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SPECTOR® Owners Club

#721
Torn Bassist said:
Sometimes it feels like one step forward and two steps behind, but at least you are chopping away at the action list brother and I want to see this thing done and hear what you have to say about its new tone...so, chop, chop! lol
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Hahaha! Oh, I know. Believe me, the first minute I have the neck in my hands, that bass is being fully reassembled, restrung & setup! I can't wait to hear the 40Js through the BQC into my Ampeg rig. :D
 
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#722
Coda 4P Blueburst Full Front 12 in.JPG
I'm playing this one tomorrow!
 
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#724
Torn Bassist said:
Red Barchetta is a fun song to play, we have covered it for so long that we moved it to the hold position for Limelight and we also moved Distant Early Warning to hold for Tom Sawyer....except, we always get a request to play Red Barchetta and can't seem to let it rest! lol
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I'd really like to do Limelight also.

cableguy said:
Nothing like playing some AIC with a Spector........I really dig Would? with a band. Never learned Them Bones, but I dig that song.:bassist:
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Right now we do, Would?, Man In The Box, and No Excuses.
 
#733
awilkie84 said:
I'd like to know how that intonation is right. I've never once been able to properly intonate a guitar of any sort without the scale getting progressively longer as I got lower. Even the Les Pauls you see with this setup...I've never been able to accurately reproduce with my own guitars.

LPCGVSCH1-Features-Bridge.jpg
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Are you asking about the Coda P-Bass, if so it nails the intonation on each string between the open and the 12th! I wondered the same thing when I was at the Guitar House and kept checking each string and looking at Todd's P-Bass, I never depend on the intonation between any notes along the neck (like A at the 5th fret on the E string and its octave on the D string) and only use the open note and the 12th fret octave on each string.
 
#734
johnsonabq said:
When I first went to fivers I sold all my four bangers and didn't touch another for almost 20 years. But after I bought that NS-4CR from Jim (j.kernodle) on a whim I fell back in love with the lighter weight, thinner and shorter neck. Just had a lot of fun playing it. I think I'll always have a fiver around because sometimes that's just what I need. I'll be putting some different pups in the fiver to shake the tree a bit on tone. ;)
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Cool! Maybe some day I'll be going down that road too. :cool:
 
#735
Torn Bassist said:
Are you asking about the Coda P-Bass, if so it nails the intonation on each string between the open and the 12th! I wondered the same thing when I was at the Guitar House and kept checking each string and looking at Todd's P-Bass, I never depend on the intonation between any notes along the neck (like A at the 5th fret on the E string and its octave on the D string) and only use the open note and the 12th fret octave on each string.
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That's how I intonate, too. Open & 12th. I can say without a doubt that I've never had a guitar or bass on my table that hasn't followed the same rule of a progressively longer scale length, though. Each string is always longer than the last.

I wonder if a different method is being used? Maybe the Feiten intonation method?
 
#736
johnsonabq said:
Oh, and Michael I wanted to say how glad I am you dodged the bullet with that rising water at your place. :thumbsup: Flooding can be a devastating thing. :dead:
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Thank you Jeff! It's quite the relief. :thumbsup::)
johnsonabq said:
We also decided on our next two songs to learn. They'll demonstrate our eclectic nature. AIC - Them Bones and Rush - Red Barchetta.

AIC is a great drop D song with cool harmonies and Rush is, well, a rush to play. :D
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Love Rush songs especially Red Barchetta:bassist:
Torn Bassist said:
Are you asking about the Coda P-Bass, if so it nails the intonation on each string between the open and the 12th! I wondered the same thing when I was at the Guitar House and kept checking each string and looking at Todd's P-Bass, I never depend on the intonation between any notes along the neck (like A at the 5th fret on the E string and its octave on the D string) and only use the open note and the 12th fret octave on each string.
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I always check intonation at frets 5,7,8,10,12,13. The reason I check 8&10 is these are my base starting positions on my 5 string, so I want them in tune. ;)
 
#738
awilkie84 said:
That's how I intonate, too. Open & 12th. I can say without a doubt that I've never had a guitar or bass on my table that hasn't followed the same rule of a progressively longer scale length, though. Each string is always longer than the last.

I wonder if a different method is being used? Maybe the Feiten intonation method?
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Yeah, mainly my B string gets reeeeally longer also. Not so much on the other strings.
 
#740
iceboxbass said:
Thank you Jeff! It's quite the relief. :thumbsup::)

Love Rush songs especially Red Barchetta:bassist:

I always check intonation at frets 5,7,8,10,12,13. The reason I check 8&10 is these are my base starting positions on my 5 string, so I want them in tune. ;)
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The challenge with intonating like this is that you can't ever been in tune on all those frets, unless you use a compensated fret system (a la Dingwall or Novax). Even those only get as close as the scale length allows them. In my experience, you need to pick one and intonate to that. In my case, I intonate to the other instruments in my band (acoustic & electric guitars). Their instruments are set up with the intonation on the 12th.
 

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