Hopkins
Commercial User
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4001 Mashup
- Thread starter mapleglo
- Start date
I'm a little late to the party on this reply, but the LMII radius blocks are much better than the Stewmac blocks. They are much wider, and have a radius on either side so you get 2 for the price of one.
Thanks for that tip! Though I've been thinking about getting that 18" long aluminum radius bar from StewMac. I think the longer length will help prevent a dip in the center of the fretboard. Also good for fret leveling.
It's too close for comfort to the coils. I've got some black covers ordered. I'll see how they look and then make a decision.
Hopkins
Commercial User
You will get better results fret leveling frets with a narrow straight edge along the string paths instead of using a radius block.
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
LMI also has the double-sided radius blocks in 12" length. Long enough? If I was planning on a lot of basses with a 10" radius, I'd probably spring for the Stewmac 24" radius beam. I'm planning on using a very straight old cast-aluminum level I have with some PSA roll paper stuck to it for fret leveling.
Hopkins
Commercial User
I've done all my necks with the 12" LMII block I have never had a problem.
or pink burst
Though I really wish I had studied Photoshop a little bit deeper...
Though I really wish I had studied Photoshop a little bit deeper...
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
I was thinking trans white burst.
Here's a very similar version that I did. It's silver-leafed over white w/a mild etch and then Pat Wilkins shot this lovely vintage mint green halo to match the vintage green pearl pg. Somewhere along the way it took on a pale pink hue which landed this subtle finish christened "abalone" - done for psychedelic-surf band 'The Mermen' bass player Alan Whitman. It looks very soft and subtle but under stage lighting it looks like it's glowing from within.
Here's Alan & I when I delivered his Abalone P. The flash starts to give you an idea how light activates the gilding.
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or pink burst
Though I really wish I had studied Photoshop a little bit deeper...
As long as you can make the wood do it, I don't care about your Photoshop skills. Just make sure you do it as a wash, so we can see the lovely grain.
Or tell me to bugger off, as you're the one building the thing, and I'm the guy sitting typing from home.
But before you tell me that, have a look at a really stupid video I put on this thread:
Yard Work | TalkBass.com
I put many hours into making something that dumb.
- Apr 18, 2008
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- I'm highly opinionated and extremely self-assured
+1 on a transparent pink burst over clear maple. That's some Grrrl Power right there with crushing low B action and Sass to burn.
- Jun 30, 2010
- 49,587
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- musician/artist/owner - Gildaxe
Got some parts in.
I think those covers will work. And the screws for the tuners. Oh, and if these are for Fender tuners, how come they are supplied with 12 in a package? Don't you need 16? And I also ordered some blade bobbins and magnets. Figured I'd give those a shot in a future build. I have no idea why I ordered three of each in 4 string and 5 string size. Wouldn't I need 2 or 4 of each? Hmm, maybe I can get a job with the Fender parts department.
I think those covers will work. And the screws for the tuners. Oh, and if these are for Fender tuners, how come they are supplied with 12 in a package? Don't you need 16? And I also ordered some blade bobbins and magnets. Figured I'd give those a shot in a future build. I have no idea why I ordered three of each in 4 string and 5 string size. Wouldn't I need 2 or 4 of each? Hmm, maybe I can get a job with the Fender parts department.
- Jun 30, 2010
- 49,587
- 221,934
- Disclosures
- musician/artist/owner - Gildaxe
Thank you JIO, yes, Chris Squire was my hero. After Mel Schacher taught me everything he knew, I discovered Yes and Chris Squire. He really brought the bass guitar to a new level. I am grateful that I was able to meet him in 2013 at a Yes concert "meet and greet". I know most everyone has seen the picture, but I can't resist showing it again in his honor.
That's three heros lost this year - Chris Squire, Jack Bruce, and Leonard Nimoy. They changed the world, each in their own way, and I will miss them dearly.
You know, there was a lot of back and forth when Jon Anderson and Yes parted ways. Many said that Yes was not Yes after that. For me, now that Chris Squire is gone, I don't know that I will ever go see a Yes concert again. To me, they are now no longer Yes.
That should probably read "After I learned all I could from Mel Schacher...", the way it is now is kinda presumptuous.
BassHappy
Supporting Member
Thank you JIO, yes, Chris Squire was my hero. After Mel Schacher taught me everything he knew, I discovered Yes and Chris Squire. He really brought the bass guitar to a new level. I am grateful that I was able to meet him in 2013 at a Yes concert "meet and greet". I know most everyone has seen the picture, but I can't resist showing it again in his honor.
That's three heros lost this year - Chris Squire, Jack Bruce, and Leonard Nimoy. They changed the world, each in their own way, and I will miss them dearly.
You know, there was a lot of back and forth when Jon Anderson and Yes parted ways. Many said that Yes was not Yes after that. For me, now that Chris Squire is gone, I don't know that I will ever go see a Yes concert again. To me, they are now no longer Yes.
Hey Mapleglo
I remember in 1969-1970 - there were a bunch of musicians in Indiana who really enjoyed progressive music and our singer/flute player Cliff - who was eventually in Happy the Man - worked at a record store. He would come home every night with a new record or two and we would all gather round a couple of nights a week to listen to the new albums. Of course, if the artwork was cool and bizarre he would bring it home - there was nothing else to judge it by - it was all about the artwork. That is how we got turned on to all of the progressive bands of the day. The cool thing was, the stuff we didn't like - Cliff could take it back as "defective" - so we had a constant supply of all the great unknown music of the time - Yes, Genesis, Gentle Giant, King Crimson, Touch, The Flock, The Litter, Van Der Graf Generator, Ekseption, Aorta, Spookytooth, Jethro Tull - the list went on and on.
We all fell in love with "Time and A Word" and my guitar player friend Dale Newman found out they were making a US run and he went to a show early to see if he could meet the guys. As it turned out, not only did he meet the guys, but when Steve saw how well he got around on the guitar - he asked him to do the US leg of the tour as his guitar tech. Long story short, it wasn't much of a tour as it was their first time in the US and their first record had just come out. Nobody knew who they were but it certainly established YES as a force to be reckoned with.
My thing is that I couldn't believe the bass sound at the end of "Everydays". The first time I heard it, I completely lost my mind. I mean completely. I will remember the riff forever - it still haunts me (right around the 6:00 minute mark) It goes by quick, but oh my god..... Listen to it cranked up and it will still knock your socks off:
I must have lifted the needle and played that short section 500 times. I was so intrigued by the sound when it was isolated. I kept playing that over and over and tried to emulate that same sound. His bass almost sounded like a chain saw or glass breaking or something on that passage. Funny, that it was pre-Rickenbacker - my recollection is that Chris was playing a Fender through Orange amps in those early days. No reflection on anything for me, I loved him on a Rick just as much if not more - a great player is a great player - he sounded like Chris either way. He was a huge influence on me and I am so sorry that he has passed. I guess God needed another bass player.
As a side note, Steve Howe recommended Dale to Mike Rutherford shortly after the Yes run ended - when Genesis hit the US for their first tour. Dale not only got the gig - he just retired from the Genesis organization about a year or so ago after nearly 45 years as Mike's stage tech and the caretaker of the Genesis "Farm" complex and recording studio in Chiddingfold.
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