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Roscoe Club

#11,881
Anyone here looking for a great deal on a brand new Roscoe Deluxe gigbag? They are the TKL bag he charges $150 for and I will ship for $110. They look like the Protector Contego bags from old if you are familiar with them.
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#11,883
Bassworship1 said:
Anyone here looking for a great deal on a brand new Roscoe Deluxe gigbag? They are the TKL bag he charges $150 for and I will ship for $110. They look like the Protector Contego bags from old if you are familiar with them. This is the exact one I have never used except to ship my new Roscoe to me. Mine is exactly like this and never used except to ship my new Roscoe to me.
Click to expand...
Not interested in the bag but love that green skb...just damn...
 
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#11,884
bassmahn said:
Question for my Roscoe brethren with fretless Roscoes. How do you guys set the neck up? I recall Gard mentioning that they set the necks up as flat as possible... I am trying to decide if it would be worth while buying a straight edge from Stewmac...
Click to expand...
Setups can be pretty personal so there may be several opinions...
IME, it is possible for a neck to have so little relief that you can choke the mwah and the bass strings rattle. IMO - that's too low, and how you play will affect that.
Mine's pretty flat and the action is not as low as some I've seen, but 'too much mwah' is a thing for the music I'm making right now. (I'm not giving up the fretless just because I'm playing blues and rock...).
I bought my straightedge years ago at an art/drafting supply shop and for much less than StewMac wants. I refer to it occasionally but now that I've got a handle on the setup I like, not very often.
 
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#11,885
ArtechnikA said:
Setups can be pretty personal so there may be several opinions...
IME, it is possible for a neck to have so little relief that you can choke the mwah and the bass strings rattle. IMO - that's too low, and how you play will affect that.
Mine's pretty flat and the action is not as low as some I've seen, but 'too much mwah' is a thing for the music I'm making right now. (I'm not giving up the fretless just because I'm playing blues and rock...).
I bought my straightedge years ago at an art/drafting supply shop and for much less than StewMac wants. I refer to it occasionally but now that I've got a handle on the setup I like, not very often.
Click to expand...


Thank you for your input! I appreciate it!
 
#11,887
bassmahn said:
Question for my Roscoe brethren with fretless Roscoes. How do you guys set the neck up? I recall Gard mentioning that they set the necks up as flat as possible... I am trying to decide if it would be worth while buying a straight edge from Stewmac to make it easier to visualize where the neck is at. Any advise would be greatly appreciated!
Click to expand...

The cheapo way to do it is to use your E string (or B string) as a straight edge. Simultaneously fret with your left hand around the 3rd fret and with your right hand around the 15th fret. You now have a fairly straight edge to use as a reference.

If you use your thumb on your right hand to fret, then you can reach over with your index finger and tap the string around the 10th-12th fret to really see how much air is between the string and the fingerboard. I usually shoot for the thickness of about 1-2 playing cards.

The nice thing about this approach is it works anywhere (i.e. on gigs), no tools required.
 
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#11,888
bassmahn said:
Question for my Roscoe brethren with fretless Roscoes. How do you guys set the neck up? I recall Gard mentioning that they set the necks up as flat as possible... I am trying to decide if it would be worth while buying a straight edge from Stewmac to make it easier to visualize where the neck is at. Any advise would be greatly appreciated!
Click to expand...

You really don’t need a straight edge. Just hold the instrument in a playing position, fret the E or B just forward of the nut (1st fret) with your left hand and fret the same string near the end of the finger board (24th fret) with your right hand. Check the relief under the string. You just adjust the truss rod until there’s zero relief (distance) between the bottom of the string and the finger board.
That’ll get you optimum mwah.
 
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#11,889
bassmahn said:
Question for my Roscoe brethren with fretless Roscoes. How do you guys set the neck up? I recall Gard mentioning that they set the necks up as flat as possible... I am trying to decide if it would be worth while buying a straight edge from Stewmac to make it easier to visualize where the neck is at. Any advise would be greatly appreciated!
Click to expand...

I tend to have a fairly flat neck- enough to not buzz, and then I would "nudge" the truss rod adjustment to get the mwah I was looking for. Less mwah = bigger nudge for me.

I also use the string method, sometimes with a capo if I'm feeling spicy.
 
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#11,890
JOME77 said:
You really don’t need a straight edge. Just hold the instrument in a playing position, fret the E or B just forward of the nut (1st fret) with your left hand and fret the same string near the end of the finger board (24th fret) with your right hand. Check the relief under the string. You just adjust the truss rod until there’s zero relief (distance) between the bottom of the string and the finger board.
That’ll get you optimum mwah.
Click to expand...

Lol Using my phone I didn’t see Greg’s post.
What Greg said! :)
 
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#11,897
For the Diamondwood fingerboard fretless contingent...
I am -this- close to pulling the trigger on a set if TI Jazz Flats which for a 6-string is not a trivial, impulse purchase...
I like the sounds I'm getting with my Ernie Ball Cobalt Flats even as it is just a 5-string set with a leftover D'Addario HalfRound in the C position. Don't ask me why Ernie Ball can't figure out how to make a 0.030" string - I've asked them and they aren't saying...
But I still hear the siren song. I had a set of TI flats on a fretless a while ago but I was too new to the experience to be able to appreciate what I was hearing...
So my big question for them's that's done it: What's the Mwah like? Is there some? Is there a lot? If there's a lot, does it respond to the standard mwah-limiting adjustments?
I want there to be somewhere between 'some' and 'a bunch' but it needs to be available "on demand" with no more than bridge, neck, and technique adjustments.
 
#11,899
ArtechnikA said:
For the Diamondwood fingerboard fretless contingent...
I am -this- close to pulling the trigger on a set if TI Jazz Flats which for a 6-string is not a trivial, impulse purchase...
I like the sounds I'm getting with my Ernie Ball Cobalt Flats even as it is just a 5-string set with a leftover D'Addario HalfRound in the C position. Don't ask me why Ernie Ball can't figure out how to make a 0.030" string - I've asked them and they aren't saying...
But I still hear the siren song. I had a set of TI flats on a fretless a while ago but I was too new to the experience to be able to appreciate what I was hearing...
So my big question for them's that's done it: What's the Mwah like? Is there some? Is there a lot? If there's a lot, does it respond to the standard mwah-limiting adjustments?
I want there to be somewhere between 'some' and 'a bunch' but it needs to be available "on demand" with no more than bridge, neck, and technique adjustments.
Click to expand...

IMO it not as much as a round wound set but it's pretty good. IMO very similar to the EB Cobalt flats (with a slightly more smooth sound). Lot's of growl though.
I have some sound clips at home (comparing the TI Flats and D'Addario Nickels on a Roscoe fretless 5).
 
#11,900
ArtechnikA said:
So my big question for them's that's done it: What's the Mwah like? Is there some? Is there a lot? If there's a lot, does it respond to the standard mwah-limiting adjustments?
I want there to be somewhere between 'some' and 'a bunch' but it needs to be available "on demand" with no more than bridge, neck, and technique adjustments.
Click to expand...
I've only used them on a 4 string diamondwood fretless (I've used the high C and low B on fretted instruments). IME they do exactly what you want and are very responsive to setup and technique.
 

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