different... I can honestly say the lower fret issue doesn't bother me that much, or, frankly, that I've ever noticed it when I haven't been looking for it, particularly when you've got additional temperament issues going on... the major third being 13 cents out of tune for example. Maybe compensated nuts work on a more subconscious level. The Feiten system is not designed to address issues of equal temperament, and while the strobostomp does have alternative temperament systems, they're not applicable to equally tempered instruments. The 0.1 cent accuracy claims are probably true, but any assertion that this level of accuracy is in any way necessary (or detectable by the human ear) in a real musical situation is pretty much hype.[/quote] I've fitted Buzz Feiten nuts to a number of guitars (no basses) including one for *name drop* Steve Rothery *name drop* and it does make a difference, but I've always sold it with the understanding that: a ) it isn't a complete fix, but certainly an improvement and b ) it's more of a benefit for someone who's not happy with the sound of their guitar even at its best (just been set up, new strings, etc.). There have been customers who have been overjoyed with the result. I can see the benefit when you're playing chords, not quite so convinced of its value on bass, but again, if you can hear something you don't like it might well be worth spending the money having it done (maybe of more use for those playing chords, on ERBs, for example) I use a Peterson tuner (VSII) too, and it's more than earned its keep over the years, but as I set up guitars professionally I felt I had to own a decent one. As has been said, there are many other factors that affect the note, and in a gigging situation, with changes of heat/humidity/adrenalin (or beer) making you play harder/grip the neck tighter etc., it might not make that much difference (and apart from very extreme situations, there won't be many in the audience that would give a damn if a note was flat or sharp unless even a cheap tuner could spot it).

[quote name='grumble' post='489939' date='May 16 2009, 05:01 PM']OK, here goes.. I've defretted a Peavey Milestone 3 and everything went well. Fitted the neck back on the body and strung it with some new Rotosound Jazz strings. Played a few scales around the fifth fret and everything seemed Ok but when I dropped down to the 1st/2nd fret region I found the strings were dead/buzzing. OK not a problem, raise the action and check intonation. The trouble is that now the action is a little high for my tastes and fingering around the 1st/2nd fret region is quite hard. A (guitard) friend has suggested shimming the neck, how would this help and how would I do it ? Any other ideas? On a plus note, I'm pleasantly suprised by my accuracy on the defretted Peavey. I'm still a sh*te player but now with a nicer tone [/quote] have you cut the nut slots down ? usually the nut is cut to match the level of the first fret, but with a fretless you want it cut right down - I usually leave a small step from board to nut, but only a fraction of a millimetre

sit him down and ask him which way he'd prefer to be kicked out

[quote name='doctor_of_the_bass' post='489652' date='May 16 2009, 11:29 AM']Look at this....the mother of all fakes!! [url="http://cgi.ebay.co.uk/1968-Fender-Jazz-Bass_W0QQitemZ150345729875QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item150345729875&_trksid=p3286.c0.m14&_trkparms=66%3A2%7C65%3A10%7C39%3A1%7C240%3A1318%7C301%3A1%7C293%3A1%7C294%3A50"]http://cgi.ebay.co.uk/1968-Fender-Jazz-Bas...%3A1%7C294%3A50[/url] In the words of Meldrew, `I don't believe it'!!! Even if it was genuine I doubt it would fetch 21K[/quote] the best bit is that if you look through his feedback, it shows where the bass and all its parts came from

[quote name='Doctor J' post='488769' date='May 15 2009, 12:25 PM']Why restrict yourself to Fender? A US Standard P is mass produced to meet a specific price point. There are builders out there who are trying to build the best P possible, they're the ones who'll more likely give you your dream bass.[/quote] I'm not looking to buy one, I'm just curious as to whether there is a noticeable difference - it was just one of those idle moments where you feel like throwing a question out to those who might know the answer. With a P bass especially there are so few variables that I was assuming that there wouldn't be that much difference, but wanted to see what other people thought.

[quote name='Beedster' post='488674' date='May 15 2009, 11:19 AM']It took me four years, several thousand pounds, and a lot of petrol to realise that I wrote a thread a while back about the placebo effect and bass guitars and I think it's highly relevant to this thread also Chris[/quote] this is what I was wondering, whether there was a striking difference between old and new, or if a US Std. P bought now would give you more or less the same sound as a '65 P (which is what I imagine would be the case)

Whilst I'm sure that by and large such basses are fakes, bear in mind that loft-based instruments do exist. A few years ago I was handed an old ukelele that had been owned by a great uncle, and which had spent most of its life in lofts. Opening the case I found a 1930s "The Gibson" uke in excellent condition for its age, and which I finally moved on (having owned it but not played it for a year or so) for £500

[url="http://www.seymourduncan.com/support/wiring-diagrams/schematics.php?schematic=jazz_bass_blend"]http://www.seymourduncan.com/support/wirin...jazz_bass_blend[/url]

I've not had the privilege of trying one myself (I did own a '78 P bass, which was nice, but nothing really pricey), but I know that a number of people on the forum own/have owned some of the more desirable 60s Fenders, whether P or J. (I did own a '78 P bass, which was nice, but nothing really pricey.) I had a Highway One P bass that, as far as I can recall, sounded more or less like the '78 but have never had the chance to A/B a new bass against one that might fetch ten times as much. So is there any substance to the belief that vintage is best ? Or are you just as likely to buy something modern that would be indistinguishable when it comes to sound ?

[quote name='benwhiteuk' post='486113' date='May 12 2009, 04:53 PM']Can anyone confirm that this is out of tune?[/quote] yes, it is

[quote name='benwhiteuk' post='486113' date='May 12 2009, 04:53 PM']Not really sure where to post this one so if it’s in the wrong place then feel free to move it wherever… Anyway, I sometimes put my iTunes on random and play to whatever comes on and today [i]Disco Heat [/i]by Calvin Harris popped up. I worked it out in about 5 mins but it’s not in tune and I’m almost 100% sure that it’s not an issue with my bass, but I’d really appreciate it if someone else could confirm it for me. From when it kicks in with the main riff, the roots are – G, F, Eb, D, C, and then repeated but in reverse. Can anyone confirm that this is out of tune? [/quote] yes, it is