neepheid

Appreciated - hence the winky smiley at the end of my comment The JC is a bit of a 'mare to find a gigbag for - I think it's a bit of a cheek for Epiphone/Gibson to not include one given that it's 1) a hollow body and 2) not an inexpensive bass. My 20th Anniversary JC came with a gigbag so it clearly can be done when they can be bothered. Warwick do a couple also which fit (which I have bought in the past), but I do wonder about getting the hard case - it would be nice to treat my JC right but I'm not in a rush - I don't expect I'll be gigging much this year. I highly doubt that you'll be able to pull the posts out through playing, regardless of your style/enthusiasm levels as long as the bridge is set up well. As I said, the only time it happened to me when I was stretching new strings and I guess I overdid it.

It's brand new. It should be complete and functional when supplied and it's the vendor's problem to sort out. It's not about being precious - one simply shouldn't be expected to fix this sort of thing on a new bass and if you get it wrong, the shop will drop you like a hot tattie. If it was a used instrument it'd be a different story.

More worrying - is that an "inspection card" it came with?

Even if we were allowed to gig tomorrow I wouldn't - I haven't played with either of my bands since March 2020. We'd need to be allowed to get together in sufficient numbers/households to get some ruddy practice in first - I'm not sure I even remember which way round I hold the bass never mind remembering how to play all the blooming songs!

Another JC fan here. Haven't had the privilege of playing a Hofner anything but I can say that the JC is one of my favourite basses of all time. I've bought three of them!

"standard Gibson headstock break" - it's never happened to me and I've had more Gibson basses than most! All of them carted to and fro gigs in gigbags for years with not a problem. They don't just fall off if you sneeze near them, you know Bridge inserts pulling out? It happened to me once when I was stretching some new strings - I was probably being a bit aggressive. Apart from that, nada. It's up to you if you want to glue them, but I would say that your best defence against it happening is keeping the three point bridge level, front to back. I believe it's more likely to happen if the back of the bridge (the furthest end from the nut) is higher than the front. Or change the bridge for a Hipshot Supertone or a Babicz.

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: