mcnach

FX pedals with LEDs so bright that you can't see what each knob is set at

amplifiers without a mute button

1) Don't they make chrome AND nickel? I was convinced they did, but it's been a while. Mine certainly seemed to match the other tuners (chrome) 2) the ones I've had (a few BT-1, a BT-2 and a BT-7) looked just fine, the lever matched the rest. 4) I'm with you there... I really dislike reverse tuners. I owned a Classic 50 Precision for a few years and never really got used to it. 5) Being somewhat 'vertically challenged' I never encountered this problem 9) why would it be more logical the other way around? Unless you're lefthanded, of course. With the pedals in front of me, if I plugged into the leftmost one, the cable would get in the way between myself and the pedals.

I'm not a fan of the one in my VM4, so much so that I'm going to remove it. I like it a lot in passive form, even with the limited tone control that it has in passive form

I imagine it's whether the cable joins the two outputs in series or parallel. If in series, you double up the voltage, in in parallel you double the current.

I only have experience of the Soul Food and the Mojo Mojo. The Soul Food is better than the Mojo Mojo, but still not fantastic. I would suggest the TC Electronic Spark Booster or the Valeton Tube Refiner. Both are very good at low gain warm sounds, and can get some nice overdrive if pushed.

So sad to hear... I hope it's just a temporary glitch, I thought he was moving to a larger workshop sometime in the past few months and that his health was better. He builds superb cabs. I've owned six of them (keeping a pair of S112 as a compact, light and great sounding solution)... I hope he's ok, and that he catches up with the backlog soon. As sympathetic as I am towards him, the OP should not be in this position. Fingers crossed! @Contrebasse did you buy other cabs by now or are you still waiting to resolve this first?

That's freaky!!! I have a translucent green one. I bought it on eBay. For... £40. When? In 2010, so nearly 10 years ago. Where is it? With my brother!!! 😲

Yeah, I was very disappointed with mine. I sent it back.

I'd say skip the single and just go for parallel/series. Keep it humbucking. Single is a bit too thin by comparison, generally, with the parallel giving you a better option...

TKS S212 is nice and light and great sounding.

So maybe it *is* worth the 200 after all. If my LMIII goes, I'd spend the money. I really like the amp and I can't buy something I like as much for that price, so...

My girlfriend has one of these Standard Series in some kind of burgundy metallic type of colour. It's a very light, comfy bass with a thin neck, like a Jazz. It sounds pretty good stock, I've borrowed it a couple of times for gigs... pretty impressed with it.

Me too. But not when it comes to something I have being said it's 'terrible': if I like it it's all I need. You need to discern. Otherwise I'd probably be playing a Precision with flats and talking crap about active instruments or some such, you know what I mean? The OP starts by stating that he's heard the Jazz bass bridge is terrible, without any idea of why it is so. It's not a good starting point.

I would trust more your own judgement and experience than what other faceless anonymous people say on the interwebz, when it comes to things like this.

That looks really good!

In what way are they terrible? I see some people changing them (while common, it's far from being a majority), but I have never found the original bridges lacking, and it would not be just Jazz basses being affected, as other instruments use the same design.

Is it that the new glue is delicious? Are they going to have to change it again?

Of course you always have some idea... but just like that girl you date a couple of times and seems fine may turn out to be a very difficult person to live with, you can't fully assess everything until you are there and live it. My main band... we have all sorts of musical tastes, and personalities. But it's worked for about 10 years now. It's not about ticking a few boxes with the info you get at an audition. If it is that way for you, I envy you. edit: and bands evolve anyway, in ways that cannot easily be predicted

There haven't been different versions, technically, but there's been at least three different kinds with regards to the glue and/or tolex used to finish the cabs.

My first Maruszczyk was just a stock Jake P/JJ where I only specified the neck dimensions/profile and finish. It was a couple of months until I realised I could pull the tone control to split the JJ

I had no interest in its passive mode, initially, other than as a safety option, and I never thought there would be any kind of passive tone control included. I spent a loooong time trying to learn how the two controls in the active EQ interacted, but didn't bother much with passive. What a pleasant surprise

People join bands without knowing the other members very well, perhaps? There's only so much you can learn during an 'audition'. What sounds like an ok idea to start with, may not be so after some time. We all have different musical tastes, it's not black or white, but a variety of greys.

Still in love with my VM4 And I've made a 'discovery' this week. I've not been crazy about the 2-band preamp and prefer its passive sound, so my plan (soon) is to properly turn it into a passive beast. I'm taking the Tonestyler from my Precision and will put it here, together with a pot to control the depth of it, plus blend and volume as standard. I've got all the bits, I just need to sit down and do it. Meanwhile, I took off its original Sandberg strings. I didn't like them when new, but they seemed to dull pretty rapidly and I enjoyed its sound more that way... then dragged my feet to replace them. Finally I did that, putting a set of DR Pure Blues in it. I really like these strings. Very flexible roundcore, I use a 45-100 set. They're not very bright, which is great, probably the only roundwound string that I am happy with from day one (usually I just 'endure' them, and after a while they lose the excess zing and I start liking them). Now, my discovery... when I bought the bass I had not noticed references to its treble control acting like a passive tone when in passive mode. And when I tried it the strings were too dull. I could notice a very mild effect. But with new strings, it is a lot more noticeable. It's not the kind of range I want, so I'm still going fully passive with a new circuit entirely, but this is pretty cool. Since I restrung it and 'discovered' the passive tone control, I've not engaged the preamp at all. Such a great sounding bass, I find this preamp fails to do it justice. I wonder how many people have failed to notice the passive tone control on their bass, like me. The nickel DR Pure Blues are great for the VM4. They're a bit thinner on the low end compared to other strings I like, but not terribly so and it's easy to compensate for. The low mids are brilliant, and I love how they don't go crazy bright. Let's see how they age (it's my first set, I normally use DR Fat Beams or Sunbeams).

That's why it helps to form bands with people who have similar goals to start with. If you get 5 different characters with 5 different ideas and want to run everything by agreeing using simple majority... it won't work.