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MofoStone said:

thanks for that in depth review, these are two of the main amps ive been considering. id rather go w/ as g&k but theyre a bit steep. & i believe you were talking about dave & rick of the great white north fame, they may have done a documentary called strange brew if im not mistaken too lol

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Bob and Doug McKenzie, yep. Bonus point for calling Strange Brew a "documentary," LOL.

Having had a number of devices damaged or ruined by alkaline batteries of various types, I don't use them anymore. I go strictly rechargeable with AA, AAA, and 9V with the exception of one brand- Durnegy 9V corrosion resistant steel, sealed alkaline batteries.

There are some other 9V alkaline batteries that are of heavy duty, leak-proof grade that I would trust, but I'll never put another standard 9V alkaline battery in any electronic equipment of mine, or any standard alkaline battery, not even in flashlights or remotes.

John Littler said:

Yes Ric, the Send and Return in EDB-2 H.E is mono, as standard. If it had been stereo, the two channels would have shorted together on a standard mono jack plug usually and on return the later channel specific routing features would not have worked as labelled. We have an expanded version appearing later this year, adding an Insert point for Ch.2 ( Y leads), a blendable valve section, channel specific XLR's and switching, pre-post EQ switch, control tuning Range (high pass filter) on each channel, Input Impedance Switches and lower noise. It comes in a PU leather Chest bag with Headway logo. All other features on EDB-2 HE are included. I estimate it will appear in Autumn (Fall) to be made in Poland. It gets rid of Piezo Quack and warms up the tone. The High Harmonics remains and complements it. John Littler, Headway Music Audio Ltd

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Hi John,

Could you please clarify one technical detail about the EDB-2 H.E.?

Is the FX Send taken after both the EQ and the notch filter, or is it taken after the EQ only?

Thank you very much!

Tibar said:

Anyone know the SPL rating of a stock Fender Rumble 100 with an 8 ohm speaker?

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I would guess about 113-115dB/100W/1M

Do not use WD-40. If you choose to use Deoxit D5, use it very sparingly.

The first thing to try is rotating the pot from one end of travel to the other - Many times. This will sometimes clear up the noise of a dirty or oxidized resistive trace in a pot.

If the capsule is replaced, it is no longer a Remic. Most of the price (before marketing rises the price) is in the capsule.

A lot of cheaper electrets are in the ‘not that bad’ category, but the sensitivity might differ.
If the sensitivity of the original Remic is known, it would be possible to find a capsule with a similar sensitivity. If not, but the sensitivity of the replacement capsule is known, find one (can be cheap for testing) with a higher one (which might even mean a lower number).
But check to have technical data, otherwise it is purely trial and error.

BTW, capsules with only two connections need a capacitor to hot and a resistor to power to make it a 3-connector capsule.

Very few (often better capsules) miss the JFET that is integrated in the cheaper capsules so the JFET and impedance defining resistor in front of it can be selected by the circuit designer. In that case a condenser preamp but without the membrane powering is needed. But I would stay away from these ones for your application.

I know, that is beyond your understanding, but your friend might know what I mean.

Swerve said:

There's a headstock only a mother could love. The rest looks though.

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I actually like the headstock the most. The finish looks too contrived, to me. lol. Good on them for the effort, though! I like the idea but, not in an artificially worn out look. One finish fading into another would be cool.

I just scuffed the finish lightly with some steel wool so the dye had something to hold on to. I thinned the dye with alcohol and went slowly multiple times until I got it where I wanted it. I sprayed gloss poly over the top to seal it all in .

cornwallis89 said:

Copy, in other words: if I ever get to the point of feeling like that the head and cabs aren't enough, you think it'd be best to simply start clean and sell it all?

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Yes.
If you like Markbass, there are ways to get a loud rig.
I have the 1-12 combo and 1-12 extension speaker. It’s plenty loud for my needs.
I used the 1-12 combo on top of a GK 2-12 cabinet when I was not sure if there’d be FOH support. I had volume to spare.

@mani1147
Yeah! I don't play it very often but it's nice. Comfortable and sounds good with the included pickups. Strung with whatever flatwounds the store sent it to me with. GHS maybe? It sounds "like bass" with flats. No acousticy twang.

Apparently the video has been taken down under pressure from big ukelele. Always knew those guys have no sense of humour.

If you like that era of Janapanese built basses, I would look for an old Ibanez Roadstar with a pickup configuration that meets your needs.
Many are passive with great stock pickups.
Or another Yamaha, or a MIJ Westone maybe... They are underrated because celebrity endorsements weren't a big part of their business plan.

Why compromise and spend money to extract value from a good bass when you get another for not a lot of dough.

Hey all! Scott here with some info. Strings on my shortbasses are D'Addario short scales, easy to find, with an "S" at the end of their product code. Nickel roundwounds and "Chromes" flats. Those are what I recommend. You can use standard length strings, these started off as Birdsong models (Sparrow, Companion, Sport) and all that time we did. You'll end up with a turn or two of main string winding around the tuner post, but we never had problems with that. All using the short scale strings does is minimize that, and that's how I string them now.

The double string through on the E was borrowed from what we do on the B of the Birdsong short scale (31") 5 strings. It helps!

I made a 31" scale bass for years with the Shortbass model name, more recently it became what I call these 25.5s. Pocket bass is the general term.

I'm around in here or through FB or my site for any questions, thanks so much OP for posting about it, your happiness and my work being inspiring and helping in some way are the most important things to me. Very grateful!

Best to everyone, get in touch for anything I can do for any of you, anytime. ~S.

andvari7 said:

Unfortunately, there’s one fewer person working in composites, with the very recent passing of Basslab founder/physicist Heiko Hoepfinger.

Interesting as the GViol is, do you build what can be considered traditional basses? I know Basslab’s designs were anything but traditional, it has pickups, frets, and 4-6 strings (mine has 6), so it falls in that traditional style. Your story intrigues me, as a fan of composite instruments. Knowing a bit about the Trabant, I knew other composites were around, but I am not a materials scientist, so anytime I read about some new material or technique, it immediately piques my interest.

I’m not in the immediate market for a fretless 6-string bass, or a 32” scale fretted 4-string - I have debts to pay, and I need to try to buy a house - but, since Basslab’s continued existence may be in doubt, and Aristides is dragging their feet on a headless bass, I would like more options.

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My backlog has been ridiculous for over 20+ years. At my peak in the 2010s, I was managing three different model fleets: solid body electric, ElectroCoustic (Electric with acoustic behavior) and full blown bent side acoustics. Building normal traditional guitars and bases never fit into my priority bandwidth as the GuitarViol by itself kept me beyond busy. But he got to the point where massive woodworking was beginning to hurt (allergies) and maintaining relative humidity became as practical as sweeping the ocean off the beach with a broom (The job is never done - exhausting). Wood can do terrible things when it comes to precision and fragility. That is what interested me in creating a uni-model with aspects of all the other ones that were successful. So about the time I joined BRUCE Johnson and others at the secret underground laboratory in the Fillmore I was spending half my time building instruments to ship with a small crew of independent professionals and spending the other hours evenings and weekends going down the rabbit hole of composite work and making tooling. The idea back then (2015-2019) was to create a few technician jobs that would otherwise exist in places like SpaceX and Tesla. It seemed like a great idea until California went for Bolshevik and the pandemic hollowing out the majority of my film and TV customer base.

Anyway the irony is that I am operating from a tiny home space after shuttering my post Fillmore (Secret underground laboratory) space. All of this happened when I was in the middle of deep engineering and R&D mid pandemic working solo (thanks California) juggling chainsaws and herding cats and finding out the hard way that carbon fiber was not the material I wanted to stay with. Eventually I started experimenting with flax combinations and eventually looked too industrial hemp as the substrate of choice. I think it is incredible material that was unfairly stigmatized because if it’s THC cousin, reefer madness (basically William Randolph Hearst was in the paper pulp forestry business and did not like competition). But prior to that in World War, rope and canvas were as strong as you can possibly get. I like its response as it acts like a “super-wood”, is less nasty to work with compared to carbon fiber in fiberglass, and is naturally an anti-inflammatory which means my allergies don’t go off as much. (BRUCE Johnson used to count my sneezes across the hall and Fillmore - ha ha).

But working with composites does he have some crazy learning curves. When innovating with a less common substrate like industrial hemp, there is a lot of R&D experimentation etc.. Through all the chaos of the pandemic era Valencia CA shop, I was just getting a hint of the progress and I’m still experimenting with various powders, hurds, and cloths.

The bottom line is those familiar with basic composite work in composite molds can’t easily adapt. Same molds, similar process, just alternative materials. Since industrial hemp has been getting momentum again since the 2018 Farm bill, there’s a lot of catching up and development to do with regard to application specific cloths like the
General carbon fiber and fiberglass industry has done so well. But I enjoy the pioneering part of it!

A bit of personal irony: my great uncle was a guy name Prescott Wilson who was an important sailmaker pre-World War II Rhode Island and New York. He designed the rig for the star class and also made the winning sales for the J class Americas cup. He was the first to use synthetic rayon Dupont for spinnakers and the couple from canvas and hemp. So we’re here I am coming back full circle making heretical stringed instruments out of industrial hemp….

Anyway, I have no doubt that these approaches would make some seriously great basses and guitars as well. It’s all in the engineering as Bruce Johnson would say.

Dean Evo XM, 30" scale with 24 frets and 2 humbuckers. Very hard to find though​

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nitrofix said:

Actually I have a GZR and have put one in a P bass I used to have but since this bass has a Jazz pickup and a 3 way switch wouldn't be a little more involved than just putting it in a single pickup P Bass ? btw I no nothing about hooking up pickups and I'm horrible at soldering lol

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Oh I see. I believe the GZR does come in a PJ configuration so if you like the tone you could replace everything with no soldering. But check on the fit first. Fender type bridge position jazz pickups are a little different size than the neck jazz pickups and I'd expect EMG to be the same. No idea on sizing for a Yamaha.

Monte said:

Yeah, I am standing off the side for my test so it should not be getting any vibration or much of one

My friend actually end up fixing my Remic Green and I’m getting better signal than the one I was borrowing

Not sure if it’s the cause or not but on mine, I compressed the styro from a little tighter to get it to sit better on the top. I didn’t want to do that with somebody else’s

Going to try using it on the gig tonight blended with the realist lifeline. The Drummer is a pretty good sound guy so I may have him play with the EQ and try to dial out a little bit of ring. I heard, but couldn’t isolate while playing.

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Posted on another thread but I was ready to give up on the Remic and decided this morning to try mounting under the bridge using another piece of foam to make it tall enough and WOW what a difference in usable output.

You want a little lift in the heel? Get some Capezios. I wish they still came in white. I loved my white ones.







Oh, ya... Is Fender closed yet? I hear a lot are saying they will not buy them anymore.

Steve Freides said:

here’s a version with correct aspect

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Sharko said:

Have played both, owned 2 SS jaguars and 3 slab mustangs.

The Jag is just better ergonomically.
I like the 1 pickup charm of the mustangs/broncos, but the short scale, body shape, and contours of the Jag make it so sleek to play.

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After playing them back to back, I agree completely with you @Sharko.

Comfort
The body and arm cutouts on the Jags allow my right arm to come across the front of the bass, the same way as my other basses, which feels very neutral and comfortable to me. The slab design of the Bronco puts my right forearm over the top of the bass body, which works but doesn't feel as nice or neutral to me.

Balance
I almost always play standing up, with the bass on a somewhat short strap and the neck pointed up at about 45 degrees. The strap pin locations and balance points of both the Bronco and the Jags makes their "neutral" neck position lower, somewhere between 5 and 25 degrees up rather than 45. The Bronco's upper horn button is a bit higher making it slightly better than the Jags in that regard, but neither work as-is for me. So I added an extension to the upper horn buttons, which changed the balance points and helped a LOT. (the extension is on Red Jag in the picture above) That, with a grippy strap, keeps the necks up without effort.

Necks
The neck on my red Jag felt and looked thinner so I took measurements and found it was actually thinner in width and thickness as compared to the black Jag and the Bronco. Small difference, but noticeable.

Weight
My previous 2 white Broncos were 7 lb 7oz and 7 lb 8oz. Blue Bronco is 7 lb 8oz. Red Jag is 7 lb 10oz. Black Jag 7 lb 14.5oz. On a strap, the weight differences are much less noticeable than the body shape differences.

Decisions
So the blue Bronco is gone and I'm still comparing Red Jag and Black Jag, trying to decide if I want to keep one or both.

eeyorebass said:

I always liked the old radio saying, "A short between the headphones." They happen to us all.

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Thankfully, there's forums like this one where people genuinely want to help.

Swamp_Ronin said:

I measured about an inch difference from the 12th fret

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Hi Swamp Ronin Could you please give the exact measurement of the KS Pups (Nut or 12 fret to center of pups PLEASE ) Thanks NM

ThinCrappyTone2 said:

17) when you make a rhythmic mistake, snap your head around quickly, glare at the drummer and shake your head at them disdainfully

21) when you hit a bad note, snap your head around quickly, glare at the guitarist and shake your head at them disdainfully

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Kindof like when passing wind..

Passinwind said:

Yep. It's not uncommon for the switch contacts in the Return jack to get dirty and lose continuity, giving your exact symptoms (assumning Return In works), so that would be a good first step in methodical troubleshooting.

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Hadn't thought of that. I'll give it a whirl.

murphy said:

May or may not be helpful.

I used and Loved EA CXL112 cabs.....However ..the 12 inch driver kept blowing every few weeks

EA kept sending warranty replacements....until I had enough and switched to Bergantino

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Wow...mine never gave me a sniff of trouble and AFAIK is still going strong more than 15 years later. And the guy I sold to used it on a LOT of gigs, as did I.