mcnach

It's much like how Sandberg operates. When I ordered my VM4, I got as close as I could with their configurator, and then I specified the things I wanted different. I think the configurator just makes the bulk of the specs easy to describe.

Yeah, I get it now. My experience was pre-configurator, and everything I asked for was met with a "yes, we can do that". I'd use the configurator as a guide for cosmetic purposes, but I'd make sure to ask for any specs that you can't get in the configurator. They seemed happy to do pretty much anything you asked for, whether it was choosing pickups at non-standard locations or unusual logos too.

Ah, my basses were ordered before they had the configurator, so I supplied all details. It seems a bit of an oversight (mistake, probably) not to include opaque colours. I even had a little email conversation with Adrian about the exact shade of purple I wanted. Tip: keep communication simple and concise, Adrian doesn't indulge in long discussions but I found him very easy to deal with, and responsive, when I put my questions concisely.

where did you get that idea from? I've had two opaque finish (purple and red) ash body Jakes, they most certainly do them.

No, as far as I can tell, the JE 3EQ does not have a high pass filter applied to it, it's not like EBMM's 3EQ. I think John East only made a version of the MusicMan 2EQ preamp based on his '76 Stingray, and the 3-band preamp is that 2EQ plus a separate mids module (which in fact you can buy on its own). I know the JE 2EQ is not *exactly* the same as his '76 because he told me as much, but it's not very different. I have never had the pleasure of playing a Stingray of that era, so I can't tell how it differs from the more modern 2EQ versions. My own 2002 2EQ had only some subtle differences with the John East version, most notably was that I felt the bass was a bit tighter, and the treble a bit less shrill when pushed hard (but then I don't normally push the treble, so that wouldn't matter to me much). The treble knob can be pulled for extra brightness which brought it more in line with what the original 2002 2EQ preamp sounded like. In other words, I liked the John East 2EQ better than my original EBMM 2002 2EQ, but the difference was not such that it would make me want to replace one with the other. The John East 3EQ is constructed by linking the 2EQ and the mids module together. The treble and bass controls have a centre detent in the stacked-pot version, for reference only, but not in the single pot version (so like the MusicMan ones in the 2EQ). The mids module is a stacked knob control, with centre frequency on one and cut/boost gain on the other. It is completely inactive when at teh centre detent. The frequency centre can be adjusted, which can be very useful: it's not something I need to tweak very often or anything, but when you want it it's there. The midsweep is very broad: you can focus on anything from 100Hz to 2000Hz [*], although in practice I seem to only use two narrow areas on its travel, one to boost sometimes some very low mids, and another to cut a bit some higher mids, but most of the time I have it in the centre detent doing nothing. I'm a big fan of the MusicMan 2EQ in general, in whatever incarnation, once you work out how the two controls interact I find it very intuitive and musical unlike pretty much every other 2-band preamp I've ever tried... which means that in practice I get broadly the sound I want from the 2EQ section, including the mids. I use the additional mids control more as a way to get a couple specific variations that I can kick in for a specific song or a spacific part, and then revert to the 'normal' tone. I am not saying the EBMM 3EQ is bad, because it isn't. But I much prefer the general character of the 2EQ (familiarity may be a big factor?) with the added versatility of the semiparametric mids as a separate module. [*] There are a couple of internal switches on the circuit board that allows you to select the actuall range to be 100-1000Hz or 200-2000Hz. I have it set at 100-1000Hz, personally.

Yeah, those scams are an unfortunate part of gumtreee these days. The good news is it's easy to avoid: you want my stuff, come get it in person and don't give me your life story. You'll get a buyer in the end, but it's annoying when you go "oh, goody, two people texted me!" and then you realise they're just would-be scammers. I put my old car for sale on Gumtree at the beginning of the year and I had about 50-50 scammers-real offers. Car sold easily though: the first person who actually came to see it, liked it and drove it away. I still use gumtree for stuff I don't want to post, but yeah, you just need to ignore those people.

Preaching to the choir, my friend I love them. They feel very different to most others due to their high compliance and the plastic coating, but oh, the sound!

Neither does the original Stingray 2EQ, so... (the JE 3EQ does have centre detents, for reference only as they're in the middle which is not the 'flat' point, except for the mids control, where the centre detent is place at the point where the control does neither boost nor cut anything)

Looks nice but I suspect terrible neck dive, given the design...

indeed!!!

+100 on John East. I'd get the 3-band, 4-knob version, and it would be a straight drop-in. It's based on the 2-band one [*], with an additional semiparametric mids module. [*] with the mids in the centre detent position, the mids module does nothing and is essentially the classic 2EQ preamp. edit: and you could ask nicely and get a pull/push switch on the volume knob so that you can bypass the preamp. It's very rarely needed, but it can come handy sometimes.

Yeah. I only have one gig on the horizon... 28th of November. A 300 capacity venue turned to 70, sitting in spaced out tables, no standing or dancing... and I don't see this getting better anytime soon, all the opposite.

Personally, wireless helped me a lot to understand how the sound next to the amp onstage relates to what it's heard out there (when we don't have PA and a sound guy, in which case it's their job), as I was able to move around and go out in front during soundchecks and hear it.

That's not how I understood it, so my sincerest apologies for the ongoing misunderstanding.

why do you keep insisting, every time there's a thread like this, that people complaining about their G-string are wrong or don't know what they're hearing/doing? It is... weird to watch. If there are lots of people that don't seem to have an issue, great, good for them (I am one of them, I'm happy with my 2002 'ray) but how is that anything to do with anything? It's not a 'majority wins' issue. There are certainly enough people who do have an issue, why do you dismiss what they tell you they experience?

I've only heard people complaining about it on 4-string Stingrays

That's what I use when I use pick with bass, the 2mm and even 3mm Big Stubbies. For guitar I use 1mm max nylon ones but for bass I find the thicker ones give me a nicer attack.

I simply meant that if an amplifier has been designed to be cooled properly by whatever method, then it should not matter what method that is. Or in other words, if your amplifier is cooled passively, you should not need to worry about it (assuming it's been designed properly). I was not trying to say that passive cooling rules... certainly not to you, of all people!

I hated them too. Well, maybe hate is too strong, but I removed them quickly and tried a set of DR Pure Blues (never had those before) and the bass improved dramatically (for my liking).

... and I wish they all used that system We seem to be ok with bridges that offer all kinds of adjustability, yet we stick to 'hard-coded' nuts. It makes no sense to me. Just-A-Nut FTW!

The thing is that unless it solves some kind of problem with existing designs or provides an obvious advantage, it's natural that people will be sceptical. Personally, I have no issues with any of the bridges on any of my instruments, so whatever 'improvements' are claimed, at the end of the day I am still "hmmm, but I am ok with what I've got". I'm not saying it's bad, I just don't see it as a significant improvement, just as another alternative, which is cool, although whether it's $158 cool... that I don't know. Certainly not for me. edit: and I really don't like the sharp corners. edit 2: I haven't tried it, but it looks to me like palm muting may not be so easy with this bridge... which is ok if you never palm mute I suppose.

and you can keep your mid-gig snack warm on them

end of thread !!!

If it's designed properly to be cooled passively, it should not matter.