dannybuoy

I tried all the PJs I could get my hands on around London a couple of years ago and ended up with a MIJ Jazz Special. The Aerodyne was one of the most disappointing of the bunch. The Music Man Caprice was one of my favourites but it's not cheap. I might have bought that instead if the example I found wasn't damaged and overpriced and in a different colour! My favourite amongst the Fenders was a Troy Sanders Jaguar. Also the Geddy Lee Jazz, but that's not a PJ. Ultimately though I sold the Jazz Special as I realised it still could not hold a candle to my trusty Yamaha BB!

Something is quite clearly not right when you might find a straighter neck on an actual '61 Jazz.

Unless it says otherwise in the manual, I doubt that would work? Pretty much every single expression pedal I've seen needs 3 pins to work. The mini Dunlop one gets my vote!

Well if you're covering songs that were written and played on a 4, it's hardly surprising you don't feel a need for it. I use it a lot when making up my own lines however.

That's not mud, that's bass tone perfection!

They're not all digital (all the overdrives are analog), and many of the digital effects have an analog dry signal that mixes with the processed digital portion (mostly the delay/reverb/modulations or anything with a clean blend). But it is a fair comment, I even started a thread a while back posing the same question after seeing some monster boards with rows of digital pedals!

I have a Sandberg Basic with a single MM pickup. Whilst it has a 3 band EQ, I often leave it in passive mode (it has no passive tone control) and it sounds just right as it is. Flatwounds help, i.e. no harsh treble that needs to be reigned in by a tone control. You can always EQ at the amp or pedalboard, so I wouldn't call this a novelty item just for that. That knob does look s h i t though!

If you have an audio interface you can download a free trial of Helix Native and see for yourself if it can replace all of those.

In Joe Dart's fingertips!

That's quite impressive they sold that quickly!

It looks like a short/medium scale to me as well? I'd like one of these, but I'm quite happy enough with my flatwound-wearing Sandberg Basic that I picked up for about tree fiddy!

They sound pretty different, that would be the deciding factor for me.

I've seen a few custom BB2024Xs (one with a maple board, one with a stealth matte black finish including painted neck) around, always worth asking Yamaha direct about custom options on the Japanese models.

@fuzzonaut which band do you play with?

I don't think Interparcel's terms and conditions contain anything about hard cases or payout limits for musical instruments. Worth checking out just in case. But then again, if they are just contracting the work out to other couriers, is the insurance with the end courier (who will each have different rules), or the middleman?

BB2025Xs were under £1800 new on BassDirect when they first came out. Prices (or RRP at least) seems to have crept up since then, but street prices were always much lower. The main difference between the two for me was the neck, more of a hand rubbed oil finish on the Japanese model, much nicer in the hand!

The processing delay inherent in the digital side will result in issues when blended with the dry signal, it would produce an effect like a flanger but stuck in one position instead of cycling round. However you might not notice it if the latency is very very low. You could of course get two similar digital multis in each loop of the LS-2 to counter this!

The mono channels have a pan control, so leave it dead center at it will fill both left and right from a single mono input.

The tight button chops off some of the lows going into the drive circuit. Why might you want that? Because particularly with high output basses with a lot of low end, those low frequencies make the overdrive sound overly fuzzy/bloated. This way you can tighten up the distortion, and you still have a full range deep channel and an EQ you can use to compensate.

It's basically two Sansamps in parallel @dave_bass5, one has the gain and EQ pre set, the other adjustable via the controls, then the deep/drive control adjusts the blend between them. So it should be just as, if not more versatile as a BDDI or VT Bass, and they are no one-trick ponies. Looking forward to trying one, I could never persuade myself to get the preamp, but don't need much persuading to get the pedal!

These Yamaha models get great reviews and have modelling on board for guitar and bass: https://uk.yamaha.com/en/products/musical_instruments/guitars_basses/amps_accessories/thr/index.html

This popped up on Zoom's site during the Namm show a week or so ago. It'll be better than the B1on for certain effects, it should contain the Darkglass models from the B3n for one, also I think the amp models on the B3n are a step up from the previous generation, I couldn't get a decent overdriven SVT from the B3/B1on.

It sounded like you have an active bass already which would be fine, but just be aware that most mixing desks do not have a high impedance input suitable for plugging a passive bass straight in. For that you'd want something designed with bass/guitar in mind, such as the Bighead.

I'd avoid the Amplug, the standalone units have more of an amp sim quality to them rather than clean and transparent, I assume the headphones would be the same? The EHX headphone amp does not have an aux in btw, which you'll need if you want to play along with anything. Bluetooth isn't worth looking into as the processing delay renders it unplayable. However it's rare but some units can accept an aux input over Bluetooth, which is handy for playing a backing track via your laptop or mobile etc. If you have a DI box or a preamp with an XLR out, the Behringer MA400 is a good choice.