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Deliberate manufacturing process to accommodate differing fret combinations but maintaining neck profile across different ranges. Why did this not occur to me. I mean, it does make perfect sense. This was just an observation of mine. The neck pickup soloed sounds just great, as does the middle pickup. The middle + bridge sounds great too. I've not tested my theory yet, but I do think my playing position is what caused the sound imbalance. I'll test this at some point and report back. In the month it took between me placing my order and the bass arriving, I tried to consume all things Triad 5 that I could. Sadly, there was very little, I guess because it was all mostly said for the Triad 4, so I consumed a lot of that material too. I remember reading your thread right at the start, and it did provide ideas. I don't know that I want to go modding this bass just yet (if ever), but it has provided me with ideas reading about your 10 way switch. I'm not sure I'd need exactly all those options, but at least I now know there are there and available should the desire ever arise. Thank you, and yes, I'm so happy I held out for this finish rather than go for the natural finish. I've put my Yamaha 1025x back into its case for the time being and the Reverend is on the stand getting almost nightly use at the moment. Such a joy to play. Mark

Without a doubt, one of the most incredible instruments I have ever seen, heard or played. The bulid quality and feel is well above many Custom Shop basses I've tried (IMO) and it juat looks incredible too. The stock preamp has been pulled in favour of a Bartolini one and it absolutely sings now. Sadly I dont have a second one lol. But the chap I bought it from had both this IV and the V strong version. I did own a Victor Bailey sig acoustic bass years ago but completely different of course.

you like the Victor Bailey? did you have a second one of those??

These basses are made in Korea apparently.

The bridge pickup is already higher than the other two. I've come to the conclusion that this may be down to my preferred playing position. I like to play at the end of the neck, in the space between neck and neck pickup. Mark

Excellence. !!!

Magic Bus - The Who

Bus Stop - Tin Machine

Another pair of pairs: Late 90s: 98 American Standard Jazz 97 American Deluxe Precision Passive US Jazz goodness 22 American Pro 2 98 American Standard

My common-or-garden 2015 US Standard, which I picked up from FB marketplace about 6 months ago. It has its fair share of dings, but you know what? It's absolutely great. Fit & finish is incredible, feels amazing, sounds amazing. These things are a lot of bass for the money.

Thanks Bill. I think I said somewhere earlier, a fast attack peak limiter does fix the problem. But it does also really hobble the sound I get. I've been through a fair few dynamics control devices and the soft knee / fast attack setting on a Keeley compressor pro is the best compromise I have found so far. But I still prefer the sound with it switched out entirely. So I was wondering if a valve output stage would handle those transients more gracefully. I guess the best way is to try it and see. I'm sure I know someone who will lend me an Ampeg or HiWatt head for a few hours.

Updated pic. 98 American Standard 22 Ameican Pro 2 13 American Deluxe (on the way out -watch out for the replacement...) 10 Victor Bailey 03 American Deluxe QMT 21 60th Ann. Road Worn

I sold my MPC one a couple weeks ago... missing it already.. Luckily i have 2 MPC's and an ISLA S2400 to soften the blow

Thanks. In fact I have had issues with clipping and overloading further upstream in the past, but I've managed to iron them all out. This is definitely a problem in the final power stage. If I take a feed of the DI output from the amps then the problem isn't present. Also if I put a fast attack limiter across the amp input the problem goes away, but then also so does all the attack on my transients. And I miss them.

That tail lift doesn’t look too drastic , to be safe I’d keep low tension strings on it. Look at the binding around the first couple of frets , look for signs of cracks or fretboard lift. If the truss rods are torked without putting pressure on … that’s where issues can occur. Look at the truss rods , if they’re angled down that’s another sign they were not properly adjusted. Check to see if the .0047 cap is on the bridge pickup. That’s the one that removes the bottom end and gives you that clank , many simply bypass that for a fuller sound. Some just removed it entirely. If you keep the same gauge strings on it the necks should be very stable. My 80 4001 does not do the seasonal shifts Fenders do , I’ve only adjusted the bridge twice in well over 25 years. I don’t mind the original bridge , mine has very slight lift , but is stable. Not an issue. I had a minor issue with the output jack , and was only getting one pickup. It just had to be slightly bent inwards with a pair of needle nose pliers. Similar issue once with the toggle switch. Those later 4001 basses are beautiful things. I like the slightly thinner necks. I was never bothered by the binding. Enjoy , I hope you take to it , they are very different than your usual Fender style basses. (and I was an old Fender guy)