Prostheta

I agree about the response to transient peaks, but low and slow bass frequencies aren't expected to move as fast drivers reproducing mids or highs anyway :-/ I guess they have to move *further* because of the logarithmic nature of sound, but this doesn't ring right somehow....

I smells hyperbole!

That's a fair comment by Ampeg if the cabinets are attempting to reproduce the same frequencies, but low frequency program material such as sub-bass (low B on a bass anyone?) in a dub style would sound a LOT better through 18s with the mids supported by 10s or even 8s.

On reflection, I would have no need for an 18 or a 15 in my setup because I rely more on frequencies 140-160Hz upwards to get my sound. Anything below that (other than the fundamentals) detract from the focus and tightness of the amp.

Anyway. Enough bass rambling I guess. Back to "big amps".

I'll set up a post on UKGB also Setch.

I'll vouch for the "air you can move" factor of course! If I recall correctly, halving a frequency requires a larger factor in terms of power to run a driver to move a correspondingly larger amount of air. I prefer 4x10" cabs, although I have considered an 18" extension cab in which case my amp power becomes so much more relevant.

Then again, I don't play dub or any other sub-bass types of music so I think twice as many 10" speakers and a valve head will see me better :-D

Interesting. That lists as being rubber toughened also....it also seems to be listed under Loctite 410....I might try that for my next inlaying job. I can't see it being SO flexible that it would allow an inlay to move, so I'll try that one I think!

http://www.bondtech.uk.com/cgi-bin/store/c...&pid=16.htm

£1.75 exc. VAT! What an awesome price :-D

Shame the delivery is £3.50 for 1-4 items....might see if fellow UK builders want to get together on a group buy for that one....25 tubes comes out at £60.81 (£2.43 each) including VAT and delivery.

http://www.rapidonline.com/productinfo.asp...;moduleno=72606

http://www.rapidonline.com/productinfo.asp...;moduleno=60801

Possessing "residual elasticity" sounds a bit funny to me. Surely this will make sanding a real problem? Other than importing, I can't seem to find a source of black superglue in the UK. Can anyone advise on these products or point me in the right direction of a better one (other than from Stewmac!).

Rubber filled eh? Hmm.

Primarily, I'm a bassist. I want punch and growl. Valve works well.

Try pulling the two inner/outer pubes of a 4 valve power-amp stage and see how it works for you. As long as the inner/outer are the parallel sides of course.

</red wine>

I hear you on that one Jester, man! The neck tenon for the Thunderbird i'm planning is going to have a tapered central laminate which means to properly scarf the headstock without resorting to ears, will leave me with a 135mm wide tenon, tapering to 120mm at the top end....

I might still consider ears, but I like to err on the side of caution like yourself. Despite neither of us being given the choice I guess!

I've always found that the more distortion you introduce into a signal (which compresses the dynamic range also) the less you'll be heard. Makes me laugh when wannabe metallers turn the pre-amp gain up to 10. Less distortion and more dynamic compression from the speakers (hence big amps to drive the speakers) or the power amp section and the more you're heard. A 15w amp will plough through more as the power section will add plenty of compression.

Did I mention solid state? Perhaps because they just add bad odd-order distortion harmonic which buries the sound deeper in the mix instead of naturally compressing and adding "musical" even order overtones to strengthen it :-D

Did I mention that Watts aren't linear, and even then the apparent loudness changes by frequency? My 300w bass amp levels with my 5150. I always pulled two tubes out of my JCM800 2203s to reduce them to 50w from 100w. Nicer breakup and better apparent volume.

Turn it up to 11? Only if you're playing with yourself in the bedroom

Not a problem man.

I am surprised how much wood you're losing from that tenon though - more is always better than less, but that almost two necks worth!

How cold is it in Järvenpää? It's only -3° here and still too cold to work in the workshop....you're probably around -30° to 35° yeah?

Love the work Jester man :-D

Would you sell the Japanese maple leaf inlays? I'll take first refusal if you're considering giving it!

As per the title! Should be interesting....bindun?

Rubber, polyester or urethane. I would like to hear how your rubber nut sounds of course :-D

Probably not much, like all the others :-D

I can subscribe to the "tone sink" idea, as there is only a very small amount of surface area on a string contacting a fret, so vibrations over the fret are going to get dampened by whatever is behind there. I've found that putting a block of foam rubber behind your nut under the strings to dampen headstock length vibrations alters the sound a bit. I'm considering a "dampener" behind my tune-o-matics also as an experiment....

Perhaps an epoxy grainfill would strengthen up the immediate surface prior to finishing?

I was kind of wondering that myself, but use is a very subjective thing of course. If the configuration doesn't suit Ken's V then at least Ken has the benefit of having learned more about the bounds of the instrument.

Also - Ken - when you say Gibson Heritage, do you mean it's a modern replica of a '58? If they're "modern" pickups, then you might find that you get more mileage out of trying different pickup models instead. It's possible you have "dark sounding" pickups in there, rather than pickups which are being strangled by the electronics.

Sorry, wish I could edit that text to say more what I mean but my wife is pressuring me to jump into bed. Sorry man. In the meantime, give us a quick lowdown on the style you play, amps and effects etc. and we might be able to give you a better view on what the weakest link in the chain is.

That's the spirit of adventure!

If you hadn't heard the instrument prior and therefore had no frame of reference, I'd make a recommendation of some crazy setup but hey - you've got the opportunity to try new things. If this setup doesn't work for you, then you'll suddenly have two frames of reference :-D

What pickups are you using? I presume standard as the day it was born.

Suck it and see. You know how it "felt" beforehand so try a different config and see how it suits you!

I think that an acrylic neck would suit the style a lot better. And an acrylic trem with hardened steel inserts at tension and fulcrum points. And acrylic tuning pegs. Transparent pickups at least!

Without that, it's just a new body with the same old old crap they normally put onto RGs, oh-sorry-I-mean-JEMs.

SCENARIO 1

"I'd like to order a spare body please"

"That will be $5400"

SCENARIO 2

"I'd like to order a spare neck and hardware set please"

"That will be $600"

<breath>

HMMMMMMMMMMMMMM!!!

</exhale>

Dude, menus are cheaper than going through amps :-D

If you know your equipment is right for the application then getting the tone you're after is just a formality and a case of growing with the gear. Rob has based his opinion on reviews only, but I think it would make life a lot easier if (ROB THIS IS WHERE YOU COME IN!) Rob kind of specified the usage of the setup a little further than lessons/practice/live.

Rob, do you play in a regularly gigging band and support your habit with students? If so, I would use something simple and one-shot like Line 6 for students. You're not working with tone in that aspect, but you have all the dialling in you need!

For what it's worth, live doesn't require the volume ie. 50w vs. 100w - just get the sound right! I pull half my tubes to break up more in the power section *JCM800 2203 100w > 50w* and you get better results without thwanging your amp.

Anyway. Perspective given, do tell and we'll try and help you out more.

</bottle of JD>

+1 on the Furman. Same as Sambo said also - I'd also consider cable routing from back to front, as some rack gear isn't as obliging to have all the connectors on the back instead of on the front :-D

- BBE Sonic Maximiser

- Seperate compressor and gate, possibly dualed

- Large EQ for overall EQing of the rack

- Humfrees or non-conductive shims to reduce ground loop problems through your rack (I think the Furman should suffice!)

If you go for the Marshall power amp, consider leaving plenty of space above it for good airflow.

As far as trust goes, you can trust us further than we could all propel Ed Roman.

Given a trebuchet and a decent running start :-D

I agree with bilious, and given that it will have such a low production run, the costs won't be recouped by a "normal" market price. Ibanez won't have speculated on this model like say an RG270DX, which we know will recoup R&D, retooling, etc. by the pure weight of sales and market position.

Definitely one for the collectors, and an RG/JEM to regroup interest in the brand and model lines.

It would probably be more practical to hook your hands over the top and play it like a piano, but then you're into Stick territory.

<War for territoree! Dan dandandan dan dandandaaaa...etc.>

It's interesting that the internal swirl materials are different colours under normal lighting and green when glowing in the dark. You can buy lots of different coloured glow in the dark materials which glow those colours in dark conditions. Simple idea well executed.

So yeah, anyway - saving my cupped boards....

I like the addition of cows to this one. I approve. You two bumslappers get a room will ya?

Given that the boards are fairly small and in small quantities, I think I'll go with your advice Rich and Mattia. The boards will be put in the workshop on a flat surface with stickers underneath (one at each end and one in the centre) and layer them up before weighting with a couple of concrete blocks. A bit of dampening "in" the cupped curve sounds like a plan.

I'll advise on the boards progress. I'm not furthering the Mockingbird build until I get the fretboard anyway :-D

Wahey! Hyvä Stratokopio!!