On all strings ?
With V-Bass ver#1 ?
A shot in the dark = maybe your finger touching the other string once the note is plucked ( ???? )
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Show your GK bass
- Thread starter fokof
- Start date
With V-Bass ver#1 ?
A shot in the dark = maybe your finger touching the other string once the note is plucked ( ???? )
Aww man...and here I opened this thread thinking I would get the scoop on Gallien-Krueger making bass guitars to go with their amps! 
- Mar 9, 2001
- 963
- 92
- Disclosures
- Endorsing Artist: Accugroove Cabinets & MJC Ironworks Strings
I don't know why the pic has those smudges on the bass because it is in great shape.
DP, curious to how it's working out with the controller above the bridge? I just got a used V-Bass unit and a GK3B pickup & controller and it won't work on the Ibanez GVB36 since it has 14 mm string spacing. The controller doesn't fit well on my other basses and have been looking for a Fender Jazz since they have the room for the controller.
Wally
Aww man...and here I opened this thread thinking I would get the scoop on Gallien-Krueger making bass guitars to go with their amps!
You and me both!
Reviving this older thread, got my GK-3B today and test mounted it on my Ibby BTB406QM:
Will add a sample using my GR-55 in a moment or two. Getting the pickup height adjusted properly on this bass is just devilish, big difference in saddle height between the B and the C. Going to take lots more tweaking to optimize tracking.
Here we go, strolling through Dancing In The Moonlight slowly due to tracking and latency..
...needs practice, forgive the couple of tracking dropouts.
...next some Fever:
Edit: Ooops, forgot to mention, both using the "Fat Upright" patch.
Will add a sample using my GR-55 in a moment or two. Getting the pickup height adjusted properly on this bass is just devilish, big difference in saddle height between the B and the C. Going to take lots more tweaking to optimize tracking.
Here we go, strolling through Dancing In The Moonlight slowly due to tracking and latency..
...needs practice, forgive the couple of tracking dropouts.
...next some Fever:
Edit: Ooops, forgot to mention, both using the "Fat Upright" patch.
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A slightly better take on "Dancing". This is tricky. Sounds nice when it works though. Tweaked the patch a bit
If you use the Roland GR-55, then make sure you have the GR-55FloorBoard editor software.
Makes navigating the GR-55 much easier with the graphical layout.
Also requires the USB driver installed which can be found on the Roland GR-55 webpage
GR FloorBoard
Makes navigating the GR-55 much easier with the graphical layout.
Also requires the USB driver installed which can be found on the Roland GR-55 webpage
GR FloorBoard
Yes indeed! As I said over on the v-guitar forum, your floorboard editor is really helping me understand this beastie way better than the manuals! Thanks again!If you use the Roland GR-55, then make sure you have the GR-55FloorBoard editor software.
Makes navigating the GR-55 much easier with the graphical layout.
Also requires the USB driver installed which can be found on the Roland GR-55 webpage
GR FloorBoard
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This is short scale with RMC piezoelectric bridge tuned BEADGC piccolo. Currently using with a Boss GP-10 but still have a VBass and GR-09.
I am going to post in a few days the result of an interesting setup, which is a permanent installation of a GK3B (so the BG3 kit) in a Music Man (SUB USA).
Interestingly, this is a difficult installation due to the many constrains this bass presents for such work. Examples are the the 3 L shaped holes necessary for the many cables (around 40) to pass, the great attention in doing such difficult holes due to the small thickness of the bass (only 4,2 cm), and others.
This installation seems much easier on Fender like basses since the part under the pickguard can be used for drilling, and this was the initial idea of my lieuter, changing the pickguard. But for me to change the Music Man aesthetics was not in discussion.
Another parameter used was maximum respect for the instrument. Which means to drill out as less wood as possible in order to conserve the original clean tone of the bass, and no wood out from the part under the strings for both acoustic and strenght reasons.
Difficult was to find space for the electronics, the bottons, the switch and the volume potentiometer since the bass doesn’t allow a fit between the potentiometers plate and the pickguard. Plus, the big 13 pin connector, again difficult as very tight space between bridge and electronics in order to avoid to come out on the surface and so again, change the aesthetics. All seemed to not leave space enough to make this installation possible on this bass without reaching an aesthetic or acoustic compromise, but finally we did it. It has been a great work from my lieuter who always wanted to respect the instrument more than my opinion and desires themselves, and after lots of efforts finished with accomplishing both.
Interestingly, this is a difficult installation due to the many constrains this bass presents for such work. Examples are the the 3 L shaped holes necessary for the many cables (around 40) to pass, the great attention in doing such difficult holes due to the small thickness of the bass (only 4,2 cm), and others.
This installation seems much easier on Fender like basses since the part under the pickguard can be used for drilling, and this was the initial idea of my lieuter, changing the pickguard. But for me to change the Music Man aesthetics was not in discussion.
Another parameter used was maximum respect for the instrument. Which means to drill out as less wood as possible in order to conserve the original clean tone of the bass, and no wood out from the part under the strings for both acoustic and strenght reasons.
Difficult was to find space for the electronics, the bottons, the switch and the volume potentiometer since the bass doesn’t allow a fit between the potentiometers plate and the pickguard. Plus, the big 13 pin connector, again difficult as very tight space between bridge and electronics in order to avoid to come out on the surface and so again, change the aesthetics. All seemed to not leave space enough to make this installation possible on this bass without reaching an aesthetic or acoustic compromise, but finally we did it. It has been a great work from my lieuter who always wanted to respect the instrument more than my opinion and desires themselves, and after lots of efforts finished with accomplishing both.
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