3below

[quote name='HowieBass' timestamp='1438017481' post='2830897'] It looks to me as if it's been defretted and filler put into the gaps........... It's ok to have open pores in the surface of a fretboard/fingerboard and light wear from strings isn't a disaster. [/quote] Agree with this judgement. The string wear appears to be liveable with, if the gaps concern you that much a luthier will be able to fill them with a mix of ebony dust and suitable glue. The other option is a new fingerboard. Warwick replacement necks, sit down and take a sharp intake of breath.

Following Howiebass' suggestion, unplug battery and measure resistance between battery clip terminals. Also measure the current draw with each pickup disconnected in turn, then both. This will give some more indication where the issue lies.

As mentioned before listening to yourself with a long lead will help. A radio connection is even better since you can get further away. Getting someone else with good judgement to listen at a distance when the venue fills with people can be useful if you have not reached the mixing / sound engineer scenario.

Innovation DB strings from Phil. Excellent communication and they arrived as fast as possible. Many thanks.

Observational powers of the Jedi by [font="helvetica, arial, sans-serif"][color="#282828"]SubsonicSimpleton If it stays in tune and has an action that you are happy with then all is good. Cosmetic issues can be annoying, it is also possible to 'forget' them with time and just enjoy playing it.[/color][/font]

I have one (now fitted with emgs) as a bass that 'does not matter'. Stolen or damaged it is so cheap it does not matter. Good quality assembly, slim and very playable neck. Grain shows through nicely on the red finish. Long top horn makes for good balance and it is light. At £20 is an absolute giveaway.

With the old bridge I resorted to drilling the anchor hole to a wider diameter - a little bit at a time. It is such a design defect that it might be worth approaching Warwick and asking for a new tailpiece. You might get lucky.

Gets better and simpler all the time In my defence I did mention duplicates (which would emerge in computation) however you have expressed it much more elegantly and succinctly.

[quote name='TimR' timestamp='1436447391' post='2818220'] Why don't you just list the overtones on each string so you have three sets nG, nD, nA where n is the number of tones in each set. The total number of chordal tones will be 12 x nA x nD x nG. Only a limited number of them will be traditional western chords. I don't see a mathematical solution to this you'll just have to solve it by brute force. [/quote] Agree there may not be a full mathematical solution, but partial solutions which will help devising algorithms to aid brute force solutions. On the initial boundary condition of 5 harmonics, using your calculation give 12x5x5x5 = 1500 possibilities, some of which will be duplicates. With a bit of internet research the following emerges, 'Michael Keith "From Polychords to Polya: Adventures in Musical Combinatorics," computed that for the equal tempered scale there are 351 essentially different chords'. I just wonder if set theory might provide solutions but my mathematics is not that sharp any more. Off to think a bit more, reaching for brute force implement which will be the quick way.

[quote name='Oscar South' timestamp='1436354187' post='2817345'] I'm looking at the combination of 3 open overtones and one stopped tone acting as a root. I'm not considering what stopped notes/overtones are reachable because the harmonics occur in multiple points on the string and don't need to be stopped, so you can just leave them ringing and then hit the root ... [/quote] A good point about not being concerned about reachable root notes - obvious really, don't know how I missed that. I am getting the mathematical problem solving itch

[quote name='Oscar South' timestamp='1436316504' post='2817072'] Thanks for the couple of links guys, very interesting stuff to read and take on board. Correct that I'm essentially figuring out every possible variation of three natural overtones in combination with a stopped tone (on any of the four strings) and defining what harmonic structure it forms. I'll also organising them into keys and plan to touch on expanding the practicalities of the shapes.. I've done most of the deriving and am just filling in (many) blanks on spreadsheets currently. [/quote] As far as my understanding goes (and I am still not sure I fully understand) you are looking at the combination of a plucked string (the stopped tone) and combination of the available harmonics? The availability of harmonics is presumably limited by finger reach. I would be interested to know the methodology you have developed to find solutions. My first step would be to start with the available harmonics since these are defined both in frequency and position by the the frequency and length of the string. I would then mathematically define what frets (and thus frequencies) are physically available in the proximity of the harmonic. It would then be possible to program a solution to generate the combinations. These would have to be limited to sane (physical number of fingers, location of fingers etc.) conditions. An interesting problem

[quote name='HowieBass' timestamp='1436293542' post='2816853'] Unfortunately I'm also scratching my head here wondering what on earth this is supposed to be about. Are we talking Fourier transforms? [/quote] Fourier transforms +1 answer So much I have forgotten in the mists of time.

[quote name='Oscar South' timestamp='1436268994' post='2816529'] I'm working on a ridiculous and overblown study at the moment: I'm attempting to exhaustively isolate, define and practically organise every possible harmonic combination of bass guitar overtones played over a fundamental root. [/quote] Can you explain in more detail what you mean by 'harmonic combination'. To my way of thinking as this stands it is a Physics / Maths problem.

I am hoping Entwistle release the EB pickup aftermarket. My plan b involves one of their blade humbuckers (which will fit the cavity with a bit of baseplate filing) and a plastic insert between the bobbins to screw the polepieces in. I am working on this at the moment, if it works well it will be a seriously cheap upgrade.

[quote name='SingleMalt' timestamp='1436120219' post='2815153'] Anyone know how the pick-up in the special compares to original EB-0/3 mudbuckers? [/quote] From my EB2 owning days (nearly 35 years ago), the output is noticeably less (measured with oscilloscope in both cases). Very hard to comment on tone kit is so much better these days. There is a fair amount of internet info on this comparison.

Dimarzio Model one requires some woodwork - the pickup is just a bit too wide for the sg bass slot - I went down this route but decided not to take the chisel to my bass. Novak looks good but the price could be steep. With 190USD plus 50USD postage plus duty plus VAT plus the infamous Post office 'customs handling charge' you might end up with £220 FOB.

Same problem with mine. I solved it with some 2mm ish plastic. Drilled holes to allow pole screws through and then epoxy glued the plastic to pickup cover (inside). Mine rattled even with foam packing method thus the more drastic solution. As above a disappointing way to mount a pickup and the polepieces do nothing other than look the part, so no adjustment for string balance issues. Entwistle have made an EB type pickup but have not yet seen them as aftermarket items. It is a great thing to play, especially with small hands.

Seven.. of which I still have five. Every time I visit my local music shop I am reminded how good BC marketplace is for value and meeting good people.

[quote name='yorks5stringer' timestamp='1436023904' post='2814432'] Seems people are not taking me seriously on here. 1. A table top would be no good whatsoever 2. Neither would a broken laptop. I am an Artist. P.S. No time wasters please [/quote] [size=4]My other laptop has asked "Are you [color=#545454][font=arial, sans-serif]the greatest living [/font][/color][color=#6A6A6A][font=arial, sans-serif][b]rock[/b][/font][/color][color=#545454][font=arial, sans-serif] star on the planet"? and wants to know when and where the auditions are. It also said it knows about swearing from the way it has heard the other one being spoken to.[/font][/color][/size]

I have a laptop that will be suitable. It does not work properly. That would be in keeping.

From experimenting with my Gibson SG bass - D'Addario Chromes with 105 E: good string tension, plenty of bottom end, not very focussed. Pyramid Golds: good (lower) string tension, great for Jack Bruce, Andy Fraser sound, short 'burpy' notes, very focussed. As above bigger gauges = more tension (Physics at work). Also as mentioned previously - on my long scale basses the chromes have greater focus.

I would be surprised if the screws are anything 'seriously' special. If they do prove difficult to track down you might want to cut down some regular size neck screws and file / grind a lead in profile. Lucky with the fingerboard , makes me wonder is there something solid like a steel insert to prevent that very issue. That would be some engineering forethought.

The other 'hidden' push factor to buying and disposing in the USA is the cost of a suitable airline proof (hah) flight case for any instrument of great value. S/H Squire, Peavey, Yamaha or suchlike commodity bass plus pickups of your choice probably cheaper than a good ATA flight case.

[quote name='Dan Dare' timestamp='1435323358' post='2807700'] Because it's difficult/expensive to build a suitable power supply that will deliver into 2 ohms all night. [/quote] Peavey amps of an older era did just that e.g. Firebass 700. It was rather heavy and lacked power when faced presented with an 8 (6?) Ohm Barefaced Big One. Cost will probably be the main factor and the drive to lightweight kit.