Just enough to see the string bounce up and down a tiny bit. Almost perfectly flat works best for me.
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Tom7
I'm so bright, my mom called me son! ;-)
I'd be curious what you guys think of [Invalid or Expired Link Removed]. I don't know this person at all, but he obviously went to a lot of trouble to make this.
That's Jerzy Drozd. It's a really good guide. I have one of his basses. He does superb work.
Tom7
I'm so bright, my mom called me son! ;-)
Yeah, there's only one thing I'd "tweak" about it, and I've already emailed him about it. I'm not sure if he'll issue an update to the guide, but he liked it (and I'm not the only one that does this, either).
He talks about tightening the truss rod with the bass tuned up. I agree with this, but I also feel better about doing it if I defeat string tension just long enough to make the rod adjustment. In other words, I brace the neck in the middle with my knee and pull back on the headstock... JUST barely enough to see the strings move towards the board. Then I make the rod adjustment and release slowly. If I'm loosening it, I just loosen it. No special steps.
I feel it's best to have the rod to compensate for string tension, but not tighten against it.
hows this for redundancy-
left to right
-1962 slab board jazz,60's vf5,1980 (s8 serial)jazz, 70's vf5
left to right
-1962 slab board jazz,60's vf5,1980 (s8 serial)jazz, 70's vf5
Bryan R. Tyler
TalkBass: Usurping My Practice Time Since 2002
Staff member
Administrator
Gold Supporting Member
Supporting Member
- May 3, 2002
- 28,948
- 20,934
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- Reviewer: Bass Player Magazine
Wow- all those beautiful basses, a nice upright piano, and.....a leopard print bench :scowl:
dont forget the cat in the corner
i just threw the blanket on the piano bench to lean the basses up against something. i dont own any stands and generally just lay em on the floor if im not using them.
Tom7
I'm so bright, my mom called me son! ;-)
I was going to make a comment about the cat too, but someone's already mentioned it.hows this for redundancy-
left to right
-1962 slab board jazz,60's vf5,1980 (s8 serial)jazz, 70's vf5
I know this is the Fbass club and all, but the bass in this photo that makes me drool the most is the left most... the '62 Fender Jazz. Yeow!
BTW, I think it is really cool how the 5 string versions of your vintage basses have similar looks to the basses that inspired them.
You need some stands though.
[Invalid or Expired Link Removed]
the 5 string color thing was purely an accident. thats just what happened to come up for sale. i really wanted a gold bass
hows this for redundancy-
left to right
-1962 slab board jazz,60's vf5,1980 (s8 serial)jazz, 70's vf5
V. nice. I've read your posts commenting that the 70s VF5 is the closest you've come to a 70s jazz in a 5. What about the 60's VF and the 62 jazz? Have you tried an AC LG5?
the pickups in the coppolo are a little hotter and the bass is a little more sparkly sounding than an lg. however, most of the lgs are hotter and less sparkly than my 62.
i think jimmy does 60's a little better and george does 70's a little better. i really would have liked to end up with some of careys basses too, but i couldnt ignore the finances.
I completely agree with this method of physically bending the neck before adjusting the truss rod. This alleviates all the stress at the truss rod adjusting nut. This is the method I use.
I haven't yet read through the "guide", but it sure is a huge and appreciated undertaking by Jerzy.
The 62 Fender is more sparkly than an LG and VF? I tried an LG and didn't dig the sound too much...it was actually pretty dead sounding. I've read some posts here that the 60s VFs are pretty "snappy" for alder/rosewood basses. I've always thought of the BN basses as 70's jazz sounding (despte the 60s p/u spacing). My current BN5 is 10 lbs (or slightly more), and it's my belief that the weight (particulary the density of the neck) is vital to the 70s-ish tone I like.
the 62 sits in between the lg5 and the vf5.
part of the issue in my comparison with the coppolo's is that i set my action way lower than he does. i dont have that problem when i go to carey's shop because he sets up basses similar to how i do. jimmy has em set up so you have to fight the thing. a good amount of relief and average saddle height gives a fuller sound. all of my basses sound a bit thinner due to how i set the action.
from an electronics perspective though, his guts arent quite as full range as whats in the vf's. i think the 60's vf would benefit from a hotter bridge pickup.
Tom7
I'm so bright, my mom called me son! ;-)
I just made an mp3 of my fretted AC6 this evening, and was struck by the uniqueness (and in my ears beauty) of its tone, so I thought I'd post it for any of you who might be interested to check out.
I made the recording to remember a chord progression that came to me, not to showcase the bass or my playing... which will be quite obvious when you listen to it.
And I definitely don't usually strum my bass, but the strum rhythm was is one of the things I wanted to remember about the chord progression...
So I recorded the strummed chords, recorded myself groping for ideas for melodies or solos.
Hopefully the oddness of the recording and the sophomoric soloing doesn't put you off to the point that you can't focus on the 3 very distinct recorded tones of the bass. I REALLY like how this bass sounds.
In one ear you hear the chords, which were recorded with just the piezo pickup and on bass EQ.
The other ear was done with both magnetic pickups up full, then about a minute into the recording I turned down the piezo pickup all the way, and the neck pickup about 70 percent down.
Again, if you can overlook the playing it is striking how very distinct 3 tones used in this recording are.
As I said earlier, I REALLY like this bass. Like my fretless AC6, it has tremendous variety at hand, but the fretted AC6 has its own voice as well.
[Invalid or Expired Link Removed]
[Invalid or Expired Link Removed]
I made the recording to remember a chord progression that came to me, not to showcase the bass or my playing... which will be quite obvious when you listen to it.
And I definitely don't usually strum my bass, but the strum rhythm was is one of the things I wanted to remember about the chord progression...
So I recorded the strummed chords, recorded myself groping for ideas for melodies or solos.
Hopefully the oddness of the recording and the sophomoric soloing doesn't put you off to the point that you can't focus on the 3 very distinct recorded tones of the bass. I REALLY like how this bass sounds.
In one ear you hear the chords, which were recorded with just the piezo pickup and on bass EQ.
The other ear was done with both magnetic pickups up full, then about a minute into the recording I turned down the piezo pickup all the way, and the neck pickup about 70 percent down.
Again, if you can overlook the playing it is striking how very distinct 3 tones used in this recording are.
As I said earlier, I REALLY like this bass. Like my fretless AC6, it has tremendous variety at hand, but the fretted AC6 has its own voice as well.
[Invalid or Expired Link Removed]
[Invalid or Expired Link Removed]
- Apr 29, 2003
- 9,078
- 9,800
- Disclosures
- Contributor- Bass Musician Magazine | Marketing Manager- Trickfish Amplification
I just made an mp3 of my fretted AC6 this evening, and was struck by the uniqueness (and in my ears beauty) of its tone, so I thought I'd post it for any of you who might be interested to check out.
I made the recording to remember a chord progression that came to me, not to showcase the bass or my playing... which will be quite obvious when you listen to it.
And I definitely don't usually strum my bass, but the strum rhythm was is one of the things I wanted to remember about the chord progression...
So I recorded the strummed chords, recorded myself groping for ideas for melodies or solos.
Hopefully the oddness of the recording and the sophomoric soloing doesn't put you off to the point that you can't focus on the 3 very distinct recorded tones of the bass. I REALLY like how this bass sounds.
In one ear you hear the chords, which were recorded with just the piezo pickup and on bass EQ.
The other ear was done with both magnetic pickups up full, then about a minute into the recording I turned down the piezo pickup all the way, and the neck pickup about 70 percent down.
Again, if you can overlook the playing it is striking how very distinct 3 tones used in this recording are.
As I said earlier, I REALLY like this bass. Like my fretless AC6, it has tremendous variety at hand, but the fretted AC6 has its own voice as well.
Great clip Tom, that bass really does sound unique. Such cool tones coming from that thing, and like you say, very diverse. I thought your playing was quite good BTW, no need to apologize for that! But if you still feel guilty for assaulting our ears, feel free to send me an F (or 2)
Great clip Tom, that bass really does sound unique. Such cool tones coming from that thing, and like you say, very diverse. I thought your playing was quite good BTW, no need to apologize for that! But if you still feel guilty for assaulting our ears, feel free to send me an F (or 2)
+1 Really nice, and a truly unique tone. It actually reminds me just a touch of my Rob Allen fretted Mouse... very organic.
Does this bass have an ebony fretboard. I hear what sounds like that 'ebony ping' to the attack, but warmer and woodier than most ebony board instruments. Is this a model with a wooden bridge?
Nice, nice, nice!!!!!
Edit: Ah, I read your entire post and now see the picture (strange things happening with posting pictures on this site over the last couple of weeks!). It's the piezo bridge pickup 'ping' I'm hearing (maybe combined with an ebony board... can't tell from the picture... nice! That's also probably why I hear a bit of the Rob Allen fretted in that clip. Nice!
Tom7
I'm so bright, my mom called me son! ;-)
I keep thinking if I heard this clip from someone else, I wouldn't quite know what to think of the first instrument in it. I doubt I would have guessed it to be a bass, but I would have been puzzled and reluctant to believe it was a guitar as well and left wondering what I was listening to.Great clip Tom, that bass really does sound unique. Such cool tones coming from that thing, and like you say, very diverse. I thought your playing was quite good BTW, no need to apologize for that! But if you still feel guilty for assaulting our ears, feel free to send me an F (or 2)
Thanks for the kind words about the playing, but I've heard clips of many of you guys, like Narud, and I know you guys are much better than me. Besides, what I played is a big step down from the music trapped in my head that can't make it out my hands, so it's hard to be satisfied with that clip or myself or that matter.
As for giving you an F or two... when the chords are more familiar to me, and with practice, I know I could eventually I could make a recording I'm less embarrassed about, so...
Forget it Jake, you aren't getting my Bud Light.
Not yet anyway.
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