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logdrum said:

Those are not Twins - Deluxe Reverbs. If you ever book him, his rider always specifies AC30 Although he says he now uses a Mark I re-issue in addition but not on his rider. This is Newport in the East Coast, where backline AC-30s are not hard to get plus sometimes he brings his own. If we can get them here in backward New Mexico, hard to imagine why not in the East Coast. He might have change his preference. That AC-30 is a part of his sound that I am familiar with, He is not picky though as long as it is an AC-30. I am sure it is not an impediment . AC-30s do respond different

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We must have posted at the same time.

UntitledProject said:

I just meant from my own perspective. If you have a hifi bass already and want more of a vintage vibe, then going with 3 completely makes sense. Honestly, my perspective on 5 (not saying my assumptions are correct in any way) would probably give you the least "character" and just be more of a flat palette for other tone shaping. Why make a flat/bland bass? I dunno. I'm just talking out my bum.

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thanks for the clarification

I have such a random assortment of lights i really need someone to help me program them haha, So often i just grab my Yorkville bars and set them to slow fade.

erratick said:

"Essential rock anthems include "Seven Nation Army" by The White Stripes, "Crazy Train" by Ozzy Osbourne, and "Thunderstruck" by AC/DC. "

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No "We Will Rock You" by Queen? They play that at almost everything stateside....even a junior polo league gets a few bars of it in

Reminds me of a topic that my friend and I discussed at his Nephew's little league game. They had "walk-on" music for each of the kids going up to bat, so we had fun figuring out comical walk-on songs that you could probably get away with. I landed on "She Bop" by Cyndi Lauper

I deleted the video (had to edit the sound). I've re-uploaded it here.

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Cheers! Successful sub gigs are so satisfying.

I’ve never seen the PJ before. That’s cool.

Bass1447 said:

Sounds amazing. Plays like a dream.

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Yes, at one time I was into Epifani. Those days have passed.



M. M.

Zooberwerx said:

Shouldn’t be a problem…just follow the instructions to a “T”. I’ve always considered plug-ends to be sacrificial which is why they sell UL-listed replacements.

Riis

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This just happened to my shop vac and it was a pretty simple fix replacing just the plug end. I just realized yesterday that my old Fender bass amp, which I use to power our drummer, also is missing the prong. So I have 2 little projects.....

Looks like my SA has found its forever home paired with the Tonedexter 2. Between the flexibility of this preamp and the no frills one knob setup of this power amp, it’s a perfect match.

Anytime! Happy to help!

Wait...What?

Basvarken said:

Exactly. Therefor it is not a true polepiece. There is no north or south on the screws themselves.

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You are so wrong about this.

Basvarken said:

The screws in the middle don't have a real function.

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You keep equating pole pieces not being magnetic with "not having real function". But then you say...

Basvarken said:

They merely function as an extension of the magnetic flux.

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Yes correct and therefore they VERY MUCH HAVE A LARGE IMPACT ON THE FUNCTION.

My dude, EVERY SINGLE PAF HUMBUCKER or pickup derived from it put in a guitar since the beginning of time has non-mag screw as well as non-mag slug polepieces that completely work to adjust the mag field and strength of the per-string signal despite being non-magnetic and having a separate bar magnet in the assembly.

Basvarken said:

Therefor it is not a true polepiece. There is no north or south on the screws themselves.

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Absolutely nobody in guitarland uses this criteria. All the non-mag (slug or screw) elements in a PAF or similar construction are always called "pole pieces" and the screws virtually always (excepting maybe some crazy mega-magnet probably-not-very-good designs) have a significant and provable impact on the output and balance of the pickup. Its the default for pickup designs, with Leo Fender style magnetic polepieces while also being common, are less so.

Although I never met him or attended any of the dances where he called and played fiddle, I owe Dudley Laufman a huge debt.

I was introduced to contradancing in 1981 one Monday night at the Scout House in Concord, MA and quickly my wife and I began attending dances regularly. As a bassist I got involved in playing the music by joining Roaring Jelly, a large cooperative ensemble which still exists today, decades after I took three fellow members with me to form a quartet named Monkey Island and for a number of years we traveled all over New England to perform at dances. It was during the life of that band that my wife and I got involved with taking over the Worcester, MA contradance series from caller Walter Lenk.

I met a few contradance musicians who were interested in Cajun dancing and that led to me joining a few bands playing Cajun and Zydeco music of Louisiana around New England and later began playing other kinds of dance music, including swing dancing and folk dancing from Brittany.

All of this would never have happened if Dudley Laufman together with a few other people had not revived the New England contradance tradition. So, thank you Dudley!!!

Matt Liebenau said:

That sounds like it could be a pickup issue. Ideally, it would be nice to get an ohm reading across each coil individually while it’s acting up but unsoldering the leads could cause it to work again.

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I think you could make an in-circuit resistance check, as long as you remember that the meter measures the entire connected circuit and not only the pickup.

In a standard passive Jazz Bass circuit, turn the pickup being tested to full volume and turn the other pickup to zero. Measure resistance between terminals 1 and 2 of the fully-up volume pot, where terminal 1 is the grounded outer lug and terminal 2 is the centre wiper connected to the pickup.

If the selected pickup or its wiring is completely open, it behaves as infinite resistance and contributes no DC path. The reading would then be approximately:

∞ (broken coil) 250kΩ || 250kΩ = 125kΩ

With a functioning 8 kΩ pickup, the expected in-circuit resistance would be approximately:

8kΩ || 250kΩ || 250kΩ = 7.52 kΩ

Rolling the tone control fully down may help the meter reading settle more quickly while the tone capacitor charges, although the final steady DC reading should be essentially independent of the tone setting.

Applying the same general idea to the Roscoe Beck.

Select only the pickup being tested. Set the master volume fully up, and measure resistance between terminals 1 and 2 of the volume pot. First measure in single-coil mode, then switch to series-humbucking mode and check whether the resistance increases.

In series mode, both coil resistances should approximately add:

R series = R coil 1 + R coil 2

Therefore, if single-coil mode measures about 8 kΩ, series mode might measure roughly 16 kΩ (assuming same resistance) before accounting for loading from the rest of the circuit. If series mode becomes open circuit, one coil, a wire, or part of the switching circuit may be open.

You measure this from terminals 1 and 2 of the volume pot.

I am not presenting this as a definitive diagnosis only as a way to compare the switch positions and check whether both coils appear to contribute resistance.

slade said:

I never really dug the acme cabs I've played and gigged.
It's tough but when reading about gear online it's easy to get impressed if you listen to a few people who really love the stuff- you really gotta dig deep and pay attention to the negative reviews.
flip it and look for something more your style- maybe a used Berg??

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Whatever dude.The proof is in the pudding.Experiencing these cabs live ,I can tell you I've never heard a better bass sound. I was completely shocked how low these things go.

On another note, around here, crowds 'love' the same set which leads to a few observations.

Hard to remember anything about the band....
as in not memorable, but I'm not really the market, tbf

But bookers go with these bands and they get everywhere on summer bills.
The standard of the band can be variable but is them getting gigs because they are 'popular' to a non discerning crowd...or as I suspect, they are cheap and encroaching on the solo duo market for the same ball park price.

When installing strings I have two tools with me, a pair of side cutters and needle nose pliers. With traditional large tuning pegs I measure two tuner holes past the one the string will be installed on, then with the needle nose pliers bend the string 90 degrees straight down toward the hole (the hole two pegs past the one I will install the string on), then take the side cutters and cut the string about 3/4” to 1” past the 90 degree bend I created.

I believe using pliers to create the sharp 90 degree bend secures the string wraps to the string core. Perhaps I’m wrong however I hav not experienced any string issues following this procedure.

Mine runs hot but they are designed to handle it. I wouldn’t worry

fhtagn said:

Lovely bass. There's a used 5-string Ruokangas with a valvebucker for sale locally, and I've been drooling over it from time to time. There's no way I'd ever afford one though.

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Yeah, they're not cheap. I basically made payments for about a year and a half.

How do they know? Based on serial number?

That being said, I don’t have a shim with my toolkit, however my SP1 4 string plays beautifully with Pure Blues on it. Sounds amazing too.

Please post this in the Wanted forum.

Eich T900. pin drop quiet.
Fab all round amp.

Bill Whitehurst said:

Sounds like you are getting it sorted out and ready to serve you a bunch more years.
If you add a dummy coil, it can be under the pg.

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That's the plan. Just looking for a cheap P pickup and there is an $11 on AMZ

Tim Barber said:

Re: the EM9300, at this point I gotta say I'm not a fan. Even now, 11 days after spraying the final coat it still feels soft and plasticky, and is very susceptible to dings. Level sanding was possible, but it responded erratically to buffing, with some areas developing a decent gloss and others refusing to go beyond satin. I emailed the manufacturer and they said that this product requires "at least 175-200 hours of cure time to develop any hardness". So it may still improve with time.

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Tim;

Another option is to do the whole finish as you did with EM 9300, base coats, color coats and clear coats, and then give it a final top coat of 2K automotive poly as the hart top clearcoat. That minimizes the cost and fumes and mess. Or have your friendly neighborhood auto body shop shoot the top clearcoat for you, glossy smooth right out of the booth. Eliminate the whole buffing mess. I've thought about doing that for my basses.