borntohang

Nice! I took the second volume out of mine and went Vol/Tone and On/Off for the bridge pickup as I never used it solo. Made switching a lot easier, but yours looks slick with the custom plate.

Heads up that our favourite scammer is now posting as James Smith. Still the same listings from the looks of it. https://www.facebook.com/marketplace/profile/100029983509089/?ref=permalink

279 USD, so probably about that in GBP too. Not great, not terrible. The distortion pairings all seem fairly obvious to me though - SRV, Gilmour, Hendrix, and Brian May respectively. I already use the VT as my main sound and a Leeds as the drive, so having a second DI out to run a dirty channel parallel to my VT seems to be worth the entrance price to me! The fuzz is just a free slot at this point. Shame there's no Dry Out option so I can run wet/dry delays into the clean VT, but I think I can work round that.

You should be able to swap the covers out for closed ones if you like that pickup. If not then Alegree do cheaper ones where the poles are flush, and Warman do covered passives. https://www.alegree.co.uk/collections/old-timer-pickups/products/old-timer-quake-precision-bass-pickup https://www.warmanguitars.co.uk/product/p-bass-stealth-pickup-8-01kohm-and-4-86-henries/

If you go into the editor there is a setting called 'Make-up Gain' or something similar. Turn that off and it's a lot more manageable. You'll still have to tweak a toneprint to your liking but that does a lot of the work.

I oscillate between flats and rounds on a regular basis. Love them on a P bass but then I start to miss the clang, so I change back to round. Couple of weeks later I start to miss the woodiness and so... I've been getting good mileage out of rounds with a bit of sponge for that muted attack and sustain you get on flats, which I actually enjoy a lot more than the actual flat tone.

The MJ's are far more jazzy as an internal parallel pickup with 500K pots - lots more treble in there then. Wired series they're just huge and brutish in all formats. I hear they're ridiculous with a preamp but I think that would be just too much output for me.

Series is absolutely the way to go for a big beefy jazz sound. I'm also fond of the Dimarzio Model Js which are almost so far from a stock J that they're different pickups entirely, but they do sound huge in a mix. You don't get the toppy 'acoustic air' of singles mind, so Series/Parallel is a more versatile option if you want to switch on the fly.

Hahaha. That reminds me that we once sent a lost drummer into a Newcastle petrol station for directions. He stood in the window for about fifteen minutes nodding and chatting with the attendant before climbing back into the van and driving off with a single comment of "Didn't get a word of that." This was of course pre sat nav apps but late on enough for Google Maps to be a thing, which meant a copilot with a stack of A4 covered in directions and inevitably at least one band member in a huff after we missed out a step and rendered the rest of the pile useless.

Headlining a stage at Truck festival which was the culmination of a week of reasonably high profile festival gigs that have all gone off with successively bigger bangs. Singer pushes herself too hard the day before after doing a festival headliner plus a BBC live set and consequently can barely talk so we're running through the setlist trying to work out bits we can drop or that we can fill out with backing vocals. "That's a cosy ten minutes" indeed. The stage was the only indoor one and it had been raining all day so we were confident of pulling a decent crowd, but it turns out to be in a recently vacated cowshed which smelt like it had only been vacated overnight - turns out there's a certain penetrating quality to cow fosters on concrete that even a couple of hours of serious scrubbing won't remove. After about thirty minutes your nose just shuts down entirely and your earwax starts melting instead. We can see the crowds turning up at the entrance but they inevitably get about twenty feet into the venue before The Whiff hits them and they make a sharp exit. Acoustics are exactly what you'd imagine from a concrete floor, breezeblock walls, and a tin roof. Guitarist ends up snapping a string halfway in and passes his guitar offstage to our tech for restringing while he used the backup, but tech is actually a driver and moreover has never strung a Bigsby before so is totally stumped and eventually just lumps the guitar back onto side-stage unstrung. I think we made it to 30 minutes in the end to be fair to the hardcore few who stayed it out, but it was clear that nobody (audience or band) had their heart in it when Artic Monkeys are playing just across the field in a venue that doesn't smell like a nervous farmer's market. Drive back North was a couple of hours of heavily reconsidering life choices. edit: reading this back it strikes me that both Cow Fosters (thanks swear filter...) and The Whiff would be great band names.

My mate used to DJ a club night called Black SABBAth which had the obvious gimmick. Can't say it's something I'd want to visit often myself, but always seemed to go down well.

I've had a few of the series they're great for the price. I use the G3 as a guitar practice setup with headphones and there's some nice amp sims in there; the stereo effects are excellent too, but I'm not into most of the drives. If the MS50G had an XLR out I'd have one on my board as an always on preamp even if just for emergencies.

I got my Inca Silver for 200 on gumtree and it's a steal at that price. Bought my Late 50s P brand new for twice that but it was still a good price, even if buying new for a change pained me! The CIC models are slightly more desirable because of the rosewood fretboards instead of laurel, but after some spotty fret and nut work in the early runs I think the CII stuff is just as good quality now.

To neatly tie all three threads of this er... thread together here: I used flats for a long time and have just gone back to rounds BUT I do stick a lump of foam under the bridge because 1) I like the thumpy string response of flats and this is a fair emulation and 2) because it saves a lot of effort muting. I do about the front half of the show with a P and the foam and then take it out later for the heavier fuzz stuff; the foam just cuts down on some of the ring so I don't have to concentrate as hard at keeping squeaks and sustains down. Pure laziness but also I like the tone in a band! My Jazz is currently on with Bass Centre Groundwounds which are a nice middle ground. There's something unpleasantly dull and mid-choked about flats with distortion through my IEMs even though I prefer the feel so I've come to a compromise on most of my instruments. My shorty P is definitely traditional flats though.

I think a Jazz show is slightly different as you're already prepared for a barrage of unlikely harmonies in every tune (and the trumpet showing that he can play HIGH and LOUD twice a break) and are presumably there because you enjoy that sort of rum thing. In other gig environments I feel it's considered polite to make an announcement and take a short break prior to a potential bass solo so that non-combatants and those of a nervous disposition have chance to clear the field.

They're usually called Precision Specials or similar. Squier did a run of PJ with Jazz necks in the Standard series which pop up if you're after a cheapy.

The gear onstage is for his personal enjoyment, IEMs or no. The crew are all there to work for Adam so if he wants fifteen amps mic'd up with identical speakers because he feels it makes the vibe better then they make it happen. The FoH crew will always have their own opinions about what sounds good out front and will be treated as valuable partners in that discussion during pre-production (because otherwise why employ professionals?) but ultimately AC gets to make the call. They aren't just going to run his bypassed tone through a Radial for the sake of ease... On a side note my guitarist knows one of Edge's techs (not Dallas, but the other one) so when U2 played the O2 during the E&I tour my band got to do a walkthrough of the main LCD system and tech areas. Was gutted to miss out as I had another gig that night. - it's an absolute beast of a rig!

You can blame Cadillac for that one. Introduced in 1955 so possibly an attempt to cash in on the space race/supersonic jet imagery?

It's a stupid thing for sure but I figure if I'm not happy two days into the honeymoon it's probably not happening. Was a really close decision though as it sounded incredible and hope the replacement is just as good. My main touring bass for the last three or four years has been a CV 60s Jazz from the first run and that's great too. I'm glad they seem to have got over the teething problems from the Indonesian models; my only remaining reservation with the new ones was laurel boards so I was very happy when they started to make maple ones.

Decided after much pondering that the grain is going to irritate me too much, and more importantly that I'm just not enough of a fan of white to make it work, so unfortunately this one is winging it's way back north to Glasgow. Hopefully a sunburst one will be back down in a few days!

I will say they've nailed the anodised aluminium finally! Nicely gold but not overly orange or brassy like the early Mascis JM's.

Just picked one up as well but you've pretty much covered my comments. I was torn between the sunburst and white as although I generally dislike sunburst I've been after a '59 with anodized, a la Michael League, for ages. I went for white in the end as I felt there were more options for changing pickguard out in the future but am second-guessing myself now as the transparent finish shows some not particularly attractive dark wood under the upper counter of the body. This isn't a shadow in the pic below - it's the grain. It's a real shame because the rest of the bass is gorgeous. The neck is really nicely done and it sounds incredible - it's that grindy P bass sound I've been after in my head for years and I don't even have to try that hard to get it. It's good enough that I would consider swapping the body out at a later date, but I'm loathe to do that on a brand new bass rather than just returning it and getting something I'll be happy with. I'm going to leave it sat up in my living room where I can see it to percolate for a bit longer and see if it's a dealbreaker.

Well that's where you have to rely on your roguish wink and natural charm to get you the gig, obviously. Failing that, or if you're a drummer, then being able to consistently turn up on time and sober is a close second. You'd be amazed how many gigs that trick has got me even when I was having to turn down in the tricky bits for the first couple of shows...