neepheid

Man, that BassChat Bingo/Drinking Game is growing arms and legs - so many trigger phrases!

I guess that makes me an arrogant so-and-so then. Having said that, I wouldn't want to play in a band which mandated that the bass be played in a way that was displeasing to me.

1. Looks like series to me, judging by the joined wires at the pickup. If it was parallel, then you'd have 2 separate wires coming from the pickup and going to ground and 2 wires going to hot. 2. Not if you wire it up correctly 3. Well, that's the crux of it isn't it? Far too in depth for a pithy answer here, plus you need to work out the answer to 4 first. Which leads me to... 4. Depends how you wire it. Preference? When you blend them at the moment, does the bridge pickup tend to dominate the sound at 50/50 blend because it's series and therefore beefier? If so, then you'd probably prefer parallel. However, there really isn't a lot of difference between parallel and single coil to my ears (apart from the potential for hum). For maximum flexibility I'd be thinking your switch positions should be single (pick a coil), parallel and series.

Not really - basses need to sound bassy and need to give me more when I dig in. Still prefer rounds over flats for the top end - bit of clank when I want it. Still leave the tone knob at 10 and never touch it. If anything, I've dialled into that over time. Bridge pickups can do one - I've found them to be utterly useless on their own and detrimental to being heard when blended with the neck pickup. Just give me that phat, growly neck/middle tone please. 3 out of my 4 basses today don't have bridge pickups, go figure.

Just go into it eyes open, don't do anything irreversible and you'll be OK. I agree, on a bass that already balances well lightweight tuners are a complete waste of money unless you're replacing dodgy tuners to start with (and it doesn't sound like the stock tuners on this bass will be - certainly they shouldn't be on a £900 bass!) The biggest change to the tone of the bass you can make is changing the pickups but don't do it just for the sake of it - identify what it is you don't like about the sound of the bass as is before you wander down the rabbit hole of replacement pickups. Then research, research, research!

Definitely got a Lotus JPS vibe going on there. Always classy, especially in classic Lotus 72 form. EDIT: I wish they had used a more cream/aged coloured binding on the neck - the binding that's there is so bright in comparison to the gold hardware and anodised pickguard that it sticks out like a sore thumb. Why does no-one consult me before issuing a production bass?

Upgrades have little to no positive effect on resale value. For certain basses they can actually decrease resale value - backwards though that sounds. If you're going to be upgrading, be sure to keep all the stock parts and return it to stock for selling, then either keep the parts for another bass or sell them separately. This will minimise your losses on the upgrade parts.

Indeed, but I was being grumpily figurative. I'm not grumpy any more though, my LB-100 is now silent when it is supposed to be, even in the RF hellhole that is our rehearsal room, even though my efforts ended up being more of a Faraday tub than a Faraday cage because I ran out of tape

I came into this thread expecting to find something about climate change/rising sea levels

So, congrats to @GlamBass74 for fixing his buzz issue then (which I'd prefer what this thread be all about instead of this f'n bickering) If it's any consolation, @GlamBass74, you inspired me to get off my butt and shield my G&L Tribute LB-100 which absolutely hates the fluorescent lighting in our rehearsal space. When I opened it up I could see why - the application of the shielding paint was pretty pathetic, more like a sieve than a shield!

The most dangerous moment for me when I was in Glasgow on Monday was seeing one of those Projectbass Curbow-like things in a pawn shop window for >£150. That made me linger for a moment before scurrying away Instead I did something productive and copper shielded my G&L Tribute LB-100 last night. And I'll have to go back to it because I ran out of copper tape before I could do the underside of the pickguard around the pickup, so that'll take up another evening of idle hands that might otherwise click on a "Add to basket" button. Presuming that copper tape doesn't count as "gear"...

I'm still using the stock strings because I'm lazy and they didn't offend me. When I need to change them I'll probably stick on some D'addario XL nickel rounds, they're my go to these days. The bass is plenty thumpy enough without compounding that with flats IMO - despite its appearance the JC can really be used in any musical setting UNLESS you pigeonhole it by compromising the top end. But what do I know? It's your bass, put on it what you like!

You could probably make up some kind of bingo/drinking game for all the same old arguments/jibes/tropes that inevitably pepper threads like these. Bonus double gulp for personal attacks! Hic!

I don't think broken as designed counts

Strings are consumables so I don't think that counts. I am probably going to buy a gig bag soon, but that is to replace one which is coming apart at the seams - I believe replacing defective things is allowed.

I do find myself missing two basses. 1978 Gibson G-3 (my first Gibson) Yamaha BB450 (can't remember the year off the top of my head. Gathered its component parts from disparate sources and reassembled it)

Nothing, as far as I could see, it's cordoned off.

Still in! They have made it easy though, I do miss the dedicated bass department downstairs in Glasgow. Basses squeezed into the corner/end wall again, surrounded on three sides by skinny stringed miniature things shaped a little like basses. Ho hum and bah humbug.

Time to put my head in the lion's mouth

Not at all, I don't have any place of authority to dictate to you what you post. It's not even my thread, was just trying to steer it back on course as a couple of threads were veering towards justifying the use of them on the E string of a 4 string, something that does not require justifying and misses the point of the thread. Any comments I made were specifically about the use of an Xtender on the B string of a 5er. People can do what they like, of course but I'm of the school of thought that you either augment a 4 string with an Xtender OR (that's XOR for the geeks) get a 5 string. Also, I'm far too grippy to get any Xtenders. I don't find the tuning of one bass string to a certain note particularly time consuming. Often times we'll just play an Eb song in E. It's hardly going to sound like Alvin and the Chipmunks by going up half a step

I think people are getting confused here. The point of the thread is to ask for opinions about having the Xtender on the B string of a 5 string bass. You don't need to justify it being on the E string of a 4 string, I get it

I'm just here for the basses...

Looking good!

I get it - I really hate it when my pickguard inexplicably and spontaneously becomes detached from the bass.

Hah, collecting for fins is easy when there are only two finishes available