essexbasscat

Have a look at GuitarNuts.com Shielding is fully explained there, albeit on Stratocasters. The key principles are well explained, along with some helpful tips. I've had some success obtaining graphite paint from evil bay, which creates an electrically conductive layer when painted onto the control cavity. Much easier than trying to fit copper to the contours. Good luck with your project T

Always liked these

[quote name='cameltoe' post='1064982' date='Dec 20 2010, 07:45 PM']Ah! Considering mines a road worn as well I'm interested. I did look at the Marcus millers, the description seems to be right what I'm after but I was put off by them being stainless, even though they appear to be a bit tamer than standard stainless. I may have to try them at some point. Do you normally use stainless strings? Just wondering what they would be like to play considering I'm used to nickels.[/quote] Hmm.... a bit difficult to describe the difference b/w sunbeams and MM's, as I've yet to try the sunbeams. That said, I do own a set, so they may go on at some point just to see what happens. Stainless Elites used to go on my Goodfellow for years. The brightness of the Elites just complemented the on board controls, which shape the mid/high frequencies nicely. As they worked so well on the Goodfellow, I tried stainless Elites on a maple / maple USA '73 Precision I had in the late 90's. The bright acoustic nature of the Stainless Elites seemed to enhance the higher frequencies of the Precision split pickup in an unpleasant way, developing a quite thin sounding treble dominate tone. Great for machine gun octave popping. Coming more up to date, I snatched up a Roadworn Jazz earlier this year, which came fitted with MM stainless. As you suspect, they do appear to be tamer when compared to the stainless Elites. They feel smoother than Elites when running a finger up the string with light pressure. They are also easier to engage with the fret than Elites, requiring less pressure. Having said that, they are by no means floppy. The lighter pressure involved has encouraged a lighter, more deft touch from me, accompanied by less digging in. Lastly, the Elites seem almost acoustically brittle compared to the MM's. Very bright. The Elites fitted to the 73 Precision seemed to elicit fret 'tizzle', which just made the bass more difficult to control. By comparison, the MM's generate a smoother, more rounded tone. The Elites are very good strings and I used them exclusively for years, but the MM's have won me over. Hope that helps a little T

I use DR Marcus Miller Fat beams on my Roadworn Precision. The thing sings like mad with them on - I'll be sticking with them for quite a while ! T

Why this one hasn't come up yet is beyond me.... Utter class

Somehow remeniscent of a Yamaha semi - acoustic ! Very nice

[quote name='silverfoxnik' post='1049899' date='Dec 6 2010, 09:33 PM']So..what we've got is: South East Bash (4 so far) National Bash, Northampton (1 so far) South Coast mini-bash (1 so far) North East Bash (2 so far) Warwickhunt mini-bashes Nottingham Bash (3 so far) Moffat Bash London Bash Yorkshire Bash Guess there's more than this though...? I agree with Happy Jack; let's have a national bash and invite a couple of big names.. At the Northampton Bash, there was a bar which provided a great opportunity to get away from the basses and just have a chat.[/quote] Add the Canvey Island Bash (Essex, South East Coast) in April 2011 at Island studios with BC'er Dusty on site ! T

Every band member, an absolute master of his art. Just look on in wonder

Celebrating a birthday this coming monday, Programme presented by Clint Eastwood I'm off to watch it T

Spent the day discussing things bass with Steve while collecting an EBS Microbass II. Played Steve's Sei 5 and realised how nice a bass it was after only half a dozen notes - superb ! In Steve's hands though, it sings in ways I can only look on and wonder. Steve's playing also inspired me to go home and practice, in a good way. A really positive day all round. Highly recommended and always a pleasure Thanks Steve Tom

Wish I could comment, but my French has lost it's edge a bit.

Boosey and Hawkes have done this with wind instruments for decades. Suspect Stentor do the same. A lot of well known names on instruments outside of the bass world are actually the name of the importer. T

This is dead handy Mike. Wish there were more things on site like this. Cheers T

electrically conducting paint is also available on e -bay and easier to apply.

try visiting the British Association for Performing Arts Medicine at bapam.org.uk Hope they can help you T

[quote name='xgsjx' post='1043545' date='Dec 1 2010, 11:14 AM']I don't know any basses with a neck as thin as my TV remote, let alone a pencil All kidding aside, good analogy & advice there. Quick edit just to say I tried your theory with my mobile phone & a camera lens. Holding the phone in a fretting position put's my thumb naturally towards my index finger, holding the lens my thumb went towards my ring finger.[/quote] Illustrates the changing thumb position with different grasp. Have you tried the test with two cylindrical /tubular objects, one thinner than the other ? they would be more representative of different width bass necks.

Nice one Jennifer. Now I see you using that Simandl technique ! thanks again for the advice a little while ago T

Seem to remember from Orchestral days that everyone tuned to the pitch of the Oboe, as that instrument's tuning can't be altered. If this is correct, then tuning would pretty much be fluent from place to place anyway. Training for the ear. Great stuff.

A few things to consider: - The tilt,height and angle of the bass relative to your body will influence the angles of your shoulder, elbow, wrist and fingers. Do you conciously choose an informed best position and strive to maintain it from instrument to instrument ? - Establishing a grip on a thinner radius object can encourage a something like a pinch grip, commonly more between the thumb and the index finger. A larger radius object may encourage a different kind of grip, where the thumb migrates more towards the little finger. If the thumb position is changing relative to the fingers with altering radius, the position of the thumb joints will also alter. Try something for an illustration. Grip a pencil as you would fretting a bass neck and note where the thumb is relative to the fingers and the palm of your hand. Now grip something with a bigger radius (e.g. a TV remote control?) and again note the position of your thumg relative to the fingers and the palm of your hand. Any difference ? Now try the same exercise with different bass necks. Note the cnanging positions of the wrist, thumb, fingers etc. Are the fingers flatter on larger necks ? Just some food for thought Good luck with your enquiries T

I never saw an electronic tuner until more recent years. Until then, I'd guess EVERYONE tuned every musical instrument by ear alone. I've come across tons of recordings from the 60's and 70's that are 'off' by standard tuning. Just re-tune the bass. Have a listen to Macca's bass on 'Band on the run'. Sounds like the bottom E is deliberately out of tune with the rest of his bass. Quite effective.

The list changes every week for me, but often includes a lots of what's already been said. But one that is always welcome is 'Midnight Train to Georgia' sung by Gladys Night, with bass played by Bob Babbit (I believe). The bass line is just about everything other than the root notes, which are generally avoided like open manholes. Love it for that alone. But's it's also just about as melodic as practically anything Mc Cartney ever wrote IMO and there's very few songs of that calibre for me. Here it is Class and style.