BassBod

Pickups - no problem (as long as they fit!). As for the strings, not knowing what type/guage you're using, but I'd +1 on the Thomastik flats on a Jbass, really great tone and a very flexi feel (but not if you're going for a Marcus sound..). Also DR Sunbeams - nickle rounds, pretty flexi and a very good all-rounder. They're expensive (don't buy in the UK?) but last for a while. BB

That's just a bit weird..isn't it?? I wouldn't reply...it could get stranger....just walk away...quickly. BB

If you're lucky then swapping the wires around on one pickup will work fine - but if you're not lucky you may find that you don't get the "humbucking effect" when both pickups are full on. I've had this - its because one pickup also needs to be reversed magnetic polarity as well as reverse wound. If you do a google you can find more details, but from what I remember there isn't a standard between makers, although a pair from any maker will be fine you can't rely on single pickups from different makers working as a pair (even if they claim absolute vintage fender authenticity..) BB

Funny thing is - white plate looks like it was made that way, tort looks like a former sunburst that's been stripped....or is that my fevered imagination? I'd go for the stripper every time, of course. BB

I use a Radial ProI - the cheaper passive box. Never had any problems or complaints (but I sometimes did when I used active DIs....running from an amp output). For a good cheap active DI look at Orchid Electronics - excellent for passive basses or piezo pickups on acoustic things. BB

I use Grado SR60's with a Cafe Walter headphone amp - both fantastic. Not cheap, but not daft either. Also makes a great portable hifi, with an ipod. BB

PRS from what I remember - Robbie Shakespeare also uses one, but I can't think of anyone else...they weren't a great success. I think they only made them for a few years. BB

I've only got finger noise with one pickup (Fishman) and I actually like it in some circumstances, but I know what you mean when you hear it in isolation. My experience is that strings don't make an enourmous difference, but some brighter metal strings are really really squeeky for the first week or two, then settle down to be the same as others (like Innovations, with a "nylon" core, or the plastic Labellas). My Clifton bass was built with a small rubber pad under each bridge foot, and I think Mo Clifton said this was to lesson the finger noise with the Fishman pickup (he used them or the Wilson a lot before the Realist was made). I've no idea if it works, as I've never removed them to see if its worse... If you can blend the pickups, that's the best solution with various different pickups. I think you can also reduce the output of a hot pickup with a small resistor...but I'm not the person to ask. Its also worth checking if each pickup is supposed to feed a particular channel of the preamp (or just swap them to see what happens?) Orchid Electronics are worth a look - John can make all sorts of custom blenders and preamp/DI boxes that may be more versatile than the K&K (although they seem well thought of in the acoustic world). BB

I'm no expert, but the bridge pickup looks like late 60's/70's to me (with the blade magnet) and the neck pickup looks like a Guild humbucker - a bit of custom work by a former owner? BB

Shameless plug - I'm selling a lovley fretless J - see for sale section (if you can get to Bristol...the gig bag isn't really up to shipping!) BB

After a few tours with a small stack (only one 4x10) I decided I could happily gig/tour with rented amps (usually Ampeg) and rely on my ten year old Sansamp for house and stage monitor. You have to set it up carefully, esp the blend control, but it really does the job. If I already owned an Aguilar setup like that, and was happy to shift it around, I'd try a good passive DI (Radial) run from the amp's preamp (or effects send..) to hear the real tone of the amp is. They've got a great reputation. Then you could use the sansamp more as an occaisional effect, just to dirty things up for the louder bits?? My experience was mainly on blues/rock gigs, so the bass sound wasn't critical...it just had to warm and a bit fuzzy! BB

I've used an SWR stereo 800 for years - not very powerful on paper, but always sounds excellent with the Goliath II. It does get hot, and has a noisy fan...but nothing you'd notice on a gig. I've also got an Alembic preamp, and it sounds really good run into the front of a Euphonic Audio 500. In fact it sounds great run through everything... One thing to watch though, the Goliath II or any other cab that has a significant mid-cut (most 4x10s?) means a re-think of the Alembic eq settings. You have to really crank up the mids to get clarity...and go lightly with the bass end...but you probably know that already! The best all round cab I've used is the EA CXL112. Not very big or heavy, very clear clean sound and works surprisingly well as a monitor on bigger stages. BB

Worth mentioning that the "highest profile" job I've auditioned for didn't involved any reading - not even chord charts. You just get a phone call, a time and place, and a CD posted to you by the management. Then you don't so much get judged on your playing, but everything else (sound, gear, looking for cues, coping with key changes..) as well as looking the part, getting on with people etc. It seems to me that music is increasingly illiterate. The older jazz guys are the only people I know (other than theatres) who ever use standard notation. Knowing your way on Pro-tools and being comfortable recording to a computer screen is far more important it seems. Its a dodgy old game...but fun, sometimes. BB

Another comment on the reading. I can read, but not really well or quickly. I was a lot better a few years ago, and its true - if you don't keep doing it you fall back pretty quickly. I do a lot of dep work and hardly ever get dots to read, most of the time its a basic/scruffy chord chart to interpret or complete busking. I have done a few shows over the years and these are the only situations where I would say real reading skills are needed, and even then you can get the book in advance (if you ask!) and work through it. I'm surprised I don't have to read more often, but also quite grateful. One day I'll get back to it because it does give you more confidence when you take a call or walk into a new situation. BB

An understanding family is a must. Unless you suddenly make loads of dosh..but that hasn't happend yet! One other thing that may not occur to people thinking about this - I've really enjoyed playing many different types of music, on many types of bass, but if someone gave me loads of ££ today to go and do "my thing" I wouldn't have a clue what I wanted to do. I don't even know what music to listen to for enjoyment anymore. I can appreciate most things (still don't get opera) but I've lost focus on "my music". Time for a holiday? BB

More out of the shed than the closet..... BB

Nice and unusual pair! I'm always interested in the Bolin basses - how are they to play sitting down? I've never really understood the design (with the additional strap hanger...I thought Ned was a great designer??). I almost played one once, but didn't have the time...should've been late. BB

[attachment=8962:DSCN0988.JPG] Now that's a proper man's pink jassss....can't say it goes out that much BB

I've miked my Clifton EUB sometimes for recording - to get some fingernoise and slap. Works pretty well when mixed in with the bassy sound of the Gage pickup. I've also still got the old Fishman BP100 pickup stuck to the bridge. This has got a lot of toppy edgy fingernoise on it that I hate in isloation, but if I can I record two tracks it can be mixed in (with most of the the lows eq'd away) to give a good "up close" effect. I'd only bother in small group settings. With more instruments in the mix the subleties get lost, and its back to thumpy bass.... BB