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funkle

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Everything posted by funkle

  1. funkle
    Beautiful work Andy!
  2. funkle
    SOLD>
  3. funkle
    Bump for price drop - £1450.
  4. funkle
    I feel pangs of regret. I must stay strong.
  5. funkle
    Wow. That is very fine work @Andyjr1515 .
  6. funkle
    Ibanez Soundgears Ibanez TMB105 and 505 (though these are a bit Fenderish) Yamaha TRBX305 or 505 G&L L2500 Tributes All easy on the wallet too.
  7. funkle
    I love seeing this process. Thanks @Andyjr1515. I'm already getting ideas for other projects. But I must stick to this one first, lol
  8. funkle
    I keep coming back to this thread as I attempt my own ‘Wal-ish’ and get to know what I want out of electronics better. @mhoss32did you fully settle on your frequency ranges, boosts, slopes, etc for the filter preamp? I’d love to know.
  9. funkle
    Yes, I’ve been following that thread since it’s inception! Great build, can’t wait to hear audio of the Rautia pickups with the Lusithand.
  10. funkle
    Sold Andy my Squier CV 50’s precision, he was very patient and easy to deal with! A pleasure.
  11. funkle
    I am going to repost some musings I have had over on Talkbass as they are relevant to discussions around preamp design between filter based preamps. They may be of interest. 'The big factor in my view is the range of frequencies chosen for the individual pickup low pass filters. You can end up with basically two very fancy/interactive mid controls that need a lot of fiddling and can be finicky to get right. And depending on how they are set you then may not have much control of the low end from your bass, or lack treble after you have low-passed both of your pickups significantly. I can see the Wal preamp as being an excellent and relatively simple way to tackle some of these issues. The filters go down to around 80-100Hz from my testing, so you can use one pickup as your 'bass boost' by rolling it off all the way, kicking in the resonance boost as desired, and then blending in the other pickup for your mids. Then deciding to engage the 'pick attack' to add back in treble if desired. It's really clever, I think, as it allows adjustability but is still usable. It also adds a bit of distortion to the sound, imparting its own sonic character. I can see ACG's EQ-01 preamp as being an excellent way to try and tackle these issues, as well. I have not tested it as fully as I should have, but ACG decided to go as low as the Wal preamp (I think his initial preamps went even lower) and he included a circuit to blend treble back in from your choice of pickup. So you can use one pickup to control amount of low end, and decide how much treble to add back in. The bit that makes the ACG finicky is that the resonance boost for each pickup is variable as opposed to fixed, so 2 more knobs to twiddle, and the treble is variable in the range of frequencies affected and the amount you blend back in, so that gives another 2 knobs to tweak as well. If you can handle some of the extra adjustability, it's an incredible preamp. It also is extremely clean, and does not impart any harmonic distortion, which can be good or bad depending upon your point of view. Alan's EQ-03 version I think refines his vision even further - http://www.acguitars.co.uk/wp-content/uploads/2017/05/ACG_EQ03.pdf Nuno's Lusithand preamp splits the difference here a bit. His frequency range for the LPFs goes higher than the Wal (up 4.5kHz) but not as low (down to 150 Hz). So you do end up with more treble in the system to start off with, but if/when you cut those frequencies on both pickups, there's no way to bring it back. Equally, since his controls go to the low mids only, there's no way to really control the amount of perceived bass. So you're going back to the amp or pedals to tweak treble and bass.'
  12. funkle
    I had meant to say. I am happy to share the photos I have have taken of the Wal preamp boards if anyone is interested enough to have a look. You can PM me privately. Like I said before, I have a friend who is currently trying to analyse them. We’ll see how far they get. EDIT: I have a Talkbasser who has taken me up on the offer and is also working on this project now.
  13. funkle
    And Sold. Thanks!
  14. funkle
    Not likely! Lol. I can't tell if you're more worried that I'll manage to get it more in the Wal sonic region, or worried that I won't be happy. 😄 I've learned a lot so far. More learnings will come. I haven't seen anyone else devote effort publicly to trying to work out a Wal, and I may as well share what I do learn. Even if it is that what we might need is a preamp that no-one else apart from Wal has yet built, or what have you. I'd love for someone to be able to run a model of the preamp through LT Spice or similar, maybe if we can get a schematic going....hopefully @MoonBassAlphaor my friend who is looking at the preamp photos can yet help. Wait and see. Apologies for lack of recordings this week; I had promised it but family life has gotten in the way. Soon I hope. The Lusithand preamp is excellent.
  15. funkle
    Just bought Jamie's Sadowsky Japan MV4E; straightforward transaction with good clear communications and a lovely instrument. Thanks again! Pete
  16. funkle
    You are kind. I do regret getting the light fitting reflected in the finish in a lot of photos though… 😆
  17. funkle
    Bump for significant price drop. Now £250 + shipping.
  18. funkle
    Morning all Up for sale are 4 G&L USA Ultralite tuners that I had fitted to my vintage L2Ke for a spell. As that bass is going, so too do the tuners. These fit the USA G&L screw pattern perfectly, even the one from 40 years ago, lol. Weight is 64g per tuner. Comes with the ferrules and screws you need to fit them. Details are as per the website - https://g-l-online-store.myshopify.com/products/tuning-keys-g-l-usa-ultralite-bass After shipping and customs etc, a new set of these will cost you £103 brand new if you're lucky (no customs), and around £125 if you're not. Happy to sell for £75 posted in the UK.
  19. funkle
    Good morning everyone Up for sale is the 1982 G&L L2000e I bought from @ped. (His original listing can be seen at https://www.basschat.co.uk/topic/459104-sold-gl-l2000e-1982-blackmaple-ohsc) This was a great love affair, and I invested heavily into this bass as a result. It sounds fabulous. I am a fan of these humbuckers. Unfortunately, this bass's neck profile (thin front to back) and nut width is just not working out for me at lengthy rehearsals. I had hoped it would be different, but I'm just plain used to Jazz nut width necks. Anyway.... There is not a single inch of this bass that I do not know intimately. I have cleaned it top to bottom; everything has been cleaned and polished. The tuners and bridge, as well as the exposed pickup poles, benefited hugely from this. I had some fretwork done, and then when I wanted to sort out some wear on the maple fingerboard, I paid to have it re-lacquered and re-fretted with same fret size/type as original. Plays beautifully and has a low setup with a straight neck. The truss rod is fully working. I stumped up for new knobs. The old ones are included in the sale price for their 'mojo', but I quite like the cleaner look of the new ones. I paid to have the rusty control plate and bridge cleaned and re-painted. They look great now, and function as expected. The electronics were serviced and work as you would expect. I will mention that the white preamp toggle switch rotates a little bit inside the switch itself, which is exactly as it is when I bought it, but it works fine, so I have not replaced it. The body I was planning a possible refinish for but ultimately decided against it. It had a large divot carved out where 40 years of a thumb resting between the pickups had carved out a spot, but I opted to have a ramp made to cover this, which also suits my play style. It is attached with double sided stick tape and easily removed. I have shown Ped's original photo of this for context. There are numerous bits of finish thinning, some surface scratches, multiple dings, and similar. I have photographed all that I can find. Nonetheless it has polished up well and looks great. It is a bass with 40 years of mojo! Comes in the original hard shell case and a printout of the instructions. Weight 10.3 lbs. In spite of my considerable investment, I have listed it at the same price Ped originally did. Happy to discuss offers. (As an aside, I bought lightweight G&L USA tuners for it too which fit perfectly, but which I am selling separately here - https://www.basschat.co.uk/topic/463686-gl-usa-ultralite-tuners-x-4-bass-sideright-hand-side/) Now £1450 plus shipping to the interested buyer. Pete NB The neck is a bit more vintage tint than these photos seem to show; I suppose it will depend on your monitor. However hopefully they demonstrate its grain and beauty well. And here's what it looks like without the ramp in place - one of Ped's original pictures.
  20. funkle
    PM’d.
  21. funkle
    The Wal neck is actually 6 pieces, not 5. Only figured that recently. So the horn beam would have been split into 2, I think.
  22. funkle
    Interesting, I’ve swapped neck screws for inserts and machine bolts and noticed no difference on 2 different instruments. (Jazz and Precision type). All of the joints I had swapped over had 4 screws. (My Celinders [now singular] all had inserts and bolts, which is what gave me the notion.) Perhaps there is a minimum level of tightness, which, once met, offers no additional benefit for getting a tighter neck joint beyond that point. I seem to recall 3 bolt neck joints had a bad rep, sometimes?
  23. funkle
    I think you may have answered your own question there @Kiwi. I think through-necks do get more of their tone from the body. I think bolt-ons get much less. It can’t be zero, or otherwise things like semi-hollow bodies would make no audible difference, and they do. But I think it is of much less importance. I hope to demonstrate it. If you have read the links I have been scattering around in various posts, many of them say similar. (The link in Premier Guitar is quite good, and goes into the physics of why this would be in a little detail.) Roger can be quoted as saying he finds it harder to hear the difference between bodies, but in general, necks are easier to hear the differences between. And, as you say, Musicman Stingrays and Cutlasses have a certain sound that is bound to the electronics. I have found this to be true as well. I have owned many different Stingrays, Sterlings, Sterling By Musicman basses, and even a Big Al, which have had mahogany, basswood, or ash bodies. Quite different tonalities if common lore was to guide us. And yet they all could be heard to have a common Musicman sound, even the Big Al. (This was the basis of me modifying the cheapest SBMM bass, a Sub Ray4 made from basswood, with an Aguilar pickup and John East MMSR preamp, to get the ‘Bernard Edwards’ type sound. It works perfectly.) I’m pretty sure if I replaced a Musicman body with an MDF one it would sound almost exactly the same. People have built bolt-on electric guitar bodies from Lego, concrete, 3D printer resin, and steel tubes without causing a lot of harm to the tone…
  24. funkle
    @Kev only way to know is to keep experimenting…. One of the things I have discovered is that subtle differences in recordings are often much more noticeable in real life. I did not expect that. But if I hear small differences in pickup recordings now, I know that they may be much more pronounced ‘in the room’. I always thought that going straight to DI was the most honest way to get a true bass signal, but through an amp (set flat) and my FRFR Basschat 1x12/horn there is detail sometimes that I feel doesn’t come out in recordings. I wonder why that is.
  25. funkle
    So far, my yet-to-be-proven take on the Wal Custom recipe is that it requires: 1. Full range neutral pickups (at least, I think so, wait and see) 2. A pre-amp with some characterful distortion and which is decidedly not full-range (it cuts out high end which you then ‘put back in’ with the pick attack boost as desired) 3. A very stiff neck platform which has a significant effect on boosting low mids, and I think gives a leaner low end. Either that or there’s a HPF in the state variable filter circuit somewhere that trims some of the fat around 50Hz and lower. Or the pickups being wound slightly differently to what I have could be a contributor here. Not sure yet. 4. Some impact from mahogany body. Yet to be determined. I suspect less impactful than the items preceding it. For interest, I found some other links related to various people’s thoughts on the relative impact of body and neck. Spoiler alert, a lot of tone is thought to be in the neck with relatively little contribution from the body. At least according to some. It seems to line up with what Roger Sadowsky was saying, anyway.. https://www.premierguitar.com/amp/bass-necks-adjustability-and-resonance-2651081990 https://www.premierguitar.com/amp/bass-bench-can-you-hear-the-difference-between-various-neck-joints-2651066934 https://www.frudua.com/neck_influence_in_guitar_tone.htm
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