Wishbass Club pt. 2

[PeteH]

D'Addario calls 'em "Half-Rounds". GHS are Brite Flats. Both are technically "groundwounds" - they start out life as a roundwound, but are ground down so as to behave like a flatwound externally, but are still roundies where the wrap meets the core internally. Good tone without the finger noise or fingerboard-scratching of rounds.

I use the GHS on my Wish and the Krappy, and like 'em.

The various sets:

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[king_xanadu]

D'Addario calls 'em "Half-Rounds". GHS are Brite Flats. Both are technically "groundwounds" - they start out life as a roundwound, but are ground down so as to behave like a flatwound externally, but are still roundies where the wrap meets the core internally. Good tone without the finger noise or fingerboard-scratching of rounds.

I use the GHS on my Wish and the Krappy, and like 'em.

The various sets:

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yeah i knew what they were
i just did not know where to get them

 

[MooseLumps]

Anytime, the wait is killer. GAS gets exponentially worse after the purchase but before delivery

MooseLumps, thanks for the good vibes!

=wr=

 

[49sfine]

WR & StandUp;
- We're still waiting for your reactions to your new axes. What's up?

 

[standupright]

So the bass was delivered in good shape and order. It came in a gator case that steve had tried to alter so that the bass fit in. what he used to try and glue the plush fabric back down ended up all over the bass....this black sticky, greasy substance. nothing some murphy's wood oil soap didn't take care of. i am a bit upset about the case though as he did charge 100 bux for it and it's somewhat....well any way, on to the bass!!!

Love it. it's alot lighter than i expected. i was initially concerned about the string spacing, however, this is not an issue. i will probably remove everything and treat it to a nice sanding as the entire bass appears to have barely, if at all been sanded. the finish job - and i know it's supposedd to be minimal - looks like steve put it on blind folded. i "wish" he would have just saved himself that step and not done it.

playing it. very easy to play, the tone and sound is very nice and natural with the eq flat on the amp. adjust the eq makes it even better. have not found a setting that i am perfectly happy with yet. it doesn't really feel like i'm playing an instrument, more like playing a piece of furniture. it will get it's first trial run at rehearsal on wednesday.

overall - very happy.

 

[standupright]

i'll take some better pics and upload at a later time

 

[49sfine]

Standupright: Thanks for the report. Too bad about the case thing. It seems your reaction to your Lobe was much the same as mine was to my recently purchased 5 string persimmon Lobe. I think Steve is having some issues with his eyesight (so we've heard) so that accounts for some of the issues, but it seems this last run of basses are rougher than others? The 4 string maple Lobe I bought back in April (and just sold) was so much smoother and nicer than this new one, it's a little disconcerting. It wouldn't bug as much if I had more time to dive right in and work on it, but time constraints and the fact I still have the walnut JB in progress forces me to just let it sit there on the stand - very frustrating! I am really liking this new one (it really is a diamond-in-the-"rough") though, the longer I have it and I suspect you will do the same with yours. You're lucky you can get on it so quickly! We'll be looking forward to your pictures. By the way, what strings are you going to use?

 

[Gubna]

I finally got this thing wired properly! (at least I hope so!) sounds pretty good through my Markbass Combo 121 and I like the different tonal variations the HAS sound varitone
I think I have to find some other knobs, these ebony ones are not working for me.

I got mine without any side markers. it has pretty good intonation for all the strings despite the floating bridge - but I'm not that good at fretless and would've got the sidemarkers from wish if I trusted him to do it right. Trouble is, with the way the floating bridge is, that can be done wrong very easily. Not too mention it's a 30" shortscale.

What is the best way to find out where they should go?

Any ideas?

 

[PeteH]

Let's set up your reference marks by actual pitch rather than by mathematics, starting with no visual references whatsoever. Get out the pencil and bottle of Wite-Out or whatever nonpermanent marking technology you prefer.

First, let's assume a 30-inch scale. Move the bridge so that the nut-to-bridge distance on the A-string is 30 inches. If that's too close to the string holes, I guess you don't really have a 30-inch scale, but pick a length anyway. Now put the bass in open-string tune (EADG, I'm assuming) using a tuner. Let's work on one of the inner strings, say, the A. Locate the octave by playing a harmonic note and confirming by 'fretting' at position XII. Mark that spot on the fingerboard edge with your pencil.

Using this point on the fingerboard as our true octave reference, now we work on the bridge angle. Your picture looks like the bridge is perfectly perpendicular to the strings right now. In reality, since the bass E is thicker than the top G, most likely you need to turn the bridge so that the E is a little longer and the G is a little shorter. Put a pencil mark on the top of the bass under where the A string is right now (locking down our reference point), then rotate the bridge to scoot the G end maybe 1/4" closer to the nut, keeping the A the same length.

Re-check the A with the tuner. It _shouldn't_ have drifted much, but check to be sure. Now using the octave pencil mark as a guide, check the G string at this XII mark using your tuner. See if it's playing the octave G sharp or flat, and move the G end of the bridge northward or southward to get the octave-G dead-on as well. If the A and G are both good, odds are D and E are as well.

Now that you've got the intonation pretty close, use your tuner and the A string to find III, V, VII, and IX, and mark with the pencil.

Finally, use the Wite-Out to make your marks more visible, and play around with it for a week . Once you're REALLY sure, you can make the marks more permanent, with Wishy-nails, or maybe by drilling little holes and filling them with contrasting wood putty, etc.

I set my Krappy Twig up this way, and it's working out pretty well. Let us know!

 

[JimmyThunder]

This is one of the processes I'm really looking forward to once my own Wish arrives with no markers.

 

[PeteH]

After I set up my Krappy, I went back and did a more careful check of my Wish. Turns out the III, V, VII, and Octave markers were good, but the IX was off. Dramatically. I just didn't spot it with my eyeball nor (shame on me) my ear. I've been doing more ensemble playing lately, so I suspected I had a problem, but this method (and a good tuner) confirmed it.

 

[49sfine]

Pete: Thanks for the detailed run-down on setting up fret markers. My short scale Fantasy will be in need of exactly that once it gets worked over. Like Gubna, I ordered it without markers. - fantastic!

 

[wave rider]

#969 came in last Friday and I've had precious little time to play it but have these initial impressions.

I really like the sapele (African mahogany) body, the stripes in the wood should show up a little more dramatically when I get a chance to refinish it. It has the usual rough spots that should be easy to fix with some sanding. The fingerboard looks and plays straighter than my Fantasy although this may be masked a little with a bit higher action than the aforementioned Fantasy. The tone is good with a little less mwahh than the Fantasy, I suspect the higher action.

I like both shapes; the long upper horn makes a great carrying handle and also gets the upper strap mount in a good position for no neck dive. I'm growing more accustom to the Hipper shape and think some strap adjustments will get it firmly into my comfort zone; that pointy Fantasy still ends up very comfortable for me. Since the strap button is mounted on the back of the horn instead of the end, I tried attaching the strap and running under the horn and then up to my shoulder like I read in another thread on TB. It gives the bass a slight tilt upwards and makes seeing the fingerboard a little easier.

Overall, I'm very pleased.

There is only one thing I would change in the build and it may be a first in TB annals:

I'd be happier with a bigger neck.

Just a bit thicker front to back and a quarter inch wider on the fingerboard at the nut would help me. I've grown used to the generous spacing of my four string Fantasy and this Hipper has the same 1.75 inch wide fingerboard, so the five string spacing feels too narrow. And I'm kind of clumsy anyway... The spacing at the bridge is a little narrow too.

Of course, the more I play, the better I get with the spacing. As a last resort, I can always convert it to a three or four stringer with little effort. I really enjoy the feel of the wood.

=wr=

 

[Gubna]

Let's set up your reference marks by actual pitch rather than by mathematics, starting with no visual references whatsoever. Get out the pencil and bottle of Wite-Out or whatever nonpermanent marking technology you prefer.

First, let's assume a 30-inch scale. Move the bridge so that the nut-to-bridge distance on the A-string is 30 inches. If that's too close to the string holes, I guess you don't really have a 30-inch scale, but pick a length anyway. Now put the bass in open-string tune (EADG, I'm assuming) using a tuner. Let's work on one of the inner strings, say, the A. Locate the octave by playing a harmonic note and confirming by 'fretting' at position XII. Mark that spot on the fingerboard edge with your pencil.

Using this point on the fingerboard as our true octave reference, now we work on the bridge angle. Your picture looks like the bridge is perfectly perpendicular to the strings right now. In reality, since the bass E is thicker than the top G, most likely you need to turn the bridge so that the E is a little longer and the G is a little shorter. Put a pencil mark on the top of the bass under where the A string is right now (locking down our reference point), then rotate the bridge to scoot the G end maybe 1/4" closer to the nut, keeping the A the same length.

Re-check the A with the tuner. It _shouldn't_ have drifted much, but check to be sure. Now using the octave pencil mark as a guide, check the G string at this XII mark using your tuner. See if it's playing the octave G sharp or flat, and move the G end of the bridge northward or southward to get the octave-G dead-on as well. If the A and G are both good, odds are D and E are as well.

Now that you've got the intonation pretty close, use your tuner and the A string to find III, V, VII, and IX, and mark with the pencil.

Finally, use the Wite-Out to make your marks more visible, and play around with it for a week . Once you're REALLY sure, you can make the marks more permanent, with Wishy-nails, or maybe by drilling little holes and filling them with contrasting wood putty, etc.

I set my Krappy Twig up this way, and it's working out pretty well. Let us know!

the intonnation was spot on when I checked it so that bridge is actually in the right place. it does have an angle, and isn't perp. I suspected this was the way to do this, but was looking for anything I might have missed. I'll have some more pics in a day or so.

Thanks Pete.

 

[salamandyr]

figured i should post a pic of another i have, just for fun:

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i really would love a 5 Wishbass, 35", rear routed, and fan-fretted.
anyone got one they don't want any more?

 

[Gubna]

nice flying V.
that's right, wish usually sells a few "striped" ones during the holidays using up leftover wood.

 

[newfuture]

I'd be happier with a bigger neck.

=wr=

I think we may have to stage an intervention.

Speaking of interventions, I just picked up the fretted 5 ampeg scroll-inspired wish today. Will report back when I take delivery. I believe this means it's time to thin the herd...

And Salamandyr, I don't know if the Vee or the six string samurai hat in your pic is cooler.

 

[salamandyr]

nice flying V.
that's right, wish usually sells a few "striped" ones during the holidays using up leftover wood.

thanks - it's still stock, with crappy strings, but does sound great the way it is. the neck isn't an unshaped baseball bat either, like a scarab-ish wish is have. instead, it's nearly perfect - hand filling but i have reach everywhere. it's just uneven in a couple places.

so i need to do some sanding and oiling, drop some flats on it, and maybe replace the bridge hardware. i'm considering individual metal adjustable saddle/bridges, as that might let me go from 34" to 35" scale (the holes are at 35 and 5/8ths inches now, with the corian bridge at 34") as i usually play 35" 5-string.

not sure how i'd make a wooden compensated one, though, or i might try that. also thinking about how to construct a chrome or nickel teardrop cover.

 

[49sfine]

NewFuture; You dirty dog, you! I was so close to bidding against you, but at the last minute decided not to. Heck, at that price, it was worth it just for all the kool parts! Way to go.

Let me know what you are going to let go of, okay? I'd interested in seeing them (it). Thanks ...

 

[jbybj]

the intonnation was spot on when I checked it so that bridge is actually in the right place. it does have an angle, and isn't perp. I suspected this was the way to do this, but was looking for anything I might have missed. I'll have some more pics in a day or so.

Thanks Pete.

A small variation on marking your fret positions you might try. Don't start with the bridge, start with the octave. On a 30" scale the octave should be 15" from the nut. Mark, (temporarily of course) the octave first, then position your bridge to work with the octave mark. From there, continue with a tuner as mentioned earlier. Don't forget to use your ears as well! Have fun. JBY