neepheid

It's not universal.

Got no problem sharing gear. I've never had an issue with it, as of course I will be there watching the other band(s) play anyway. Never actually had to tell someone to keep drinks off my amp, everyone I've let use my amp has been respectful. Maybe I've been lucky, but until someone gives me a reason to sour my attitude, I'll still be helping out if I can. What I do object to is one band having to provide EVERYTHING. How is that fair? We drew the line when one time we were asked to do all the backline for a multi band gig. I said no. I loaned the bass amp but insisted that one of the other bands does the drums. So we do everything including the setup and tidy up so that the rest of you so-and-sos can just rock up, play then get pished? And get paid peanuts anyway? Don't think so. It's a DIY gig, not a get everyone else to do it gig.

The M-2000 in particular has a lovely neck profile - half way between a P and a J. I found it very comfortable and for those who like less faff it's a lot simpler in operation than the L-2000 - vol/blend/3 band EQ. Unfortunately I think the Tribute M-2000 has been discontinued - doesn't appear on the G&L website any more and a quick google suggests it's not available new anywhere obvious.

Blame it on brexit

MFDs are fantastic pickups. Hope you like chunky necks - unless they've changed them in recent years, the one on the Tribute L-2000 is like a baseball bat sawn in half

FWIW (not much) I would have bought a Big Al, if I could have afforded it Seems these latest prices continue to mean I won't be buying a (new) EBMM any time soon. We're talking multiples of what my car cost here - I'm clearly not their target market

Sold out now, what happened to leaving one for me?

How many mahogany necks have you broken? I haven't managed to break any - what am I doing wrong?

Welcome. Also the pickups etc. connect to the board with plugs - worth unplugging and reattaching a few times to clean those contacts up, just in case there's some oxidisation in there causing poor connection.

I can't say I've ever liked how two pickups together sound on a 2 pickup bass. Neck on its own - great. Bridge on its own - I don't like it much but I appreciate the honky, nasal thing it's going for and it does have character. Both together has always sounded "meh" to me, a bit gutless, subtracting rather than adding even when in phase. A less good neck pickup, basically. Not a fan. There are exceptions to every rule, but they are technicalities. Like the two inner coils of both pickups together on a G&L L-2000 - that's a sweet sound but they're close enough together that they might as well be a third, central pickup when you're using it that way. Or the Gibson G-3, which gives you no option without rewiring to use the pickups individually, either 1+2, 2+3 or 1+2+3. Even with that one, I favoured 1+2 over 1+2+3 so I think it fits the theory in its own way. It's why I love my Jack Casady (which has three, progressively more aggressive versions of the same core sound), why the volume on the bridge pickup on my Les Paul is always off so the selector switch ends up as a kill switch and why if I ever want to get a really special bass in the future (i.e. spending more than a grand), it'll likely be a G&L L-1000.

Hope it isn't a preamp issue. I had to change the battery snap on a '79 one I had a while back. Can't remember if it was cutting out or just doing weird things - might be worth changing anyway, they don't last forever. Also, you have the '78 with the two three way switches - try cleaning those contacts up with switch cleaner/fine sandpaper. Hopefully some simple TLC will get you up and running again.

Echo the above sentiment - I've only seen my drummer briefly about twice in a year, never mind played anything. The rest of the band(s) have stayed in sporadic contact electronically. We haven't played a note together in over a year. Gigging in May? We won't even be rehearsing in May because we fail on number of households. Bollox to rehearsing outdoors. Will see about getting together with my drummer to chase the rust out of the engine room if nothing else - up in Scotland that's tenatively pencilled in after 17th May when up to 4 people from 2 households can meet indoors. We've still got a wedding in October on the books, so let's hope we can do that. But it's a hope, not an expectation.

I currently (still) have my Epiphone Les Paul (not so) Standard - 2x EMG-HB pickups into an EMG-BQC 3 band EQ with added selector switch: And I used to have a Gibson Les Paul Double Cut: Also have an Epiphone Jack Casady, but they've been mentioned already so I'll save your scroll wheels

Well they are not the best bridge ever created. On the other hand, they're not the worst either. But unless you are the sort of person who likes total control of things like string spacing and individual string heights then it's going to be OK. Set it up and forget about it. String the bass with flats and never touch it again Any bridge which has caveats for operation clearly isn't elegant. Here are some of mine: Beware of having the back of the bridge significantly higher or lower than the front - it is possible to pull the mounts out of the body with string tension applied. Back being higher than front makes it more likely for this to happen if I remember correctly. Try and keep it level, front to back. If you're removing your strings (for cleaning or changing them for example) - keep a hold of the bridge when you release the tension on that last string. String tension is the only thing keeping the bridge up against the posts. Neglect this and expect to have a metal bridge drop onto your lovely shiny bass. BONUS CAVEAT: You may well find that the silked bits on silked strings go over the bridge saddles. Some people find that annoying or tell you how detrimental this is to your tone. Solutions - buy unsilked strings, scrape the silk off, thread some small nuts/washers on the ends of the strings so they end up between the ball ends and the bridge, or get a mod bar (cylinder of metal with holes bored through it). If this all sounds like too much work, or if you simply must have per string adjustment of spacing and height then by all means replace it with either a Hipshot Supertone or a Babicz. You'll have to do something to combat the arched top though. Have seen some people place felt pads under the Supertone. I think the Babicz has a curved shim available - did I read that somewhere or did I just imagine the curved bit?

It's a separate line to the regular USA L-2000, the CLF Research line. Long may it continue, sidestepping the L-2000 the CLF Research line is the only way you'll be getting a new L-1000 and they all look lovely - that's coming from a fan of the the regular modern eye gouger G&L headstock.

Also available at GigGear and DV247. Same price. Thinking of treating my JC to one also, but keeping money back for the car insurance due next month first. So leave one for me please!

Can't say I've ever felt like a full on clear out and start again. Waste of time anyway - history shows that I'd just go and get another Jack Casady so I might as well keep the one I've got

The Blue Royale I used to have: Sparkly!

20th Anniversary JC:

I have owned both and kept one - the Jack Casady. There's nothing wrong with the T-bird, it's a fine bass but I have just enjoyed playing the Jack Casady more. It's light, sounds great, you can mess around with intentional feedback if you like and it looks fantastic. So, a vote for the JC from me, but I'd echo what's been said about trying them both and if money isn't an issue - just get 'em both

I am what you would consider a serial Jack Casady owner. I've had 3, sold 2. I had a gold one, sold it. I had a limited edition blue royale one (the one which was blue sparkly all over, even the sides and the binding was pearl sparkly too), sold it. I should point out that both times I sold it was no reflection on the basses themselves, first time was stupid itchy feet and the second time was needing to make ends meet. Currently I have the 20th Anniversary one (trans red with flame maple top). I am enjoying the new colours but for me the 20th Anniversary is the classiest Jack Casady - except for the cheesy truss rod cover maybe Might see if I can source a regular Epiphone E one and just keep the 20th Anniversary one safe with the rest of the nicknacks which came with it. Please slap me if I ever think of selling it, as it won't be as easily replaced as, say a gold top or ebony one. Threads like this give me the crazy, "what I'd do if I won the lottery" type of thought - collect ALL the Jack Casady finishes. Getting the sunburst one would be the most difficult I would think - was only available early on when they were first released 20+ years ago, I think.

Presumably the neck relief has been sorted out? If you've got some wiggle room, perhaps straighten up the neck a touch more?

I think there's some truth to the idea that the average punter doesn't give a monkeys what your effects chain is or what it does - because they're inebriated/dancing around like a tit/talking to their mates/just enjoying the music in a general way. I'm sure some people wouldn't even notice if you changed basses at the half time break. Maybe if you went from a P bass to a Bootsy Star bass or something - something's different - was he wearing a hat in the first half? I'm a simpleton - the only effect I use is an overdrive - when I remember to stomp on it and hit the button right, of course. Generally speaking, I'm just happy to be heard and I'm too busy trying not to f the song up to handle directing my foot to anything more than one button. Players who can manage a pedal board which looks like they bought half the guitar shop in addition to playing the damn song correctly, trying to look up at the audience more than once in a blue moon and move around at least a little bit - I salute you. I'm just not that into it. If you want a functional bass player who gets it right most of the time, has their own transport and usually has a spare lead or some other nicknack you forgot - I'm your man.

If it's a 5mm hex, you could try using a T27 Torx on it as it's 5mm point to point. This worked for me once, the star shape managed to find something to push against and turned the nut

I've sold a few basses I said I'd never sell. Can't really contribute in good conscience to this thread