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Kalium Strings Service is Indeed Terrible

I also bought years ago a Conklin 7 string Bill Dickens bass. I bought extra strings from Conklin. Even though Bill has passed, I see the website is still there. The website
shows sets and extended sets of strings
as well, under Store. I would contact them first.
Conklin Guitars & Basses
And they do get thier strings from SIT so they would be the alternative as well.

Double Bass What are some ways a bassist can react, and what do you think of social media as a way of being contacted?

How do you deal with the performative interactions in social media? I have a feeling that when people like your comments or My Day/Stories, they expect you to like back. It's something that I don't want to deal with since I don't usually check other people's feeds. I'm also not comfortable posting the things that happen in my daily life.
i don't hold myself to any sort of standard there, so don't feel an obligation to reciprocate in these cases. i also don't post much about my personal life with the exception of music related stuff. gig pics, new gear, gig alerts, etc

I need opinions and advises about my improv.

Play phrases, rather than a continuous cascade of notes.
this
a good solo is a melody that has a structure, theme and development, a beginning , middle and end
as the song moves form verse to chorus to bridge, the solo shoudl underscore those transitions
experiment with how long you can make one note matter

it is no crime to roughly map out what your going to do ahead of time.
"I'll start around the third fret and stick to 8th and quarter notes,
at the chorus I'll get busier and play around the 7th fret"
etc

Calling all Carvin X54 (Xccelerator) owners!

Bumping a 10-year-old thread…

Can anyone confirm the location of the p pickup on these?
I’m trying to find a six string p bass, and one of these looks like my best bet. Guitar center has got used one for sale right now.

I was about to pull the trigger on another bass, and I was surprised to confirm that the precision pick up is not located where it would be on a fender.

can anyone measure from the metal of the 12th fret to the center of the plastic pick up covers? Just the front (neck) coil should be enough to confirm. If I recall its supposed to be 11 1/16”?

Cool duet at BNA (Nashville) airport

Work trip thru Nashville airport. Once again, they have live music in the concourse. Koodos to them for making the effort... So, much more pleasant versus the hell of ATL. Above and beyond. Had about 45 minutes to spare and enjoyed a couple drafts sorting emails to this duo playing older pop/classics. Kind of like a corporate or side wedding band.

BP was super laid back, no effects, no sheet music/iPad. Just 5 string > MB > cab. Surprising how well that Phill Jones 4x8" sounded in the open area. Acoustic guitar player / singer had effects and vocals going thru what looked like an internally powered single PA speaker.
tempImagegi88je.jpg


FWIW: I also noticed down the concourse a ways there was a nice grand piano open for anyone to take a stab at it (Some young Japanese girl, obviously a passengers kid was just killing some very complicated classical stuff. Good on her. Parents must be very proud).

Best Preamp+Power amp configuration

Yea that is more like what what my personal preference would be: why I mentioned Jule Simone

Maybe Mesa pre with Minnie 800D

I just answered OP question but I am content with my 12" wide 7lb WD 800
and don’t see any pre/power out preforming it at anywhere near price

I have no interest at this point in large heavy or Rack sized 'Vintage' (Dinosaur) gear🙂 been there done that and yes when relevant worked Great for me and yes again still some good stuff
+1

The more recent rigs I’ve been using are more tailored for the signal delivered to FoH vs what I am monitoring on stage. FWIW
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Basses with Kahler Tremolo Club!

I recently bought a 1985 Hondo P-bass with what appears closest to a 7410 tremolo, at least by modern nomenclature.

I'm not sure how to set it up though, all the videos I can find are for locking versions, and the way they set the spring tension and tune it involves locking. Do I just have to tune, adjust the tension, retune, re-adjust and so on, until it's balanced out? I'm guessing there's a better way, but I'm at a loss.

Also, the curved cam plate makes it hard to know what would actually be level. All the videos I found are 2400s which have a very flat cam that makes it obvious when it's level.

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The Geddy Lee Jazz Club Part 2

My Geddy collection so far.

Just need to find a 60’s style neck without the binding for the Seafoam, and some Brantley pickups for the Black one!

View attachment 7553114View attachment 7553116View attachment 7553118
I grabbed a Vintera III neck for mine. I'll post pics soon. Waiting to get the new USA model in before I post pictures.
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Help identifying custom Bartolini pickups

Hi. I bought some Bartolini pickups from a Japan auction site thinking they were a pair of Rickenbacker 4 string 6RT's but they are not.

I need to resell them as I dont use 5 string basses, but want to give the next buyer accurate information. Does anybody have any idea what these are? They are reverse P configuration like Original Splits, but with a much lower resistance and Rickenbacker style mounting.

I have been talking with Bartolini direct and they have been very helpful (thanks!), but they can not find any record of these pickups with starting F. They think the 2nd letter is a 5 (not S) for 5 string, T is old marking for Original Splits and T and B for treble and bass. But no idea what bass these went in.

Any help appreciated. Thanks

Bridge (T marking)
Marking is F5TT
Original split reverse P pickup style
6.233 kohms

Neck (B marking)
Marking is F5...... I can maybe make out a faint T, so F5TB if following a convention)
Original split reverse P pickup style
4.198 kohms

Body size for both
~91.6mm (3.6 inch) long
~31mm (1.2 inch) wide
~17.7mm (0.7 inch) high

Brass Bracket for both
106.7mm long
13.3mm wide
0.8mm high
102mm hole centers

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Is this ‘74 Fender JB Neck worth attempting to save?

Thanks for the assessment @Bruce Johnson. I’d spoken to two luthiers who each quoted me much more than $150, otherwise I would’ve immediately gone with a repair. That’s nothing to save such a wonderful neck. I was quoted closer to what the value of the repaired neck would be (imo), so I wasn’t sure it was worth the time just to sell it off and basically break even. I own other 70’s JBs, so I don’t necessarily need this neck to build another one. They are my favorite necks aesthetically of all time, which is why if it wasn’t worth saving I was going to get creative and crafty with it. But maybe I’ll keep shopping around for a luthier with a more reasonable quote on repair.

In the mean time, I love a good trade, so I’ll probably throw it in the classifieds to see if anyone else wants to mess with it in exchange for something I could use. Probably not interested in a low-dollar as-is sale for it. At that point I’d rather keep it for an art project. Anyhow, thanks so much everyone for all the feedback, and if anyone knows a solid luthier in the Central GA area who’d tackle this at a fair rate, let me know!
Have you tried Maple St. Guitars in Atlanta? They did good work for me a few times for reasonable prices.

This scale must have a common name

for any of several good reasons; it's a note that you (at least according to some norms) shouldn't play, because it will sound "bad" or "wrong."
I understand what an avoid note is. The rules for the examples you cite are generally fairly static. But this is not the case for all avoid notes. Given the same chord symbol, a good chordal player may avoid one note in some circumstances or play the same note in other circumstances and avoid another. The choice of how to voice the chord and which notes to avoid does not change the underlying chord structure.

There are conventions for chord structure, there are conventions for chord notation, and there are conventions for chord voicings/avoid notes. They are all valid, despite some inconsistencies between them. I don't have any problem with the inconsistencies or your position because there is no grand unifying music theory. You're entitled to your opinion and approach. I will stick with the standard conventions, because IME there are certain situations where these standard conventions actually matter/make a difference.
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G&L L2500 Pickguard ... Check it out.

I just finished my homemade guard for my Tribute L2500, and wanted to thank everybody in this thread over the years for the inspiration!

I have some material in white pearl, going to do another one soon…
Nicely done and it looks great!

I posted here about 6 years ago :wideyed: right after I got my Tribute L-2500 and I still have it. I love the tones I get out of that beast! I can't believe It's been that long ago! I was thinking about a clear PG over the blue burst but decided against it. That burst is too pretty to cover. Under certain lighting, it practically glows.
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Parallel and Series wiring on Area J. Not really hearing it!

So there one has the technical noise advantage at the pick up. He mentions assuming there is a decent low noise preamp, but my Jazz is passive. I'm really referring to the noise that is picked up after the pickup, such as the instrument cable noise, if the signal is louder from Series or Parallel plus preamp, then it has a good signal to noise ratio.
Yeah that's valid for sure. Many active pickups like EMGs actually use parallel coils specifically for the wider frequency-response and for the lower noise level, but of course they are directly paired with a preamp in that case.
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Lesser known companies/luthiers

I feel like Conklin basses belongs here too. Yes he did manage to get large enough to start a production line overseas with cortek but I barely realized these basses were a thing until recently. His designs were really cool and he built some crazy basses. As many strings as you could think of he built.
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