It looks nice, but that just seems like a lot of extra screwing with something. For me anyway, my EB-0 plays just fine as is.
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Gave the EB0, with the new Hipshot a proper road test today and I'm really happy with it.
The intonation is sorted, the action is pretty low and I don't need to raise the pickup after all.
And the dowels are well glued in...
The intonation is sorted, the action is pretty low and I don't need to raise the pickup after all.
And the dowels are well glued in...
- Apr 18, 2008
- 16,027
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- I'm highly opinionated and extremely self-assured
Sorry, didn't realize (forgot) that you're using the Hipshot bridge!!
The pole pieces on the Model One are definitely designed to be raised/lowered as needed, but if left alone for a long time they can become sticky... Perhaps try a small amount of penetrating oil?
The pole pieces on the Model One are definitely designed to be raised/lowered as needed, but if left alone for a long time they can become sticky... Perhaps try a small amount of penetrating oil?
A chap called Jason, who works at Hipshot has offered to send me two shorter adjustment screws for the A and E strings to squeeze better intonation.
I thought that was very kind of him and worthy of a mention here.
I've only had to contact Hipshot a few times and their customer service has never been less than great.
Since we've all got a Hipshot love fest going on here, I'll join in and say that I retract the part of my previous post in this thread (post #2896) that said if I had to do my Hipshot HB6 Ultralite replacement tuners project all over again, I'd go with the Gotoh Res-o-lites instead.
Now that the Ultralites have been on there a few weeks and the bass has been down in my dimly lit basement practice space instead of in the bright lighting of my apartment, I'm noticing the attendant holes in the back of the headstock much less. I mean, how often does one look at the back of a headstock anyway? Which I knew going in, but I remember picking up other people's basses before I really started playing bass and seeing such holes left after installing Ultralites and thinking, "Dang that's ugly!" I even said it out loud the first time I came across them, but the owner of the instrument was just like, "Ah, it's no big deal and it balances better". I didn't even know what that really meant, but I do now - it's no big deal to the owner (now me) and the bass balances better. Mainly it would just be a hit on resale, but this one's now a keeper so I don't care much about resale.
Meanwhile, I've gotten used to the Hipshot look - it's a bit non-Gibson looking on the back of the headstock, but again, I don't spend a lot of time gazing at the back of the headstock and I don't care anymore. It's fine. But I do like the nice 'in tight' look at the front of the headstock that I get with the 'Y-key Short' versión of the HB6 Ultralites that I went with.
Also, I was kinda regretting going with chrome for the tuners as I'm more of a nickel guy, but these chrome tuners have a dulled/roughened finish to them that takes the overly shininess away from the chrome and also provides a bit more grip for the fingers when tuning. And the Y-key is my preference over clovers for comfort when tuning, and perhaps my slight preference on looks, too (though I like the look of clovers also). Finally, there's like no slop in these guys - very precise. I'm really digging tuning with them.
In short, if I had to do it all over again, I'd get the same Hipshot HB-6 Ultralites (Y-Key Short), except maybe in nickel (happy enough with the chrome, though). The look from the front, the comfort and the tuning precision of the HB6 Ultralites plus of course the better balance of the instrument outweigh the back of the headstock look, the cost and the difficulty of installation for me. I wouldn't want to give up those positive attributes by going with something else, so I'll give the Hipshots two thumbs up. Hooray for Hipshot!
Now that the Ultralites have been on there a few weeks and the bass has been down in my dimly lit basement practice space instead of in the bright lighting of my apartment, I'm noticing the attendant holes in the back of the headstock much less. I mean, how often does one look at the back of a headstock anyway? Which I knew going in, but I remember picking up other people's basses before I really started playing bass and seeing such holes left after installing Ultralites and thinking, "Dang that's ugly!" I even said it out loud the first time I came across them, but the owner of the instrument was just like, "Ah, it's no big deal and it balances better". I didn't even know what that really meant, but I do now - it's no big deal to the owner (now me) and the bass balances better. Mainly it would just be a hit on resale, but this one's now a keeper so I don't care much about resale.
Meanwhile, I've gotten used to the Hipshot look - it's a bit non-Gibson looking on the back of the headstock, but again, I don't spend a lot of time gazing at the back of the headstock and I don't care anymore. It's fine. But I do like the nice 'in tight' look at the front of the headstock that I get with the 'Y-key Short' versión of the HB6 Ultralites that I went with.
In short, if I had to do it all over again, I'd get the same Hipshot HB-6 Ultralites (Y-Key Short), except maybe in nickel (happy enough with the chrome, though). The look from the front, the comfort and the tuning precision of the HB6 Ultralites plus of course the better balance of the instrument outweigh the back of the headstock look, the cost and the difficulty of installation for me. I wouldn't want to give up those positive attributes by going with something else, so I'll give the Hipshots two thumbs up. Hooray for Hipshot!
Attachments
my early 70,s ibenez I like the Z in the logo reminds me of the chest popper alien in "alien"
D
Looks like a classic. Love the dark burgundy
How are the pickups? Straightforward EB-3 style, or are they their own beast?
not sure what to compare them to, no experience with other EB-3,,i know its sounds really good, when I first plugged it in I was really impressed how clean and crisp it sounded, not a trace of hum or crackle out of the electrical end of things,it plays really nice, its a well made product for the time. I found it in the classifieds and drove two hours to check it out,im glad I did its a fun little bass.
flannel cat: Chances are really high that the bridge pickup in your awesome vintage Ibanez is actually a single coil, and the pole pieces don't adjust jack and are just for show. A small screwdriver hovered over the pickup will help you "see" where the actual magnetic poles are. It's kind of obvious as you look at it that with the screws so close to the edge of the cover there's no room for them to be inside of a coil.
If memory serves these faux humbuckers were made by Maxon for Ibanez and many of the other Japanese manufacturers of this era.
In 1980 as I turned 18 and started playing guitar in bars I bought an Ibanez compressor pedal that was really good--never heard a comp pedal that was more useful and musical since. The Maxon name was prominent on the circuit board.
As for the Hipshot Y-key tuner discussion before that, I too have that style on an EB/SG--an LTD Viper--but they are Grovers. All six of my basses have Y-key tuners, not that I meant for that to happen but at this point I prefer them. It's a mixed bag--2 have Grovers including my 8-string, 2 are whatever Ibanez used in 1991 and 2004, and 2 are probably cheap clones that work and feel just fine. There's a D-Tuner on one of the Ibanez basses.
Gotoh and Hipshot etc Y-keys are just a really good tuner design. Sealed and greased smooth operation and a smaller peg that allows finer adjustment. Only downside is that on used basses I usually find a couple of the nylon washers between the tuning key and the shaft to be broken or missing. Replacements aren't easy to find, so I've been making my own using two sizes of leather hole punches and scavenged polypropylene from product packaging/container lids.
If memory serves these faux humbuckers were made by Maxon for Ibanez and many of the other Japanese manufacturers of this era.
In 1980 as I turned 18 and started playing guitar in bars I bought an Ibanez compressor pedal that was really good--never heard a comp pedal that was more useful and musical since. The Maxon name was prominent on the circuit board.
As for the Hipshot Y-key tuner discussion before that, I too have that style on an EB/SG--an LTD Viper--but they are Grovers. All six of my basses have Y-key tuners, not that I meant for that to happen but at this point I prefer them. It's a mixed bag--2 have Grovers including my 8-string, 2 are whatever Ibanez used in 1991 and 2004, and 2 are probably cheap clones that work and feel just fine. There's a D-Tuner on one of the Ibanez basses.
Gotoh and Hipshot etc Y-keys are just a really good tuner design. Sealed and greased smooth operation and a smaller peg that allows finer adjustment. Only downside is that on used basses I usually find a couple of the nylon washers between the tuning key and the shaft to be broken or missing. Replacements aren't easy to find, so I've been making my own using two sizes of leather hole punches and scavenged polypropylene from product packaging/container lids.
It worked! Thanks to you ctmullins. It took some doing though and got through a few squirts of WD40.
The bass sounds a lot hotter now.
I used to have a Maxon Compressor - really liked mine too (had a very nice clear-but-rubbbery squish to it) except I needed an attack control (which it didn't have), so I had to move on. And my main delay for about ten years was a Maxon AD-900 (a beautiful sounding analog delay with a nice 600s of delay time, my pride and joy for quite a while, but it was kinda large and with positive tip power that was a bit of a PITA. Eventually replaced it with the smaller but similarly capable and sounding MXR Carbon Copy once that came out). Also had an Maxon AF-9 envelope filter for a bit - quite cool in a uniquely grainy way, and very flexible in a small package, but I wanted more sensitivity for the guitar I was using it with. Still have a Maxon PT-999 phaser which i never use. Was actually just watching YouTube videos on using an AF-9 with bass last night...
But, my all-time favorite guitar pedal is my now 20 year old Maxon OD-808. Exactly what I'd always been looking for in an overdrive (ymmv - it's not a jack of all trades; it's a tubescreamer, with the attendant benefits and limitations). Recently got a Maxon OD-9 for my second guitar board which I'm liking so far, too. Quality stuff.
Oh yeah, and I've got an Ibanez Bass Tubescreamer I really like. Not sure if Maxon is Ibanez's pedal OEM anymore, though
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Please be careful when using WD40. After its used it sets up, like a drying process, and caramelizes. It loses its active properties. (it hardens over a period of time) Every few months, give the sprayed area another small shot of WD40. This gives it the active properties it had in its original application to the area. Don't forget, WD40 was designed as a WATER DISPLACEMENT solution, when water got into a car, or trucks distributor cap. Hence, WD40. It just so happens to lubricate as well.
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Thank you for that good advice MrNylon. I did wonder about WD40 long term. I dropped a bit of lemon oil into each thread and turned the thread one turn in each direction. I will not be doing any further adjustments in any case.
Hopefully lemon oil will be ok.
First and foremost, a fair warning: this is going to be one LONG post.
Those of you who follow this club may remember my post from a couple of weeks ago, regarding my "latest adoption" (# 2928) where I remained vague about it apart from posting a couple of pictures and said that I would give an update on it...well, here we go.
I've had this particular bass bookmarked for about two years. There was *something* about it - couldn't define what exactly - that I liked, but the initial price was *way* above what I would be willing to pay for such an instrument.
The time went on, and the price kept on going down. And down. And down.
About a month ago, it came to the point where I said "OK now you're mine" and called the store. Gave them all the info, but the sale wouldn't go through. The system just wouldn't allow them to release the bass for whatever crazy reason. After a bit of back and forth, they agreed to ship the bass internally to my local store, and that I would simply pay for it when I come to pick it up. Fair enough.
Several days later, I called "my" store to verify whether the bass had arrived. The guy who answered my call comes back and says that his manager wants to talk to me. No problem, we know each other quite well having done a fair amount of business over the last few years..
"Hey, buddy, how are you doin' ?"
"I'm fine. What's going on, my friend ?"
" You want the good news or the bad news first ?"
" Start with good news."
" Your bass is here."
" But...?"
"They didn't pack her well and she got hurt in transport. And it's not just cosmetic damage."
My heart sank.
"How bad is it ?"
"Well, she's broken. Still holds together but broken nonetheless. The good thing is that you're not out any money. I'll be calling our vintage department to see whether they want us to fix it, or whatever. I could give you a call once she's fixed and you could have her at a discounted price."
"How about I come over tomorrow, take a look and let you know whether I'd be willing to take her "as-is".
"Sure thing."
This is what I saw when I opened the case a day later:
I picked up the bass as gently as I possibly could have, and plugged her into a Markbass combo sitting there. Plucked a couple of completely-out-of-tune notes. Put her back in the case, walked over to my buddy the manager and submitted the offer.
Went out for a smoke, made a couple of calls and when I came back in the store I became the new owner of an old, well-played-and-now-busted '63 EB-0.
Happy to report that she's back from surgery and fully recovered, although the scars remain visible.
The last little bit from the theatre of absurd?
I ended up giving my luthier a wrong set of strings, so she ended up being strung with flats that were sitting in a package left over from GHS rounds...
So, how does she sound?
She's loud, and generally very impolite-sounding, especially with these flats - does anyone know what they are BTW since I have absolutely zero idea where they came from - and I can fully understand the sentiment of going in with a pick, turning the volume up and unleashing one's inner Pappalardi...
Once the volume is down to 6.5 she mellows and becomes just warm and thumpy. Not a bad sound per se, but not what I'm looking for either, so a fresh set of rounds has already been ordered.
How does she play after the debacle that she's been through?
Great. Medium-low action, no buzz. Intonation is surprisingly good for a bass with a bar bridge. Flats make her a bit stiffer than I'd like, but that soon shall come to pass too.
How does she compare with her younger sister seen in my avatar:
These are two extremely different instruments when it comes to playing feel.
The '63 has a big, chunky neck with a 1.65" nut that feels a lot like early Les Pauls, fat and round. Neck joint is also completely different and calls for a somewhat different approach when playing high up the neck.
The '69 is gentle and fragile-feeling with a tiny neck sporting a 1.5" nut and an overall more sophisticated playing feel.
You just grab the '63 right out of the case and play her, preferably as loud as you can.
The younger sister needs to be picked up gently and caressed while playing. Light touch is the key to getting the most out of her.
Is there anything that you don't like about your "latest adoption" ?
I could most definitely live without the reverse tuners, but they are original and are staying there. The bar bridge may end up being swapped for a Hipshot depending on how the bass behaves once the rounds come on.
All in all, she's one cool old lady that I like a lot and my take is that she'll do really well with some music that I'm working on once she's strung with rounds...
Those of you who follow this club may remember my post from a couple of weeks ago, regarding my "latest adoption" (# 2928) where I remained vague about it apart from posting a couple of pictures and said that I would give an update on it...well, here we go.
I've had this particular bass bookmarked for about two years. There was *something* about it - couldn't define what exactly - that I liked, but the initial price was *way* above what I would be willing to pay for such an instrument.
The time went on, and the price kept on going down. And down. And down.
About a month ago, it came to the point where I said "OK now you're mine" and called the store. Gave them all the info, but the sale wouldn't go through. The system just wouldn't allow them to release the bass for whatever crazy reason. After a bit of back and forth, they agreed to ship the bass internally to my local store, and that I would simply pay for it when I come to pick it up. Fair enough.
Several days later, I called "my" store to verify whether the bass had arrived. The guy who answered my call comes back and says that his manager wants to talk to me. No problem, we know each other quite well having done a fair amount of business over the last few years..
"Hey, buddy, how are you doin' ?"
"I'm fine. What's going on, my friend ?"
" You want the good news or the bad news first ?"
" Start with good news."
" Your bass is here."
" But...?"
"They didn't pack her well and she got hurt in transport. And it's not just cosmetic damage."
My heart sank.
"How bad is it ?"
"Well, she's broken. Still holds together but broken nonetheless. The good thing is that you're not out any money. I'll be calling our vintage department to see whether they want us to fix it, or whatever. I could give you a call once she's fixed and you could have her at a discounted price."
"How about I come over tomorrow, take a look and let you know whether I'd be willing to take her "as-is".
"Sure thing."
This is what I saw when I opened the case a day later:
I picked up the bass as gently as I possibly could have, and plugged her into a Markbass combo sitting there. Plucked a couple of completely-out-of-tune notes. Put her back in the case, walked over to my buddy the manager and submitted the offer.
Went out for a smoke, made a couple of calls and when I came back in the store I became the new owner of an old, well-played-and-now-busted '63 EB-0.
Happy to report that she's back from surgery and fully recovered, although the scars remain visible.
The last little bit from the theatre of absurd?
I ended up giving my luthier a wrong set of strings, so she ended up being strung with flats that were sitting in a package left over from GHS rounds...
So, how does she sound?
She's loud, and generally very impolite-sounding, especially with these flats - does anyone know what they are BTW since I have absolutely zero idea where they came from - and I can fully understand the sentiment of going in with a pick, turning the volume up and unleashing one's inner Pappalardi...
Once the volume is down to 6.5 she mellows and becomes just warm and thumpy. Not a bad sound per se, but not what I'm looking for either, so a fresh set of rounds has already been ordered.
How does she play after the debacle that she's been through?
Great. Medium-low action, no buzz. Intonation is surprisingly good for a bass with a bar bridge. Flats make her a bit stiffer than I'd like, but that soon shall come to pass too.
How does she compare with her younger sister seen in my avatar:
These are two extremely different instruments when it comes to playing feel.
The '63 has a big, chunky neck with a 1.65" nut that feels a lot like early Les Pauls, fat and round. Neck joint is also completely different and calls for a somewhat different approach when playing high up the neck.
The '69 is gentle and fragile-feeling with a tiny neck sporting a 1.5" nut and an overall more sophisticated playing feel.
You just grab the '63 right out of the case and play her, preferably as loud as you can.
The younger sister needs to be picked up gently and caressed while playing. Light touch is the key to getting the most out of her.
Is there anything that you don't like about your "latest adoption" ?
I could most definitely live without the reverse tuners, but they are original and are staying there. The bar bridge may end up being swapped for a Hipshot depending on how the bass behaves once the rounds come on.
All in all, she's one cool old lady that I like a lot and my take is that she'll do really well with some music that I'm working on once she's strung with rounds...
