neepheid

I can't imagine you're seriously suggesting that I haven't already figured that out for myself so think I need to say what I said in a different way. You mentioned the fact that a pedal tuner mutes you then unmutes you with no difference to your volume setting on the bass and this would be difficult to achieve with the volume knob. I agree, but my point is that if you use the volume knob like I do (basically as an on/off switch) then the difficulty of returning to your previous volume setting with the volume knob is eliminated, hence eliminating this advantage of using the tuner pedal to mute your bass. Ok?

This only applies if you habitually use your volume knob at settings other than zero or max. The only time it's not on zero or max is when I'm doing a fade in/out (it's so infrequent I can't be bothered getting a volume pedal)

I think I said in many more words than necessary that the aesthetic is the only consideration as far as my sausage fingers are concerned.

I've had a little think about it and I have to come to the conclusion that the reason I don't notice differences in fretboard material is (relative) incompetence. Don't get me wrong, I play to a reasonable standard, but I'm lazy and I only play when I've got a reason to - a gig, a rehearsal, learning new songs. When I'm playing, I have to concentrate in the foreground of my brain that bit more than someone who plays more often than me, so I don't have spare capacity to take in the tactile scenery as I move around the fretboard. Unlike bass (an activity I partake in at most a few times a week for about the last 13 years) I've been driving for at least 28 years and have done it almost daily in that time so as a consequence I think I've become quite good at it in that natural way that good/enviable players make it seem when they're playing - things like what gear to be in, keeping the car in the direction it should be going have become background tasks so I can have spare capacity to appreciate how the car is driving, how different vehicles feel etc. Sorry for derailing the thread with this waffle. Back to the boards!

I'm sure someone will be along shortly to tell you that you're wrong.

I'm not at a point in my life where bass weight is a significant issue, but there have been times when the hollow body has come in handy - like the time I bruised my ribs and had back to back gigs on the same night - the light weight was very much appreciated Mind you, it's been a while since I've owned a 12lb+ boat anchor with strings - am I still strong enough to endure it?

That's really unlucky, sorry to hear that

Am I abnormal that I've played rosewood, maple, ebony and pao ferro boards and found not one jot of difference between them all beyond the aesthetic? Am I incompetent? Am I fortunate? Edit: forgot laurel.

I've just skim read this whole thing. All I got from this thread is Thierry, ça suffit! C'est mauvais pour les dents. Yes, because someone wrote bof.

This is my last daft addition to this thread, I promise. Do you do a thing where you read the subject of a thread before entering the thread and if it's a question come up with a quick answer before going in? Maybe it's just me but when I read "G&L - but which one" the first thing that came to my head was "Interceptor"

I'd like to add that I've got nothing against the SB-2, I owned a Tribute SB-2 and got on with it fine. One of my favourite stories (I'm sure I've mentioned it before) was one time when soundchecking with the SB-2 for a gig, the signal was so hot the sound engineer asked me if the bass was active

As I've just mentioned, I think I've gone off on a tangent, sorry.

Ahh, sorry, I read your comment in isolation so it came across like the SB-2 was interchangeable with the LB-100. Must. Read. Everything.

Yes (SB-2 vs. LB-100) Different pickups (MFD vs. trad alnico) Different number of pickups (2 vs. 1) Different controls (VV vs. VT) Different necks (slimmer vs. wider nut) Different body shape That's all I can think of off the top of my head.

Why? It's a different bass.

Oh, now that's pretty. Not sure how I feel about the tort, but that's a lovely shade of blue.

Which brands do it for me? G&L, Gibson (in spite of everything), Epiphone, Yamaha. Not averse to trying anything if I like the look of it, regardless of how Gibson-centric I may have appeared in the past.

Is one switch too many? I ask because that's how many the L-1000 has. Did you mean 2000? G&L are only underrated by poor unfortunates who don't know any better, bless 'em. I for one quite like that they fly under the radar a bit - adds to the mystique

It only counts if you're being pedantic. It /shouldn't/ be influencing your tone beyond the imperceptible so I don't think it matters if it's between you and the amp.

Not I, I like my overdrive. Only took me 2 pedals to find one I liked so I think I got off pretty lightly. I'm going to run away now - I don't want to get sucked into a echo/delay/flanger/chorus whirlpool!

It's a pretty simple fix

I know there's already a thread about the "late 50s" Precision, but it seems that Squier have gone on a full blown tour of Fender bass eras! From early 50s through to the 70s. Look at that none more seventies "walnut" job at the end. There are 60s and 70s Jazzes too, but I CBA getting the pics together for those Yes, there's a special colour one too - a 60s Daphne blue/tort/laurel subbing for rosewood. No matching headstock on that one though. There's a left handed 60s P in sunburst, a lefty 70s J in black and there's a fretless J in 60s sunburst. I am a sucker for the anodised pickguard of the late 50s model, but I love blocks too and there's something inside me that wants to give that walnut one a home, in spite of its rather grim colour. I will say that I think this is the best lineup I've ever seen Squier put out - a respectful nod to Fender's history.

I wonder if it's middle age that does it. I certainly find myself shying away from active electronics, and I do need a P more than I used to...

Additional to my post on page 1, I would like to elevate the TC Electronic MojoMojo overdrive pedal to equal best purchase with my G&L CLF L-1000. Used them together on Saturday night and it was brilliant, what a pairing. I am in love with the voice switch on the MojoMojo - in the back position it's a simple overdrive for when you need a little boost for the chorus of a song or light/dark during a song at any time. In the forward position, it's a beast, rorty and gnarly and great for those songs where you really need to dirty it up - think Chelsea Dagger or Song 2. Absolutely loving this pedal, does the job of two in my limited experience of effects. The official description of the voice switch is "Select between true natural overdrive (up) or a juicy tone that backs off the bass a little (down)" - as it is designed as a guitar pedal I wonder if they are using the term "bass" in a guitar kind of way which means "mids" for basses. I think that would go some way to explaining why it ends up having such a distinctive effect when used with a bass. Whichever frequency/ies they're scooping out with the switch, it's very bass friendly.