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A buddy and I played Gauntlet (the arcade game) for about three hours on Sunday, but didn't beat it. I don't even know if you can technically beat it, but oh my it is quite fun to play regardless.

-Mike

+1 on the nut files. When i set up my cheap SX PJ i kept filing the nut down WAY past where i thought i would (i was using bone instead of the plastic it came with) and when i was done the strings were almost touching the bevel behind the nut. Needn't have worried, plays way better now.

Indeed correct Turnaround, I mistyped, I use crowing files for crowning.
And several small flat and triangular files for fret ends.
Micro mesh for polishing.

It just requires a little time and practice to get great results.

Preorder starts tomorrow (6/26)

iiipopes said:

Yes, you do. You need to contact Dr. Kemp and his research specifically on bass guitar strings. But if you are going to deny the benefit of his contemporary research, as a tenured professor at St. Andrew's University, Scotland, that's your deal, not mine.

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Dr Kemp and I both agree on what inharmonicity is, and I have no problems with his paper or his strings - never did. I am not disagreeing with his work, never was. I understand what he's talking about and how his strings address inharmonicity. I'm also sure that Dr Kemp understands intonation (not what his strings were designed to deal with, but a related topic) His paper is very clear about what the issue he's dealng with is....maybe you have to be a bit educated on the topic to see the difference.

You're still confusing inharmonicity (what Dr Kemp talks about) with intonation (what the OP of this thread asked about). They are two different things - not easy to understand perhaps, but not understanding that difference is the thing that has your brain locked up. I've done my best to clear that up (post #8 has a simple explanation), but obviously I'm not getting through. Maybe Dr. Kemp could explain it to you.

Onomatopoetikon said:

Well, I have a DB410 and DB810, and will of course start there and try that at rehearsals, but was curious what others experiences was concerning the 112 … as it’s much easier to bring along.

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Oh. In that case it's down to how much gear you want to wrangle. DB112 is half the weight of DB410, and it will certainly work, but the footprint is bigger than a bop-sized bass drum... There are definitely more convenient solutions out there.

If you're not worried about stage space, the SL410 is about the same weight as the DB112, but actually easier to carry. The archaic strap handle on the db112 was a truly asinine design choice (IMFO/YMMV).

BassBeginer64 said:

I got a hold of him, he is way backed up and really cant commit to any new projects for awhile, went another route, working with Ashen Amps for a custom tolexed 212 cab

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Don is amazing and worth the wait if you need something. Thanks for letting us all know.

Need to give a call and say hi. Miss those talks.

"

daveAspec said:

I’ve never understood the color and aesthetic choices for Ibanez basses.
4-strings are done one way, 5-strings another, and 6-strings differently still.
Aesthetically, I think the headstock should have had a top veneer matching the body. That said, I can't wait to try the 6-string version, and then I'll decide.

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A matching headstock veneer would have been great.

GGWAW said:

Univox could be your missing instrument

With a generous definition of brand, U-Bass could qualify as well ;-)

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and I *do* have a U-Bass lol!!

Power amp’s 10k input impedance is plenty fine with a preamp’s 1k output impedance. No problem there.

superheavyfunk said:

Just a friendly reminder to everyone: There is a trimpot on the preamp. This controls the overall gain.

IME, basically all of the preamp noise can be dialed out simply by lowering the gain on this so that the level of the pickups when passive is the same as the level when the preamp is active.

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Bumping an old post. Thanks for this info looking at a 1st version at a good price.

Arguz said:

I own a stagg since 2 years ago and mostly played with bow, I use d'addario helicore strings and so far I had no volume issues, although as you mention pizz is far more appropriate for this instrument.

For Arco I crank the second knob in the stagg almost at maximum, I use a Fender rumble 50 and play with the effects it has for a better sound, but just to get a better tone, not volume.

One issue I did find is that strings tend to have a lot of resonance so I put some micro fiber below the strings to damp the sound in the upper side and some sponge below the bridge, I know it sound strange but it has given me fairly good results.
Still strings seem to be not as responsive as if it were an acoustic, it require a little more effort from the bow, not so much as pressure but more "pulling" if you know what I mean.

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HI Arguz, I know this is a very old thread, but I’m hoping you’re still active. I have a Stagg EUB and has all the same problems everyone is talking about. But one part of your posting is especially interesting to me….the settings on you Rumble 50. I have a rumble 100 and have been wondering what settings others used when trying to Arco. Can you Tell me how you set yours? By the way… try putting one of those small, thin, felt sticky pads under the D string on top of the bridge. I have two of them and it raises the string just enough to approximate an acoustic bridge. Much easier to bow.
Boy I hope you are still active.
salty Dog

Arguz said:

I own a stagg since 2 years ago and mostly played with bow, I use d'addario helicore strings and so far I had no volume issues, although as you mention pizz is far more appropriate for this instrument.

For Arco I crank the second knob in the stagg almost at maximum, I use a Fender rumble 50 and play with the effects it has for a better sound, but just to get a better tone, not volume.

One issue I did find is that strings tend to have a lot of resonance so I put some micro fiber below the strings to damp the sound in the upper side and some sponge below the bridge, I know it sound strange but it has given me fairly good results.
Still strings seem to be not as responsive as if it were an acoustic, it require a little more effort from the bow, not so much as pressure but more "pulling" if you know what I mean.

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This thread already exists: https://www.talkbass.com/threads/i-neeeddddd-this-bass-tone-someone-help-please.1686692/

This thread already exists: https://www.talkbass.com/threads/i-neeeddddd-this-bass-tone-someone-help-please.1686692/

So Anyway, nice that the CEO would take that much time to talk with someone.
When I heard about these a couple of years ago, I looked at their website. These appear to be designed for permanent installations.
I'm looking for portable....light and loud.

Still thinking the Mike Matthews Freedom Amp has possibilities for me.

tough market at a very tough price point. HX Stomp / FX and Cortex.

Can’t see how AI powered would help unless you talk to it and say ‘here’s my clean tone, I want to sound like Tony Levin with Funk Fingers, do it.’

But, I doubt it’s that and they will struggle.

I’m weird. I assume the best, and then let people prove/disprove it with their actions, not the other way around.

Just for me PERSONALLY, my mental state wouldn’t be great if I always assumed the worst in people.

But again, that’s just my own viewpoint. I’d rather be hopeful but wrong, than hopeless and right.

mikerooo said:

Love that and I alos prefer a satin or unfinished neck. Do you remember the grit of the pads?

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IIRC, it was a green pad:

3M's standard green pads (like the Scotch-Brite General Purpose or Heavy Duty pad) are classified as roughly 600-grit. However, because they use non-woven synthetic fibers rather than traditional sandpaper, their abrasive performance behaves similarly to 240-grit to 320-grit for removing material, and 600-grit for polishing and scuffing.

BluBasPlr said:

La Bella Original 54 Flats. I’m a flat guy.

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I put La Bella Black Nylon Tapewounds on mine...man do they sound great on this bass!

The bridge on the Ibanez RD707 is called Accu-cast BII Bass Bridge.


If the hole pattern (4+2) looks similar to yours, the Accu Cast B120 could be a modern replacement:

lesclaypoolsob said:

Sweet bass! My neck date stamp is Jul 65 so definitely in that timeframe.

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You too man. That CAR amazing. Beautifully played and broken in. You should grab a set of the original reverse klusons and throw them on.

TrentWunstel said:

Thanks Kirk. I took the unit in a specialty shop and they found the size. If anyone else needs the machine screw size, it is 4-40 x 5/16. This was a common issue. I went ahead and cleaned in the inside, and it sounds like new again! It's a killer amp.

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Awesome- I have the same problem!

There are some pretty charitible interpretations of the word "equally" in this thread...

Cappuccina said:

I have been very impressed by the various discussions I've seen.


Holding this instrument in the photo, I noticed that I really like the fact that it can switch between passive and active, and its tone suits my taste perfectly.

View attachment 7522983

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This is one of the best StingRay models ever produced.