Mr Fudge

Picked mine up from Bass Direct (Mark was excellent ... again) and gigged last week. This is by far the best amp I have ever played by a mile. I like a bit of growl and had the vintage Chanel about 1/2 way up and about a third way up for the blend. The power and presence of this amp is superb and my '73 P sounded incredible. Will put my Jazz through for tomorrow's gig. The only thing I had to watch is when I sat the head on top of my speakers the vibrations was causing the head to move so I had to insert a bit of foam between speaker and cab. I was loud but the amp and the context for the band I'm in was superb.

Very interested in one of these. I play in a covers band and like a bit of growl. I play a "to die for '73 P" through 2x12AE Bergs. I'm fed up with my TC Electronic RH450. It doesn't go anywhere? What wattage would I get with the Bergs? Although, I realise it's all relative.

Very interesting coming back to this thread a few weeks later and two or three gigs later. I have still been splitting my Bergs in the hope that it will give a better all round sound. I probably play on a stage only 5/10 gigs so it's something I do to crate my own PA effect. It's sounds like this may be misguided? I ginger my Jazz and my ears retuned very quickly to my old sound. However I can't put my P down and it's become number 1 so I really want to make it work. I gifted the P again last night and it was the best sound I think I've had. I tweeked the tweeters on the back of my Bergs and it sharpened up the tone. For about 20 minutes in the second half the tone just sat beautifully and then ear fatigue set in and I struggled a bit. I think the ear plugs are worth a go here. I continue to look at amps and some of the Orange stuff has interested me, notably the 4 stroke. The mesa class D still continues to get good reviews. Orange or Mesa?

Thanks everyone. Some excellent advice. In some ways I'm probably my own worse enemy as I split my Bergs either side of the stage and my bass out put would be optimised if my ears were next to my knees. However if I want my ears to grafted onto my knees I'm probably on the wrong website and outside my budget. I will try stacking and perhaps reducing output through the amp and putting some into the full PA. I do use a wireless system and when I hear the P mix with the rest of the band it blows the Jazz out of the water. It's just what I hear on stage. In ear monitoring is probably an essential long term consideration for all of us, added to just acclimatising to my P with more gigs. I use Ernie 🏀 105s and play finger style with a lot of attack. Might still go bigger amp wise as the stats around the TC RH450 have shocked me but also answered a few questions. Thanks again

[quote name='Muzz' timestamp='1479333800' post='3175810'] The loss of clarity later on in a gig is simply ear fatigue...do you use any attenuation - earplugs? I'd say keep the rig for now and play with your mids - the RH has, IIRC, adjustable/programmable EQ - don't forget that what might not sound a great tone solo'd, especially at home, can sit very differently in a band mix. Which Berg 12s do you have? some of them will respond to mids very well... If your rig has sounded good with one bass, there's every chance it can be made to sound good with another, it's an EQ thing...and the RH has EQ presets, so if you end up with two pretty different EQ settings for each bass, you can store and recall them on a button push. Ask your bandmates for a bit of leeway at a rehearsal so you can faff about in a band setting with your sound. Edit: Yep, Warwickhunt's correct - I'd remove the 'Class D' thing from the title...it'll save a lot of mostly-off-topic hoohah later Further edit: Dunno about the Quarter Pounders in direct comparison, but all the Wizards pups I've had have been verrrry high output...that could be a factor, too...how do you run your Jazz? Both pups full? Just one? [/quote] I usually have the volume at 11 and roll off the tone a little bit on both J and P

[quote name='Lozz196' timestamp='1479335072' post='3175827'] The other thing to consider is that your ears may be "tuned" to the Jazz bass tone & clarity, so the less refined sound of the Precision won`t be as easy to pick put. I reckon this could be a factor. [/quote] I totally agree .... I've played my jazz basses past and present for 20 years. I'm just waiting for my ears to click in with the P. The sound it gives to the rest of the band is unsurpassed but I miss the twang and I'm trying to acclimatise to the thud. Tonight, I restrung my Jazz to take out on Friday night and my P looked at me like a scene out of "fatal attraction". I will take the P because it's new and unexplored fun. The Jazz wants some "sex with the ex". I'm too old for that nonsense. Is it a valve amp?

[quote name='Muzz' timestamp='1479333800' post='3175810'] The loss of clarity later on in a gig is simply ear fatigue...do you use any attenuation - earplugs? I'd say keep the rig for now and play with your mids - the RH has, IIRC, adjustable/programmable EQ - don't forget that what might not sound a great tone solo'd, especially at home, can sit very differently in a band mix. Which Berg 12s do you have? some of them will respond to mids very well... If your rig has sounded good with one bass, there's every chance it can be made to sound good with another, it's an EQ thing...and the RH has EQ presets, so if you end up with two pretty different EQ settings for each bass, you can store and recall them on a button push. Ask your bandmates for a bit of leeway at a rehearsal so you can faff about in a band setting with your sound. Edit: Yep, Warwickhunt's correct - I'd remove the 'Class D' thing from the title...it'll save a lot of mostly-off-topic hoohah later Further edit: Dunno about the Quarter Pounders in direct comparison, but all the Wizards pups I've had have been verrrry high output...that could be a factor, too...how do you run your Jazz? Both pups full? Just one? [/quote] Attenuation earplugs. I have must google them. Will I find tartan paint and left handed hammers in the same search?

[quote name='molan' timestamp='1479334349' post='3175815'] Could be the 'hard baked' compression in the RH450 as well. It's a 235w power amp masquerading as a 450 by using a stack of compression to boost the output. It's built permanently into the circuitry so you can't get rid of it. On the one gig I used one I found it an absolute tone sucker of an amp and found it hard to hear myself properly and immediately sold it. A really nice classic P doesn't need all that 'clever' circuitry to sound great. I'd look for a simpler head with some basic tone shaping and let the bass speak properly [/quote] I've realised tonight reading around the TC reviews I might need a bit of genuine headroom in my amp. Any suggestions?

Thanks all, Great advice. I don't do the comp thing too much and my eq is reasonably flat. I have played about with the eq but I feel I should increase the bass and treble which just gives everything a bit more mush. I have the Beg 12 ae range and I'm definitely into simplicity when it comes to amps. I'm drawn to the Orange 4 stroke? If I was clever enough I'd drop D class and just put amp

Hi all, Advice always greatly appreciated. My dilemma ... I have played my Jazz bass through TC RH450 and 2x12 Bergs for a while now. The sound is loud enough for my pub covers band and a bit more. The Jazz has wizard pups and sounds tight and cuts through. I acquired a 73 P bass about 3 months ago and this guitar is poetry in motion. It's weight, balance looks are now totally natural to me. However, I'm struggling with my sound live. I'm nearly 50 and my ears are not what they used to be but I seem to loose clarity and my bass when I gig, especially later on in gigs. I have put some SD quarter pounders in that have tightened things up but I feel I need more volume and clarity and I'm now looking at rigs. Is a bigger head the obvious solution or new cabs, perhaps 2 x 2x10s. It's not a bad problem to have. Cheers.

All sorted. All pat numbers were there on headstock. F plate puts the bass in 1973. I need a refret but the balance a vibe of this guitar is like nothing I've experienced before. The back history is sound and the shop filled me in on everything I needed to know. As I said it's a reputable shop owned and run by top people. Anybody recommend a luthier to refret her in the Birmingham/ Black Country area please. I'm a very happy Mr Fudge with a great bass to play every Saturday night!

Thanks Gareth, The one I have put a deposit on is exactly the same with tort shell, except it is a maple neck. It has the original bridge and pup cover. It's had one owner and has been used in a big band. It is very well worn, which is its appeal to me. I don't want a "clean one." I know it's down to personal choice. I just wish those patent numbers were present. I'll post pics when I get chance

Thanks all. I have been using this shop for years and know the owner and retail staff well. I might go and pick it up tomorrow if I get chance. I trust they have done their homework and I am also aware of my consumer rights. I've tried the bass a few times and asked the relevant questions but I will post pics ASAP. It's just disconcerting with the pat numbers absent. All the P basses I have googled from 72/74 have numbers under Fender logo. I wondered if there were ever any exceptions. It's my only worth.

Thanks Gary, You can tell I've been away for a while. There is no patent number under the Fender decal ( looking for suitable emoticon) The F shape plate has a number that will be easily checked I will insist on seeing the neck stamp. All this adding up do I have anything to worry about. Would lack of patent number effect value? All the best.

Hi all, I haven't been here since 2011, hope everyone is well. I've put a deposit on a P bass from a reputable shop in my local area. I'm a bit worried about the provenance of the bass after checking through various bits and pieces on the Internet.. There is no serial number under the Fender decal on the headstock or anywhere else on the headstock. We're any not stamped during this period for any reason? Why would the number be missing? The bass is 73/74. The neck plate backs up the year and the bass certainly reflects its age. That's is one of the reasons I'm drawn to it. The shop tells me they have dated the pots and neck stamp and that the bass has parts from 73 and 74 which I understand was common practice for different parts from different years making up a whole bass. I will of course ask to see this for myself upon full purchase. The tuners look genuine and the whole thing plays and sounds great. The frets are well worn and i am well aware that a refret will be required at some point. Another reason why I'm happy the neck is original. I'm just worried about the number not being under the Fender headstock decal. I have no pictures but may return to the shop and take some and post early next week. Assuming their is an explanation and the heel stamp dates the neck to the time would there be any issues in its value with serial numbers missing. Thanks all in advance of any advice you can supply.