R,5,R,5...

[quote name='Crazykiwi' post='61013' date='Sep 15 2007, 11:41 PM']Oh you're starting me off. They say their accountants are to blame but I don't see why any customer should have to bear the brunt of THEIR problems with their accountants. Thats not how customer service works. If there's a problem, you find another solution promptly, not tell the customer that they're going to have to wait another 4 f*cking weeks for a cheque that should have been issued on time in the first place.[/quote] Well that sounds familiar... CK, do as I did -- go there and refuse to leave until they give you a cheque. Doesn't mean that you'll see any proof of sale though; but you just might get your money.

Also guitars tend to go out of tune more easily than basses, what with all the string bending and whatever else those scoundrels get up to these days! If you really, really wanted to implement this on bass I guess you could build a version to work with a steinberger-style bridge. There wouldn't really be enough slack for alternate tunings though. I suppose the Hipshot bridge works well enough for those. I think this thingamajig would be an absolute boon for pedal steel players, not because they switch tunings a lot (though non-pedal players do) but because they're such bitches to tune properly. When you add the interaction of pedals and knee levers it's nigh-on impossible to make it sound nice. Well of course knowing how to play it must help somewhat, so let's say I never managed to make it sound nice. But I digress...

Done.

[quote name='King of Loss' post='31717' date='Jul 14 2007, 12:14 PM']Go to the local Chapel[/quote] ...and pray you are touched by the grace of Goines??

also known as 'funkifying the clave' very good book, Goines is one of my favourite bassists.

[quote name='mgauction' post='30114' date='Jul 11 2007, 04:06 AM']Anything by 80s hairbands.[/quote] Ain't that the truth! Euurgh!

The problem I see with this is that ideally you would want as solid a mass as possible in order to facilitate the transmission of vibrations. So the surface that transmits vibration would be drastically reduced if there were only 2-4 small contact points between board and neck. But I may be wrong.

why do you want a light top? Personally I don't mind something heavier, and heavy woods do tend to look nicer in my opinion. Mahogany can actually be not too heavy (well, not if compared to basswood, alder et similia). The reason you want a light top would affect my recommendations. r5

Many good points in this thread. I would be interested in the results of the ultrasound cleaning method. I suppose if the change in sound were indeed due to dirt, this would take care of it. However as many of you suggested, there are probably structural reasons that affect the sound as well. What I would suggest is to NEVER try to clean silk-wound strings in boiling water. They get soaked and useless. For me trying to revive old strings just isn't worth the bother. I suppose it could be different if I gigged three times a week, however.

Zis is how you play a double stop, you see... you like double stops? No? How about some wine, zen?

[quote name='Waldo' post='12502' date='Jun 5 2007, 02:04 PM']I Don't know why you've chosen to take what I've said as an insult. The fact that there are so many threads complaining about the bass centre is why I said what I did in the first place I have read the original post, hence my question. Trading Standards will do sod all, I think this has gone on long enough for you to take some real action over it, i.e legal.[/quote] Apologies if I misinterpreted the tone of your post -- as I'm sure you know, sometimes on the web it happens. The problem is that I am not keen on starting proper legal proceedings over something that could be resolved with a very modest dose of good will.

[quote name='dood' post='12445' date='Jun 5 2007, 01:12 PM']For fear of sounding like I( am stating the obvious, have you not arranged an appointment to meet with the manager to discuss the issue in person. Take someone along to listen in too. Discuss the issues you have raised together. I don't think they will just happen to spot your thread on a forum. I hope this gets sorted out. I know the manager of BC. He is a good person and will be helpful.[/quote] Thanks dood. I have spoken to people at the BC many more times than I care to mention. Every time they have refused to help or given me the run around. Napper is well aware of the problem, and has publicly stated he would bring it to the attention of the manager, but so far nothing has happened. I have not received any more news from Napper so I think it was more of a move to protect the reputation of the store than anything to do with putting things right -- though it may be that even Napper does not get straight answers from the BC staff. Frankly, I have no desire to discuss issues at this point. My aim is to get the copy of the receipt, and to inform other bassists of what goes on at the BC. [quote name='Waldo' post='12479' date='Jun 5 2007, 01:45 PM']I know, why don't we rename this site 'The Bass Centre Complaints Forum'![/quote] Waldo, do you think it's just an unlikely coincidence that so many people complain about service at the BC? And if it bothers you to have to read such stories, perhaps you may want to skip threads that have the words 'bass,' 'centre,' and 'complaint' in the title? [quote name='Waldo' post='12479' date='Jun 5 2007, 01:45 PM']This has been going on for an awful long time, have you actually tried doing something about it? ie. legal procedings?[/quote] If you're really interested in knowing what's going on, all you have to do is read the original post...

I saved the entire thread from basstalk before it gets wiped. If anyone wants to see it, please email me. ================================= April 5th update. No further news. At this point, I must assume that the Bass Centre are not interested in showing me a copy of the sales receipt, regardless of their duties to customers. For this reason, and thanks to the advice of a kind stranger, I have decided to contact the Trading Standards agency. Hopefully this will convince the Bass Centre to comply with standards and give me what I'm entitled to. ================================= February 16th update. Three weeks after my visit, and more than two weeks after Napper kindly forwarded my complaint to the London store, and I'm yet to receive a reply or acknowledgement, let alone a copy of the sales receipt. I'm glad that this thread is encouraging people to complain about the BC, and that it's doing such a great job of advertising the way many customers have been treated to a large audience of potential bass buyers. Thanks for sharing your experiences. If there is any power that we have, as consumers, it is to inform others of the way retailers deal with us. ================================= Hello all, Just thought I'd let you know that the bass centre has once again failed to act professionally. Let's begin from near the end, it's early January and I send the following letter: =================================== Root Fifth Towers London XXXX XXX January 9, 2007 The manager The Bass Centre Brune St London E1 7NH Dear Sir/Madam, I am writing with regard to my Ken Smith BSR6EG bass, serial number XXXXXXXX, that I left at your store on May 20, 2006, to be sold on consignment for £XXXX, with the understanding that I would receive 80% (£XXXX) of the sale price. I have periodically contacted the sales staff by phone to check whether the bass had been sold. Twice, in October and November last year, I phoned to be told by an employee that he was not sure whether the bass had been sold, and that he would check and phone me back. On both occasions, I did not receive a call back. Last Friday, January 5, I called once again. I spoke to someone who I believe was called Andy. This person told me that, as he was not at the store, he could not tell me right away, and asked if he could call me back. I told this person that on two previous occasions I was not called back, and he apologised and stated he would definitely call back. On the same day, your employee called back stating that the bass “apparently has been sold over the Christmas period,” and that he would contact me about payment on the following Monday (January 8 ). I have yet to hear anything. Needless to say, I am less than impressed with the way the Bass Centre handled the sale of my bass – if indeed the bass has been sold. I would like to have a check for 80% of the sale price sent to me by Monday, January 15. Furthermore, I would like to receive a copy of the bill of sale, showing the sale date and price (customer details should of course be omitted) in order to evaluate whether interest should be added to this amount. I look forward to hearing from you. Yours faithfully, root fifth ================================= Now, let's have a show of hands: who thinks I received a cheque by the 15th? That's right, of course I didn't. No phone calls either. So I had to take the matter into my own hands. A week later, on the 22nd of January, I walked into the bass centre. I had the bad luck of having to deal with a fellow called Tom, who throughout this was doing his best to be unhelpful. I explain the situation to him in detail, show him the letter I sent to the manager, and demand to be told whether the bass has been sold, how much for, when, and whether I can get my money (we're talking about a rather large sum). Tom's first reaction is to tell me that he didn't know anything about this bass sale. It was the first time he was hearing about it. He would call Andy (he again!) on the phone and let me know. Turns out that Andy wasn't answering the phone. Tom promptly tells me to go home, and that I would receive a call within the next couple of hours. At that point I say that I can wait in the store, and that I'd rather not leave before I either get the money or know what's going on (note that there was still no definite answer about the sale of the bass at this point). Then Tom says something to the effect that "to be honest, it's Andy's day off." He further informs me that he is not in control of the chequebook and cannot pay me. I ask him to find a solution, tell him to take his time, and sit on a chair to wait this out. I also tell Tom that I want to see the bill of sale to know when it has sold and how much for, as at this stage I have no trust left in the store or its employees. Tom informs me that he finds my attitude 'intimidating.' I must remember to use that line when the cashiers at Sainsbury's do not let me take groceries out of the store without paying for them first. Throughout this process, Tom kindly informs me of my unreasonableness by repeatedly shaking his head and huffing. Eventually, he goes upstairs and a gentleman called Nick comes along. He tells me that he (Nick) doesn't even work for the BC, but he is able to sign a cheque from a different House Music account. Nick is the only one who seems to understand the situation and shows some empathy for the customer. However, he is unable to inform me of sale price and date. We (Tom, Nick, and I) agree that I would receive a copy of the bill of sale with these details by post, and I accept the cheque for the agreed minimum selling price. This was eight days ago. Now how many of you think I got this fabled letter? To date, I still don't know if they sold the bass for more and kept a larger percentage of the sale price, nor do I know that the bass hasn't sold in October and they have kept the money for themselves for a few months. What would have happened if I hadn't called? If the bass had indeed sold 'over the Christmas period,' why didn't I receive a call? How long would they have left it for? If anyone from the Bass Centre wants to give me an explanation, I'm all ears! To my fellow bass players, I can only say -- avoid this place if you can...

[quote name='Waldo' post='7062' date='May 26 2007, 11:41 AM']Yeah some spit and kleenex should do the trick![/quote] A friend of mine and my former guitarist had a Gibson SG repaired that had snapped at the headstock. It too was a splintery mess. Seemed to work; he's still playing it 5 years later. Worth checking if it can be put back together. Don't forget that there are many classical instruments around that have had necks, soundboards, pegheads changed to no ill effect.

[quote name='MB1' post='6385' date='May 25 2007, 11:33 AM']MB1. dont go shopping in harrods if youve only got the money for aldi. ALEMBIC are the rolls royce of the bass world not the skoda fellatio! MB1.[/quote] HEY! Don't knock the fellatio until you try it! [quote name='Snarf' post='6407' date='May 25 2007, 12:07 PM']You would think they would get a better website built to reflect the prices, their site is rubbish![/quote] Perhaps they get enough business as it is and don't feel like they have to? And the site seems ok to me, fairly easy to understand and not too fancy -- frankly I find animations, pop ups and the like distracting, especially when I'm trying to find information about something.

[quote name='Lfalex v1.1' post='5584' date='May 24 2007, 10:04 AM']The need to adjust your bass every time you change brands is limited, and only small changes need be made [i]provided[/i] that you're not changing gauge! Assuming that you're using the same bass all the time for comparison purposes, all the other variables such as break angles etc. will be fixed. Another effect of tension for you. Higher tension reduces the size of the vibration envelope of the string for a given mechanical input. This, in turn may facilitate a lower action as the vibrating string is less likely to strike the frets than one of a lower tension. When you say "less winds= more tension", am I right in thinking that winds refers to the number of turns around the machine head? If so, then, yes that is partially true. When you strike a string, it stretches along its entire length, albeit at different rates at different locations on the instrument. The string stretches between the points at which it is anchored, namely; The ball-end (at the bridge - Well, usually) The point at which the string is bent as it leaves the slot in the machine head for the first winding/turn This means that the length of string wrapped around the machine head can still exhibit some elastcity. Increasing the length of said section lengthens the string and increases the length to which the system can stretch before breaking. This also imparts a softer feel to the string. Decreasing the number of turns around the machine head gives a tauter feel and is useful in slap-orientated instruments, and those which may possess a "floppy" B string. Naturally, there's no such thing as a free lunch. You gain tension, but sacrifice tuning stability, increase the likelihood of string breakage, and there might be repercussions in terms of string life. Of course, if you cut it too fine, strings may jump off the machine heads completely! I gather the recommended minimum is [i]around [/i] two turns.[/quote] Very interesting stuff and well explained -- thank you. So going from what you say, the claim that Fodera and others make -- that lengthening the overall string length while keeping the same 'speaking' portion or scale increases tension -- is actually bollocks. If anything, tension will decrease (by a smallish amount in any case). I always thought that was the case, but now I know why.

[quote name='Alpha-Dave' post='5194' date='May 23 2007, 04:52 PM']I'm not sure; the ebony laminate that Alembic use is pretty small for the amount of difference the claim it makes. I'm of the opinion that a wood must make up at least a 3rd of the neck-mass to make a difference, and on an Alembic it can only be 10-15% at most (they are quite thin strips!). The necks that Alan at ACG is making (one for me) that is 50% ebony is more likely to make a difference I think. I would have gone for 100% ebony, but aparently there are stability issues with a 1-piece Edit: this is the sort of single-laminate I mean, that I'm sure is more cosmetic than they claim: [url="http://www.alembic.com/info/fc_direwolf.html"]http://www.alembic.com/info/fc_direwolf.html[/url] This one however is more like it! [url="http://www.alembic.com/info/fc_leftisright.html"]http://www.alembic.com/info/fc_leftisright.html[/url][/quote] Here is an even better example -- I think we may be over 50%, certainly in terms of mass!

[quote name='Crazykiwi' post='5082' date='May 23 2007, 01:12 PM']Alan (AGC) does a fantastic maple/wenge combination for his necks. I'm not a fan of the sound of wenge necks by themselves but in moderate amounts they do wonders for maple! I like the idea of a stiff, absolutely rigid neck being dampened by softer body woods.[/quote] That's also a good idea. Same sort of principle. Alembic (them again) also do ebony and maple necks that must be pretty close to graphite in terms of stiffness.

Good luck. A good idea is to think in terms of woods that balance each other out, for example a soft-ish core (eg mahogany) with harder wood facings (eg macassar ebony. By the way, that's going to be my choice when I raise enough money for an Alembic series fretless...