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I am ok with a well setup stock bridge but I did put a Hipshot supertone on my Tbird and I must admit it kicks mucho ass, that bass is a weapon now

smtp4me said:

I'm not an electrical engineer. My understanding is that shielding the control cavity does not really add much value (juice is not worth the squeeze). Sheilding the pickup cavaties - most definitely. But again, my understanding is that pots, output jacks etc. do not pickup extra noise. In fact, if anything critical in the control cavity touches the shielding it can cause unwanted results.

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Well you got that wrong. It's not the pots ot the jack in the control cavity that pick up noise, it's the wires. Lots of basses have buckets of wire in there, all acting as antennae. The worst offenders are some basses with preamps onboard, like this:



What may have set you on the wrong road is advice given about guitars (or basses) that use shielded wires in the control cavity, like many Les Pauls. Instead of shielding the cavity they shield the wires. The pots are already shielded by their cases. If a barrel jack is installed, it too is shielded, though an open jack is not. That only leaves the capacitor unshielded on a passive instrument, but all the other electronics on an active bass as well.

MonetBass said:

My feelings are mutual about that song. Horrible.

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The one they went with is pretty ugh as well.

As is the show.

Zooberwerx said:

….hand-delivered to your door by a stripper.

Riis

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They only offer that for the US made basses....

PPs are awesome. MadLad on Reverb made this body in ash for me (and he's made it a regular model).

I never tried one of the original G3’s but I remember after seeing D’artagnon Brown tear the house down on a Gibson Ripper back in 1976 I was quite eager to try one…but I never had the opportunity.

5StringBlues said:

Doesn't matter, punk was never about music anyway.

Some bands eventually changed that, but attitude and fashion were the thing.

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That said, l do appreciate the lyrical content of some of the later 70s bands.


None of which can be discussed on Talkbass.

Dr. Cheese said:

I got green. It is almost the same as my Sadowsky Modern.

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That's a sharp looking bass. I think you will really enjoy the JT5. You'll get used to the fanned fret thing in no time. I'm curious to hear your take on the Neve preamp. As with Sadowskys, matching a passive tone control with an active preamp works really well.

Looking forward to seeing and hearing your new bass.

Best,
Bones

Axstar said:

I found a sculpture, erected in honour of Boz Burrell, down at the shore area of Leith, Edinburgh, last year. Apparently nobody knows who commissioned and installed it, other than that Boz had links to other musicians in Edinburgh.

I have half a memory of seeing a photo of Boz with King Crimson, and he is playing a Jazz bass with a mudbucker fitted up by the end of the neck, ala Sheehan.

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Cathy, Boz’s wife designed and commissioned it in the shape of a bass clef . Boz’s ashes are scattered right by the steps. (Please throw a little bottle of Smirnoff in, when passing!!) We lived in Leith for a couple of years and he had the MOST fun playing, writing and producing the music for his band “The Celtic groove connection “

They mean that, in the playing position(s), only one screw should be touching, the size of the gap is inmaterial. You're appear to be fine.

brianrost said:

I’ve yet to play an active bass where turning a boost/cut bass EQ past 2:00 was really useful. Small adjustments work best, at least for me. One thing I listen for is how much the bass boost fattens up the G string.

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I always use my Sadowsky as my reference for actives due to it's "sit in the mix" quality, plus I'm just used to it. Just a slight boost of the bass on that gets you in that sweet spot where you get that weight in the mix but the bass still sounds clear and natural - like 10-20% boost, tops. Any more is overwhelming. You also get that slight scoop that starts to happen around 300hz when you boost bass/treble. With this Bart pre as well just a smidge of bass boost does it. Then I find just barely cutting some mids at 250 gets me a really nice articulate sound, still plenty of mids to speak clearly as it's so mid-focused to begin with.

superiorpine said:

you are an inspiration

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+1

consectaneus said:

I also just noticed that the pickups look like Strat pickups. Bass VI pickups even across all reissues have the squared off ends and the serrated metal “claw” surround.

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Yep I'm pretty sure this is a jaguar body with a 30" scale neck of some sort

Just an update- I reached out to Allparts on a whim (they own Badass now) to see if they could offer any insight. They replied within minutes. The rep said it was super intriguing and that he’d reach out to one of his managers who was with Badass in the 80’s and might know something. Got a response about 24 hours later. Didn’t get much more info than I already had, but enough to send me down another rabbit hole of research into Leo Quan’s signature models haha. Can’t seem to find any pics of the Green logo anywhere online either.

otto B said:

I highly recommend the iAmp500, I used it for my VL210 and VL110. I am about to sale mine if interested. It's close to being mint condition

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otto B said:

Dm sent otro.thanks

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Though I am hesitant to resurrect this thread, I will just say, without naysaying anyone who posted on this back in 2009, with regard to any negative experiences, my recent experience was the polar opposite.

I bought the bass I posted about earlier, and found Josh to be nearly instantly assessable, responsive and super easygoing.

The bass arrived lightning fast, and any concerns I may have had were erased the second I extracted it from the package. No, I have not given it a "complete" workout, but I plugged into a Blueline SVT rig, and it was like nothing else I have, in a good way.

Fit, finish and fretwork are perfect, zero buzz, no rough spots, zero gaps. This was built by someone who knows what he is doing. I'll bet you right now that this is not the last Helms bass that will end up in my hands.

Thanks, Josh.

Once I get to run it through all my rigs, and play with my fellow geezers, and get a fully informed feel for it, I'll post a more complete review under the NBD threads, but no BS, there was positively nothing that was remotely negative that was previously posted that I found that matches my recent experience. If he offers something new, you can buy with confidence.

That is my opinion and I'm stickin to it. This is art you can play.

JP

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Just in case anyone in the future is trying to figure out if the 20% More is usable on bass. Love mine.

When I met him he was playing a fretless Warwick…

I tend to have a #1. Currently it’s my Spector Legend 5. Much less about the dollar amount and more about what and how it inspires me to play. I still love my other basses - but if I had to pick my current favorite, it’s absolutely that bass.

That said, if it’s the “house on fire and I can only save one” bass….it would probably be my Warmoth P bass that I’ve basically rebuilt from splinters lol - and that’s because I’ve spent my heart and soul on making her perfect for me. With the group I’m playing with though - they do enough songs with a low B that a 5 is required, which is why I’d say the Spector is #1 by a hair’s breadth.

MrVanimal said:

am usually not a fan of satin finishes as I don't like how they buff gloss. After 6 years with yours how much has it glossed up?

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Mine has a bit of wear on it, and has buffed a bit gloss right where I've been wresting my wrist or thumb depending on my plucking method. It's held up well but definitely not as well as the natural finish on my Warwick. It has a slight darkening in roughly the same place.

But given that I've seen many instruments with far more wear on them, I don't think it's bad at all.

urkel3000 said:

Man I really want a fenderbird

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These Fralins were custom made for McGrath. Under the covers are reverse split singles.

So it’s the best of all worlds ha ha. Reverse noiseless split single coils mounted in t-bird covers.

RIP, Keith.

Old thread but I'm looking at these. Can't decide between the 76mm and 100mm. I have one 4" strap and it's a little too wide, but it does make basses feel lighter. Are the 76mm ones enough?

borgward said:

would a complete set be compatible with that cabinet?

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Maybe, don’t know without doing the math, but the cabinet sensitivity would end up about 4 or 5 dB lower which would require about 2-1/2 times the power to achieve the same volume.

Heard about her passing. Instantly recognisable voice. RIP