I don't know about any company that currently makes them, but I do know that Kramer used them on the DMZ aluminum neck basses back in the 80s. IIRC, the ones they used were made in house using the ball ends of strings with pins running through the center holes. Then again, I could be completely wrong.

Nice Tx76, though it is just worn from bumping it. We use that softer rubber to protect the gel, bow and shearing from impacting a harder roller. You might be bumping a bit hard, though it really is sometimes necessary. BCB

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dont know what youre talking about or asking so Ill give it a shot. the yellow bow roller is made out of a tougher rubber than the black one and wont split near as easy. Since it harder and yellow, it wont leave a black streak from loading and unloading on the trailer. If you order one it comes with the two black end caps which has grooves cut into it so that it fits snuggly up against the yellow roller. This prevents the keel from findings it way between the black and yellow roller and damaging your bow with the metal frame. other than that i dont know what is up!?Last edited by PhilAddison on February 29th, 2012, 2:10 am, edited 1 time in total.

what i am refering to i thought bcb doesnt like the yellow rollers because it scratchres the gel or polyflake where it contacts! thats why i went back to black roller , disnt mean to come across ugly!! i just saw the yellow one on parts website. the yellow stoltz scratched mine bad so i bought the black one from bcb

The black one is softer and scratches less, but doesnt last very long. Since it doesnt last as long, some dont notice that it splits/tears and it causes the keel to contact the thru bolt thus damaging keel.

Hi all

I'm doing some work on a Maverick bass which has a typical 3 band eq and 2 roller style controls. One is clearly a volume and the other is some kind of tone.

Info is quite scarce on these but on site alluded to the evolution volume and tone system. It was all designed in collaboration with Trev Wilkinson, but there is no info on what it actually does.

It doesn't seem to be a conventional blend (unless there is an actual fault somewhere!) maybe some weird variable coil tap?

Any insight gratefully welcomed.

Cheers

MBA

Having another play with it this afternoon, I'm coming round to thinking the 2 roller controls are volume for each pickup, it's just that the neck pickup is about a quarter of the volume of the bridge and sounds more trebley. This has all of the hallmarks of a humbucker wired out of phase with itself. I had a Shergold bass with a switch that did this, it's a sound I can think of no practical use for.

Now to investigate the wiring!!

Turns out one of the coils was open circuit, surprising any sound at all got out of that pickup. Rewired it so it is now a single coil at the neck and it sounds fine, just dropped the bridge pickup down to balance the two. So, no great mystery, both roller controls are volumes, not some exotic tone system at all!

Too tight?

Too loose?

I have had 3 boats, 3 different makers (1 being an 09 puma) and I have never had this issue or been told that the strap was too tight or loose. I have had rollers that looked far worse than this by the way.

I see it as operator error (loading the boat too forcefully) or a thin gel/fiberglass area, which on a point or crease, is very likely that it could be a combo of both as it is a very vulnerable area.

I would buy the bow roller bcb sells and then if it fails you can eliminate the roller as the issue. I rotate my bow roller peroidically because of wear on the roller. When i rotate 360 degrees. I buy a new one from bcb. As bcb stated if thats a stolz they seem to be a harder compound

I install my roller slightly loose. I lube the bolt with grease. I tighten the nut enough to make sure the outside bumpers do their job.

When I load properly, it turns. No wear. The only time it will stop turning if I load to hard and put a bend in the bolt.

Make sure and pull the bow down tight after loading!

mrbraq, the tightness is in relationship to the strap and clip, not the roller itself. Also the strap goes under the second roller and pulls down on the bow, not through between the rollers. That pulls the bow down tightly to the roller and keeps it pinned more tightly in the event of a front end accident.

So, if one thinks of the technical structure of a roller, it is actually just a style of drums or bassline and can be inserted into literally any type of song. So if it can be used in any subgenre, how can it be its own subgenre?

Meanwhile multi-genre roller don Nymfo agrees and admits he even provides feedback on techno rollers his techno producing friends send him. Like Iris, Nymfo sees rollers as a style and not a subgenre.

In the face of some of the newer subgenres that have changed so much over the years, rolling basslines and rollers are actually one of the only things that has stayed pretty consistent. We spoke to one of the originators of neurofunk, Skynet, on the matter.

Even in modern iterations of neurofunk, liquid and tech step, rolling basslines and drum patterns can provide that goove that may have been lost from earlier versions. Eatbrain boss Jade, creator of a 2018 favorite neurofunk roller in the form of his Man Eating Lizard Dragon DnB VIP seems to agree.

Many of the producers we spoke to felt this way in some form or another: With all the little pigeonholes, subgenres and divisiveness we already have in drum and bass, why are we trying to make more divisions and why are we even arguing about it?

So the case is mounting not only that rollers as a subgenre is a flawed premise, but that so many subgenres possibly have done more harm than good. When we talked to Ant TC1, he had an interesting take on it:

Well first of all, everyone reading this better have come away knowing that rollers in no way defines any subgenre. In fact more often than not, it unifies them. More important than the technical reasons for that, however, is the fact that over-defining drum and bass right now is a dangerous thing.

Our friend Mark brought in his Squier Strat that he had been putting together during his time in quarantine. He added a Bigbsy vibrato, a roller bridge, and locking tuners, and was still having issues with it staying in tune. He asked us to do a PLEK fret level and setup, and to install a Fender LSR roller nut. Upon seeing the original plastic nut, we could see why he wanted an upgrade:

I am a bassist, guitar tech, and founder of Strange Guitarworks. When not working on guitars, I create experimental music under the moniker of UFO Death Cult, utilizing microtonal instruments of my own design.

I'm planning to use one on the project guitar I've started but I'm not sure because it doesn't seem that the string breaks the bearing at the front edge. So it looks like that would change the fret positions with respect to the standard nuts.

i have replaced a roller nut by a schaller locking nut, and yes, the string breaking point is 3 mm of. added 3 mm wood and i was fine, intonates well now, so all you'll have to do is shorten the first fret by 3 mm... the rest is the same as top insalling a locking nut

you can't just mount it on the fretboard, due to the fact, that the base is not radiused and you action woult be 3-4 mm in the first fret, depending on the frets you use. generally it's better to mount it to deep (?) and shim it if the first fret buzzes. order it and you will see how to install it. it's not that hard.

The photos I see of roller nuts have these awfully long-looking screws in them-- the look like they're longer than the depth of the neck itself. So how does that work? Do the get screwed in on a slant?

I was even more amazed to read the history of Martin Johnson, founder of his camp on Big Bass Lake. He spent a whole summer at Loon Lake little realizing that Big Bass Lake was less than two stone throws away But then that short stretch between the two lakes was heavily wooded. I often wonder why he decided not to stay upon Loon Lake to build his eventual camp and why he then chose to move on to Big Bass Lake? 

About halfway to Big Bass Lake was the old Loon Lake Pavillion or the roller rink as most of us knew it. Loon Lake was in full view of the rink with the shutters open as the colors and sounds of the roller rink reflected off Loon Lake nightly in the summer season. At one time this rink was used for dancing and it was owned by the same man that owned the Big Bass Lake Store, Otto Bartlett.

His daughter, Dixie, was an excellent roller skater in her own right. Past the rink the road has a few twists and turns before going up a small hill looking smack dab at Big Bass Lake straight ahead. Before arriving at the lake, on the right is the Na-Tah-Ka Bar and Grill.

 Otto Bartlett, the owner of the Big Bass Lake Store, also owned the Loon Lake Roller Rink which was about a half-mile south of the store. But before it was a roller rink, it was a dance hall. And every Saturday and Sunday night there was dancing galore on the same floor that roller skaters would in the future call home, 

Even better, are there any that read our website that danced at the Pavillion in those days? I have a hunch that Dixie Bartlett was somewhere in the mix at that location. These questions are liable to take you way back and test your memory. The dance floor is open for comments on this subject. How about taking a whirl at them? 

 rest in peace are such comforting words. The Big Bass Lake store, Sauble Lake Emporium, Loon Lake roller rink, Ward Hill Ski Area, hotspot, the Paul Bunyan Museum, peacock Resort, North Shore camp, and Camp Martin Johnson remain in our memories but are no more. With some the structures remain but the spirit inside is gone. Perhaps you know of another entity that belongs on this list. Add a comment and let us know what it is and your memories of it. That also applies for any of our list above. I would also add to my personal list the Marion Boys Club, the salesian boys club, Hoffman Estates Boys Club, and Bradenton Boys Club. Of these only then Hoffman Estates Boys Club is gone completely. Rest in peace! 152ee80cbc

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