tel_nobody's forum posts 734

That's a good point about keeping the serial number.

Both of mine have headstocks that bore no logo.

A replacement headstock logo is kind of like a cosmetic surgery to fix an area that is disfigured, but removing one to replace is like desexing a dog and then buying and installing a replacement for him to lick...

... perfect for a guy from UG.

Good to hear. Well done.

It is just a decal covered with lacquer. It will come off, but the big question... how much do you look at it? An old band mate stole one of my guitars... I got it back, but he had scratched the headstock logo off with the tip of a screwdriver or a spiked file, left some nasty gouge marks. It sanded back ok, and I am looking at a local company who do custom logos as water decals to make this undeniably my guitar... as future theft protection.

But that is purely for my enjoyment, and to complete its circle.

The big question, will your audience care?

I have an old Teisco Bass, and the headstock has NO branding but there is a large skate sticker that simply says FUCT.

Hardly anyone notices that either... only people looking are gear nerds and they will get a laugh out of it.

It is lighter than my old band mate's Les... that haulage ain't for me. There was something about the simplicity of that old guitar that just grabbed me. There is room in my collection for something along those lines and a Sheraton or 335, and something Rick or Gretsch.

I worked three days a week in a music store in '89 - '91. The boss went to visit distributors to order stock in our capital city every Wednesday from midday, leaving me to finish the day and lock up.

I used to take this chance to play every instrument and every pedal, every amp and every bit of gear I could between serving customers.... which were minimal on a Wednesday afternoon.

The store got a Gibson Les Paul Jr in. I think it was a Tobacco burst. Second hand in great condition, he has a price of $499 on it. I plugged it into every amp in the shop and couldn't get a bad tone. I slapped on a Tubescreamer (TS10) and fell in love with that sound. I knew I needed that guitar. I went in on my next shift to tell my boss I wanted it (I had open ended layaway plans - an awesome perk). Guitar was sold the day before.

$1233 US in Japan. It is a les paul special faded double cut in yellow.

http://www.ebay.com/itm/Gibson-Les-Paul-Special-Faded-DC-Electric-Guitar-Free-Shipping/222434742124?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D20140602152332%26meid%3Da0e5214bf88c4a17bc0bcdb1f6354e3e%26pid%3D100011%26rk%3D4%26rkt%3D8%26sd%3D160732356887

free international shipping

http://www.ebay.com/itm/2015-Gibson-Les-Paul-Special-Double-Cut-Guitar-TV-Yellow-w-Gibson-Case-/232265268890?hash=item361416be9a

Lighthouse sound get close for cheap

As in a Les Paul Jr double cut? EDIT looked it up.

tops! exactly how I want to be remembered!

I have one of his picks!

https://www.talkbass.com/threads/ibanez-phat-ii-eq.848511/

This shows why I was concerned about pots copping a hit. If the circuitboard is mounted to yours like this...

from what I have read up on this, they are alnico. and so many people say that the actives in this need to be replaced to make this a workable bass. google Ibanez SRX400 boomy pickup or boomy e string and they all start sounding really samey....

Did I make you want to crawl in a hole?

Magnets are not usually out in the open enough to be bent, being glued down or held in place in the centre on most occasions. Magnets tend to shatter before they bend ordinarily. Could be the case bent or maybe the bend in the magnet is an inanez desig for this bass which is manufactured to allow for that heavier thumping bass in the brochures and is tailored to the bass boosting tone control for this model. Google is not showing any shots of the pickups under the hood for this model, so am a bit lost for further advice.

Adrenaline and innovation are a wonderful combination. At the end of most shows I used to throw my guitar into the air with one hand and catch it with the other before dropping it onto the ground and leaving it howling as I walked off stage. Fairly standard practice without being too destructive. One show our bass player turned up with a brand-new secondhand bass. He played the entire set and at the end he threw it up into the air missed the catch and the bass hit the stage headstock first and shattered the headstock completely off of it. That was enough to stop me throwing guitars.

I believe it was discovered shortly after accidentally spitting in the face of the rhythm guitarist and after some scuffling finding myself pinned to the ground on top of my guitar being pummelled whilst continuing to yell threats and abuse at him while laughing my ass off...

I love that Trinity have accepted Green Day and Radiohead as assessable examples of arpeggio and accent proficiency.

That would be highlighting your proficiency with accents... the accents he hits in this song are percussive in their intensity... which would be exactly why they chose that song as an example.

Ok. officially not sure which reply you are asking why to....

The vocoder guitar This was because it was something I had discovered you could do with a guitar when at suitable volume, and it was not only an effect... that was passable and recognisable musically, it had a flair about it, a performance aspect that was different. It was not common to see the singer/ guitarist jump back from his mic, have the rhythm guitarist take over singing and have the singer start screaming this electronic gurgle through his chest. It was a point of difference that made our shows notable.

The screwdriver? There was not a lot of call for slide guitar in the alternative/ grunge rock scene. Certainly not enough for me to actually go out and buy another slide... couldn't be stuffed. Other guys used a beer bottle... wet glass... no thanks. The mic stand? you look like a humping dog. The screwdriver gave a better sound, the Philips head because there was less aggression at the tip than a flat blade screwdriver and less chance of actually doing any physical damage to the guitar or having the blade of the tip scrape the fretboard or glinge off of the strings. I never had to turn around and place it back on an amp. Convenience, practicality and cheap ass laziness got the job done. I got the sound I wanted, and I was the guy who screamed through guitars and played with a screwdriver....

it just sits in there

Grade 3 ...an Excerpt from Trinity College

At Grade 3, you can learn about accents and how to play arpeggiated chords. You’ll perform three songs and build on your Grade 2 Session skills.

Choose your songs from our song list, including one of the Technical focus songs that develop particular skills. There’s an option for you to play your own cover version of a song or, if you’re a songwriter, one of your own songs.

You’ll find more information about how the exam works in the syllabus.

Grade 3 Guitar song list

The Grade 3 Guitar songbook includes everything you need for the exam – sheet music for six songs, performance tips, technical support and guidance on Session skills, together with a CD of demo and backing tracks. If you want to buy individual songs, choose them from the list below.

All Day And All Of The Night The Kinks

Basket Case (Technical focus) Green Day

Creep (Technical focus) Radiohead

John Barleycorn Traditional

Sunshine Of Your Love Cream

Turn! Turn! Turn! The Byrds

http://trinityrock.trinitycollege.com/instruments/guitar/grade3

...What about shoving a Philips Head screwdriver between nut and tuners when playing, the whipping it out when you need to do slide parts in the song?

Would I fall into this category when I used to slap two drive pedals, a delay and a flanger on my guitar at live gigs, slap the guitar against my chest and hold it there and sing away from microphones to get a roughly Vocoder-esque sound coming out of my guitar amp?

Schrodinger's Marchione.

Not sure otherwise.

If wires are clear intact and crackle free, the battery doesn't wig out if shaken while playing notes, the volume pot doesn't wiggle or feel loose, the strings are constant with a brand you always used on this bass, and your pots aren't crackling, there is no surface corrosion on either the battery clip or the input jack, short of adjusting the pickup angle to pull away from the E and closer to the G, and if the issue is constant and not something that comes or goes, I cannot find anything else to suggest.

Would pay to ask a local guitar shop for the number of a repair guy, or hope that someone else on here has more experience with actives and Ibanez basses that may be able to shed more light.

found this

Sound Quality: Ive ran this one thru several different types of amps and cabs and ive recently settled on a Lab Systems Mosfet Powered Semi Valve Amp and a Lab Systems quad box. I like a tone thats not too bright yet cuts through the mix and bass is not merely a presence but the notes can be heard clearly without being twangy and i get it through this bass. Now through my current rig im able to get this . The original pickup on this bass was very wooly with the lows being dull and boomy, i changed the pickup to an EMG 35DC and lo and behold its got nice deep lows that cut through great. Also the original strings on it were elixir and they were always very bright without a punch , making it sound like a big guitar rather than a bass. I always keep trying different strings but everything else has sounded better than the original strings.

Never said wreck. It sounds a bit like I am annoying you the way you responded then. Trying to help here....

You mentioned a broken plastic knob on a volume pot.

I asked in case this occurred during a live setting, perhaps an impact that caused the knob to break. This level of impact would place stress on the pot. In looking at wiring diagrams and images of SR 400 basses, (yes I know yours is a SRX400 and they are different, but the volume and tone pots seem to be mounted through a circuitboard.

http://www.kolumbus.fi/juha.seppanen/musa/evki/ibabass/ib05.jpg

It there was enough impact to crack a knob, the board could have been fractured also.

I have broken and fixed a ton of gear over the years and used to work in a guitar shop and have been exposed to all kinds of damage and issues...

If you do not mind me asking, how long has it been like this and how long since you played it on a regular basis?

Pigeonholes are for pigeons.

I am not very afficianado... but I am passionate about what I do with music. Unorthadox in my explanations, but I understand why I do things.

Is there a clue in this?

Ibanez SRX400 Bass SRX Soundgear Xtreme basses were designed for players who want an easy-to-play bass with simple controls and "beyond massive" pickups that can pump out loud, heavy rock. Period. However, for players for whom simple and powerful just aren't simple and powerful enough, we've added the new "plug in and pulverize" SRX400's. Loaded with a single PFR-AL alnico magnet pickup and the new PHAT II active bass boost, SRX400 basses prove that ridiculously loud and great tone aren't mutually exclusive terms.

Series Features: Powerful and simple. Designed for the heavy rock bassist.

Super high-output passive full-range pickups with exposed pole pieces give a new meaning to the word loud.

Simple to operate 2-band EQ or PHAT II active bass boost. So you play more bass and less with the tone controls.

have you been particularly PUNK with this bass recently, or on the other side of the coin, have you been playing a different bass for a while and neglecting this one?

make a tube of fine grade sandpaper and poke it in your hole and give it a tickle... I live near a beach and get some issues with salt corrosion...

I mean the hole of your output jack...

Oh that is tidy!

Do not want to declare how many years I have done this by ear.

Thank you!

and don't bother with the bass one. the guitar one is the go!

the BF3 is inferior, just so you know, don't get a BF3 new.... you want the 2, it sounds good! there are actually a lot of guys on this site who have BF2s and many use them for bass. Its a sleeper classic sound

THIS ^

Obviously you have checked the battery isn't dead. Have you tried wiggling the battery while strumming notes to see if you get better reactions to suggest possible loose or broken wire in battery clip?

Dumbass response: check pickup heights! It looks like a big old MM style p'up with a couple of adjuster screws to either side. Make sure something... (person, contact, pressure) has not pushed the top end further into the body.

I noticed a slight loss in tone on my Stratocaster once... a band mate prompted me to look down and I had smashed the pickguard, shoved the neck p'up into the body cavity and the guitar was covered in blood...

What? It happens!

Troubleshoot this by winding the top end closer to the strings and the bottom end further away... if tone regulates, this could be a fix... if not, check wiring to pickup, or how notes change while playing an open string and turning the tone and volume pots... further... tap on the poles of the pickup while plugged in... tinniness is caused from being further from the source, you could be picking up the top string volumes through the lower end poles of the pickup.

Good Luck!

...there is a reason why it has not left my board since 1986!

I don't know if these will help:

https://soundcloud.com/telnobody/tracks

Flanging on bass throughout Nothing Left.

Guv'nor on bass.. most obviously in Awaiting Yesterday and toggled on and off in Trip inside your Mind... which also shows some good punchy clean tones from about 1:13.

Just to demonstrate what I wrote in the responses above.