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3below

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  1. I have the pickups to do this in my trove, are you pleased with the result?
  2. I also did this modification with the same result :). Subsequently built my own replacement body (age 14!) using hand tools. It wasn't too bad (even allowing for rose tinted spectacles / things were better in the old days)
  3. In the 70s, HH IC100 vs HH VS Bass amp vs Stingray bass amp, or my Hiwatt 200. Happy days.
  4. Agree on probably wrong side of £££. Would it be a compound radius? I am just thinking about how I construct regular wood fret-boards. Plane board flat, glue onto neck blank, band-saw then router neck to tapered shape, hand tool shape back, finally sand radius on using radius block. It is a fixed radius. I would envisage starting with a 6 mm (?) thick stainless rectangular block. Mill the radius along whole block, then laser cut the neck profile narrow nut end to wide butt end of fret-board. Am now wondering about truss rods, neck relief and 'substantial' slabs of stainless steel so perhaps not a good idea. One thing to think about (based on my Kramer DMZ 4001) will be coldness to touch in winter. Stick bass in car, drive to gig, get bass out, it takes a while to warm up again. Even with the wood inserts the aluminium is 'cold' until it reaches room temp.
  5. +1 to above, you could contract the fingerboard cutting and radiusing to a metal machining shop?
  6. As long as you are getting around ‑20dBFS when you record everything should be fine. You can add more volume in the mix at a later stage whereas you can not remove distortion/clipping if you have recorded too 'hot'. This was the first hard learned lesson in my case. I find the Scarlett records my bass (and guitars) really well on the instrument input. Usually the bass just needs a touch of compression post recording and nothing else. Sansamps also work really well into the mic inputs for both guitar and bass.
  7. Use it. If it self destructs wait until a cheap s/h 15" appears on this chapel. I replaced my done for BW with a £25 'Fender' 15" bought in this parish. It was better than before, very unscientific approach, no T/S parameters, measuring cab volume, no changing port length and/or size, just luck
  8. You might want to check how well the speaker cones are glued to the chassis. Check of they are loose, can be lifted with up from the chassis. For about 25 years I used a Peavey bass combo (bought new) fitted with BW speaker. At the 25 year point the combo became very 'farty' in a gig. It transpired that the paper cone was no longer glued to the chassis in any serious way. It is fixable with an appropriate glue e.g. Evostik, PVA, copydex, thixofix. Do it sonner rather than later, I damaged mine terminally. Also check if the speakers have some 'foam' in the magnet as a 'dust trap'. In mine this had disintegrated with age. Equally well it could just be a loose speaker, check they are well screwed against the baffle, it could also just be a vibrating panel. Vibrating panels can be cheaply fixed with cross bracing using cut down broom handle glued in. See Bill's post https://www.talkbass.com/threads/adding-bracing-to-a-cabinet.876201/
  9. I was extremely mortified at the time. The crack of the fingerboard as I tweaked the truss rod will not be forgotten in a long time.
  10. You might (and it is a big might) get lucky (it will be a lot of luck) with the truss rod. Depending on how it has been installed and the type, some dual action rods can be pulled out and a new one pushed in. Try gripping the truss adjuster with some small nosed pliers and see if it will pull out. In my bass and cbg build I have tried by judicious routing to ensure the truss rod can be pulled out in the event of a breakage. A good luthier should be able to get the fingerboard off, plane the twist out (or other suitable fixes), replace the rod and re-affix the fingerboard for not too much money. Good luck with it, you have my sympathy, you might imagine how P***d I was when I broke the fingerboard on my G&L L1505 with the truss rod compressing the wood inside the neck.
  11. Worst case scenario, get a replacement neck made. I can highly recommend Jon Shuker, there are many good luthiers about.
  12. ^ as above I seem to make most basses sound pretty much the same. Not sure what I do to them.... When I get to the volume needed to deal with play with a drummer any tone subtleties (real or perceived) with different bridges (or even £ vs £££ basses) are lost.
  13. Just need to purchase the upgraded recordings. All the bass tracks have been digitally enhanced to himass bridge sound rather than BBOT bridge sound.
  14. No idea how to fix it. Why not state where you are located in your sig. On this forum you have every chance that someone lives near to you and may be willing to help. At this short notice I would borrow (buy cheaply) another amp for the gig. Can you go through the pa system? if so use some form of DI box? - plenty of pedals etc about that will do this cheaply e.g. https://www.gear4music.com/Guitar-and-Bass/Behringer-BDI21-V-Tone-Bass-Preamp/6LV?origin=product-ads&gclid=CjwKCAiAxMLvBRBNEiwAKhr-nGbKu9STsEB9lf49014ynlw8pt8J4MrQ_kPzBsJNkDy3dicY3LBFxxoCXr0QAvD_BwE I always carry a Sansamp as a backup for the 'failsafe' scenario. Good luck with the gig.
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