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It would be best if you can access a tennis retailer that has a court space where you can "try before you buy". We had that option but it's been years now. I was really impressed with the light-weight aluminum rackets.


Even at 65, I'd love it the Mrs asked for us to go at it again. I loved simply volleying back & forth. Just to move and stay active.

Fresh new music to feed my ears. Goody!.

If you file/sand the pickup contact area to be parallel to the foot area the hole axis will point into the wrong direction.
You may fill it and drill again, but chances are high that it will still be a bit off-axis.

I was told that the hole is drilled into the full bridge leg and the foot will be cut off after the hole is drilled. That way you can be sure that the hole in the upper part of the bridge and the foot is on-axis.

A luthier might be able to solve this better than you might be able to do.

I like my 5 string NG3. I have bought it in Toronto for 2,700 USD and for me it is worth every penny.
Quality of the bass is fantastic, super stable and fast neck, no any dead spots. All pickup combinations are practical, the bass cuts through easily any mix.

You would only use one, *if* its even needed at all.

Just because its active, doesn't mean its too hot of a signal that you need to use the pad switch. Ex: my Musicman StingRays are not hot actives, so I still just use the unpadded inputs. But my Wals are some of the highest output basses made, so most definitely get the pad.

MultiScaleMale said:

I use a Mono Rise+ for two pedals. Putting a power supply under it would be a challenge. I just use the 9v out on my GR Bass Cube

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Putting a power supply under my Mono riser was challenging indeed……….

I had to make a cutout on the two lips of the bended aluminum sheet to slide in the power supply. The rubber feet are flush to the outside of the board and the power supply slides in almost tight fit between the rubber feet so there’s no room left.

Patience was required for this little project………

Well....it's been over 3 months. I find I can't put it down. I haven't practiced daily for years (not really since college) but I find myself logging hours in the shed just because it's so damn fun to play. The issues with the ergos are there, but minimized by a big strap and high playing position. But it still tends to cause the neck to dive. After an hour or so I find that I'm playing the bass and it's about horizontal to the ground. I know this bugs a lot of people, but I doesn't bother me at all. All together, I'm still in love and just can't stop playing her!

FatOwlBass said:

I did have to route. I laser cut a routing template for the EMG size and carefully placed them. The EMG pickups were just a bit wider than stock, so they covered the original routes nicely.

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Excellent (and fast!) work. You’re a real ‘man of action’!

B-E-A utiful. Congrats! De Gier basses are awesome.

robert_stuart said:

This weekend, I’m giving this recipe a try on a $50 bass. The video did a good job persuading me to give it a shot. He goes slowly through the process and truly uses only around $40 in easy to find supplies.

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I've not used one brand (Rustolium) for each stage but after watching this I may eventually give it a try. At one time using hardware store rattle-cans was not ideal but paint technology has evolved to the point that these products, many times for automotive purposes will lead to a decent result. I'm especially interested in the 'filler-primer' and the 'triple thick glaze' product.

Do post your insights after using this system - YouTube vids always make things look easier/go smoother than doing it oneself. Good luck!

JohnnyBottom said:

Its a thing. Repeat success.
New flats.
1 night of Eucerin = about a couple months of playing.
Perfect

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Nice!

SoonerBill said:

Just talked to my BIL. The bank could put pending charges on hold which would remove them from showing as pending. But if the bank doesn't see them any longer in their system at all that's different. The charges would only disappear if the vendor or the service they use like was mentioned earlier that placed the charge cancelled it. Or a very, very skilled and motivated hacker. I'm not sure what motivation that good a hacker would have.

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Possible it’s someone I know and when they found out I caught it they decided to cancel the transaction purchase? How would that complicate things with it being disputed and being refunded I wonder?

Thanks all for the replies and thoughtful suggestions. I have some ideas swirling and I think something custom might be in order.

One last thought I had though—it seems like a mustang bass pickup has a bobbin that’s about the same height and width as a ‘51-‘57 P pickup, and one pole piece per string. These are usually thought of as “thumpy” pickups, but I think that’s maybe more a function of the mustang’s short scale.

Would a mustang pickup with the coils in parallel be pretty close to a single coil P? What do you guys think? To keep the split P aesthetic, I’d have to figure out how to fit them into a cover.

fclefgeoff said:

Thanks! I’ve never owned or seen the ‘Blue Dawn’ finish in person, so I can’t say with any certainty. I did a google search for Ernie Ball Blue Dawn vs New Dawn, and this was the AI summary.

View attachment 7542510

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Thanks. My first EBMM was a Blue Dawn/maple USA Sterling from Elderly Instruments. Loved that finish; should have held onto the bass.

Pj DiMarzio pickup wires

I see a pultec too!

mambo4 said:

So if you (and/or the band) go ampless, how do you hear the mix? Monitors, IEMs, is there a standard?

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I suppose the standard is IEM. That's what I use.

mambo4 said:

How do you mix the mix you hear? Does it come form the board or is there dedicated hardware you bring?
Does everybody get the same mix from one box, many mixes from one box, or many mixes from many boxes?

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Many mixes from one box. We bring a dedicated IEM mixer in a rack unit.

mambo4 said:

How many cables and box connections are we talking about?
Do you bring your own PA or do you send a multi track feed to FOH?

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The rack we bring features:
1. A WiFi rack unit
2. A battery storage/charging system
3. IEM transmitters
4. The IEM Mixing console
5. An XLR Signal splitter.


The routing on stage is simple. We place the rack beside the FOH stage box and connect all the XLR cables from microphones and amps to our mixer. On the back of our mixer, there's a multicore coming out, which will be connected to the FOH stage box. That's the additional work that has to be done: Instead of plugging straight into the stage box, we plug into our stuff and our stuff into the stage box.
FOH works just like they are used to. We take our split of the signal, run it into our mixer (a digital one - popular models would be the Behringer XR-18 or X32R (or the Midas equivalents), or the Soundcraft UI series - a digital mixer with enough aux paths to run the IEMs. Every band member brings a smart device (I mostly just use my phone) that connects to the mixer and can control the IEM feeds, so every member can adjust their own IEM mix at any time.

mambo4 said:

Do you feel it is simple compared to the old ways?

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I must admit that on bigger stages and festivals and such - basically anything where you can expect a decent monitoring system and a dedicated monitor mixer person that is available to you at all times - I don't mind playing a 'loud' stage.
What is a huge difference is small spaces and clubs. When the place and stage are so small that one generally uses the bass amp (in part) to carry the room, I find that when I am standing about three feet in front of my amp, whenever I turn it up enough that I can properly hear myself, the people in the back rows will drown in bass and I'm asked to turn down. Since I'm standing much too close to my amp, the lows can't properly unfold before they reach me and I usually feed off the reflections of the back wall.
On those gigs, both the audience and me enjoy a much better signal since everything is running through the PA system with properly placed speakers for the audience and I have my own mix on my ears. I usually mix my feed by starting with a balanced mix, something I'd enjoy for listening, and then raising the drums a tiny bit and the bass a tiny bit more - back when I started, I set the drums at +3dB and the bass at +6dB (starting from a balanced mix), but that was too much for my taste. Now it's just a tiny bit.

Toptube said:

Why are you concerned about humbuckers?

Why are you concerned about short scale?

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Toptube said:

Good questioins.

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Toptube said:

Humbuckers: Because of the potential lack of clarity in a mix.

Short scale: Because maybe they're too tubby sounding, particularly the E string and lack of sustain.

These concerns come from a lack of experience recording with them. So they may be bunk concerns.

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I just put an order in for the 72-79 Philter…

For me, I set it so its too low and buzzes and just back off a bit. Thats how I like it. An in-spec set up is too high for my tastes.

Lakland makes great basses and the 55-02 and 44-02 model are so versatile. Enjoy!

Now that we’ve devolved into tasteless bass beef videos in a thread about how a female bassist dresses and whether she’s showing the right amount of skin in her videos, I think it’s safe to say that this thread clearly no longer represents what the owners and admins wish this site to be about.

YARAH8 said:

Sorry ~ correct... i need a preamp with REVERSE TAPER POTS

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Ah. I see. There are a few threads about that. Here is one with a couple of comments that might be useful.

Good luck!