jrixn1

But I like the overdrive and the tuner in the MicroBass 3. I'll contact EBS and have them make a jrixn1 signature edition pedal!

Does it help if you lower the pickups on the bass side?

"Plastic/synthetic" is a bit broad as there is crappy plastic vs TUSQ. I've occasionally had crappy plastic nuts break, but never had a problem with TUSQ.

Yes, and I'm glad it does - sounds great with my P bass. It's my almost ideal pedal; just a HPF on channel A would make it perfect.

What's your budget in pounds? A popular combo is Markbass CMD 121P, £579, 12kg, footprint 38x36cm. It hits a sweetspot, which I mean that you could find something cheaper - but that won't be as loud, or it will be heavier. You could find something smaller or lighter - but it will cost more, or it won't be as loud. Etc.

I wouldn't describe the Microbass 3 as just for electric bass: the option for 10 Mohms input impedance and the notch filter are acoustic features. The Stanley Clarke does have the HPFs though, but no tuner! They both have good features. As a doubler, I have the MicroBass 3 and am not going to swap it for the Stanley Clarke.

Update of my experience of the Sandberg/EU/Covid/Brexit situation. Ordered the pickguard on 6th Jan via Synergy (the UK distributor). Arrived this morning 22nd Feb; delay due to German lockdown and then courier delays. Alan from Synergy is responsive and helpful. I actually decided not to keep the bass in the end, so the pickguard is currently in the basschat marketplace if anyone's interested.

ZipCar (or similar) is another option for a back-up car, if you're in a city where they operate. Sign up in advance though, as they run a document check which takes a couple of days to process.

I've had the rattley tuning machine on two of the current line of Yamaha BBs. Try a couple of drops of thin superglue where the key meets the shaft (use the thin stuff so it wicks into the gaps).

I have (had... it's for sale) a Sandberg VM5 which has a reverse P, with each coil swapped place with the other. It had a lot of clarity in the lows; perhaps too much for me (because I wanted it to sound just like a normal P bass). I'm not sure whether to attribute that entirely to the reverse P, or just the overall character of that bass; it's the only Sandberg 'V' series I've ever played. In particular, I'd have liked to compare it to a Sandberg VS5, which has the normal P position.

Yes, true, we do. Ok, but then in your case, if you/your band had £300 earmarked for back-up gear (the original poster's budget), I would say you'd be better off with a spare RCF 310A or mixer than a spare 200W bass head. A RCF 310A can play the role of FOH, floor monitor, guitar amp, or bass amp; but you can't put the vocals, sax, and guitar through a Trace Elliot Elf. I'd take my RCF 732A over any bass head and 1x12 cab 😀

If the PA packs up, your band has a problem a lot worse than merely not having a bass amp. We have our own PA, with that being the resilient part: spare bits in the van, or can repurpose monitors as FOH at a push. But yes, when it's not your PA and you're relying on supplied equipment, then I agree: bring something to be self-sufficient.

The previous poster, KiOgon, is too humble to mention he makes some very good solderless looms. They are recommended by many basschatters (including me). There was a similar post just earlier today: https://www.basschat.co.uk/topic/446306-precision-bass-wiring-harness/ I think you'd want at least a 0.047 cap in a P bass. I've not used Bloodstone, but the thing I wonder about is that it sounds like you need to solder your pickups to it. But if you're comfortable soldering a wire to a pot, you're pretty much most of the way there to making your own loom anyway.

If you can DI to the PA, why have even one bass amp, let alone two?

A bVI#11 is not uncommon, as it's the tritone substitution of ii7b5. Most things turn out to be a 2-5-1 of one sort or another.

I'd perhaps add technique to the list. My B string sounded better once I learned not to hammer it. (Actually my playing improved in general on all strings.)

MarloweDK can't be bothered to detune (or use a P bass...) but I think he still does a fine job. https://www.youtube.com/watch?v=U0GQ1F9HDVU

I think there are two different issues. The first is the blend knob not doing much actual blending. On some basses I've found them to behave more like a three-way switch; i.e. just a small amount off centre sounds the same as rotating it all the way. Same with VVT; one pickup on full + one pickup nearly on full is not much different to one pickup on full + the other one off. The second is using the correct type of blend pot. In the centre position (i.e. on the detent, if you have one), you should be getting 100% neck and 100% bridge. If you're only getting 50% neck and 50% bridge, you have the wrong pot taper. However, if you get mega volume and tone drop on equal blend, it might be that your pickups are out of phase. (I think this might apply more for a bass with identical pickups, like a jazz bass? Not sure.) If so, swap the wires of just one pickup.

Unused roundwound strings as came installed on a new Squier Classic Vibe 60s P bass. Described by Fender as "Nickel Plated Steel (.045-.105 Gauges)". I'll post these within the UK. Now gone

Those are pot tapers (if anyone didn't know). If you use the correct pot, it will be full volume both in the middle and at either end.

Book, "Jazz Guitar Standards: Chord Melody Solos". You can download the corresponding audio files here: www.melbay.com/WMB011MEB I'll post it within UK. Now gone