ped

Just sold a bass to Mark. No messing - ‘can you meet tomorrowrow’. A thick envelope of cash and a form elbow shake later and here we are. A credit to Basschat! Enjoy the bass!

Lovely to meet you too mate thanks for a super fast and smooth deal. Will do your feedback now!

I think we should all go straight to bed

Think you might be quoting me by accident?! Anyway - with strings it’s useful to hear opinions but really the only way is to try them. So many variables come into play, including the added complication of tension and thickness. It’s fun to experiment and takes a long time to find what works for you, and your bass - but fun to chat about too. And that’s what we’re here for!

Do we all need to run our posts past you first?

Is he selling anything else we might like to not buy?

I just got one of these from a friend, it's really clever and seems secure.. D'Addario Auto Lock. Nice material, too. It works over all the types of pin that I have, from Dunlop Dual Design, Gotoh and Schaller, even the type for Schaller locks, which I hate. https://www.amazon.co.uk/DAddario-Accessories-Guitar-Strap-50BAL04/dp/B07SSJYHYJ

Bedminster

Did you see my G&L 😂 although yes I'd like an L2000 one day, but now I'm poor, very poor.

Him sounds like @Happy Jack is right on the money here, send it back and get another. Strings should never do that and the explanation offered above is the only thing I can think of.

Although my 'No.1' bass has been my go-to for as long as I can remember, I have always loved the sounds of P, J and MM basses on albums I grew up with, from Sade, Steely Dan, that sort of thing. At the same time, I resisted getting basses like that because I wanted to have my own sound, rather than to play an instantly recognisable type. Eventually I realised it would be great to have one of each as a 'tool' to vary my tonal palette and closely match the sounds I recognise. Having a range of basses also helps me feel inspired and I fall in love with each bass anew when I discover a great track I want to play along with. Also, and this might sound weird, but as 'The Bass Guitar' as a 'Thing' has been so important in my life, both through BC but also in making friends, playing in bands and generally providing the foundation to my pre-child-and-wife days, I believe collecting examples of the seminal developments in bass is excusable from a collector/historical record perspective. Just researching the ins and outs of how these basses came about, leading to things like the Vigier (it was the 80s), is really interesting. Although I'd probably not share that in public for fear of beatings or at least an uncomfortable silence, I feel I won't be attacked for it the same way here, in part because you can't reach me but mostly because I know you'll provide me with the conformation bias I crave. So after much experimentation and false starts, I have now amassed a collection of what I would consider my 'best' J, P and MM. When it comes to the MM, I have only played a few and owned two others, so I don't have as much to compare there. But as stated in another thread, nobody (or very few) luthier/companies make a 'take' on the MM bass like they do the J and P (apparently Ernie Ball are quite lawyered up) so I went straight down the line and got a Musicman for the job. When I say 'false starts' - it's often not the way the bass sounds, but the setup I am able to achieve on the instrument I've had previously. I like a flat neck with very low action, and not every bass can do that in the same way. This has led to some painful realisations when I've had to move on otherwise fabulous basses. If I can't play it effortlessly (I don't make effort very often), then eventually it gets moved on, normally to someone who says 'how the hell did you play it with the strings painted on like this' So here we go: Let's start, illogically, with the bass that's NOT a J,P or MM. It's 'My' bass - it has a sound all of it's own, but it's smooth, focused, detailed and consistent. I know exactly how it sounds in studio, live, amped, the lot - and it's a very versatile bass. It's been likened to sounding like a 'velvet brick' - kind of like a Modulus flea with a wider range and glassy almost digital response. It's a 1988 Vigier Passion Series II (Graphite neck) with a Marleaux pre, Basstec pickups and Roland GK system (I'm sure lots of you know it already) Next, the P bass. It's a G&L SB-1 from 1991. Strung with Labella light flat wound strings, it thumps and bites. The pickup is fantastic, with a huge range of sounds on tap by backing off the volume or tone. I nearly sold this when I nearly gave up on the idea of collecting the set but soon realised that I wouldn't get another like this. So what's next - Here's the Musicman. It's from 1983, the last year before Ernie Ball Made some changes, many probably for the better, but I love the fat slab body and the response of this bass. I have yet to try it with flats but with Elixir 40-95s (which I use on every bass except the G&L) it has that super poky top end which cuts through any mix, and the sound of pops on the G is just perfect. The previous models I had sounded a bit brittle, whereas this one sounds warmer and more 'chunky' somehow, although my setup has changed so much I can't compare for certain. The Jazz bass with the final hurdle. I actually didn't realise for a while that the 60s and 70s spacing on a jazz made such a difference, and when I did I wasn't in the space to buy one. I have had several 60s types in the past but never got on with them, finding the sound a little too rounded for my tastes. So after a crusade to play as many 70s basses as possible (knowing the quality and weight can vary substantially) I realised the best way to get what I wanted was a modern 'take' on a vintage bass, which, more often than not, needed work to support my lazy setup. The search was on - and this is where I ended up. I wasn't able to try it before I bought it so it was an anxious wait and unboxing and restringing and plugging ining, but the reputation of the Celinder J-Update is richly deserved. It's got that grinding, airy feel where the notes have that top detail and a slap sound so consistent and rich you feel like you can bite it in mid air. Oh and there's my 16" Wingbass with Roland GK pickup. Amazing little thing, perfect for playing synths or noodling around the house. The build quality is superb - beautifully carved black limba with a maple top. Guess what, the neck is dead straight because it's a plank of wood on the body, so the thing plays effortlessly and sounds huge. So there we go - If you are still awake, well done. Time to take Sybil for a wet walk. ped

I can’t believe we’re this many posts in and nobody has mentioned flatwounds yet! Worth a try - especially if the P is one bass in a collection. It’s fun experimenting!

Lovely. Yes a P is an essential tool in the kit. I bet you feel quite inspired when you pick it up, and that’s how a great bass should make you feel. Best colour combo, too. Enjoy!

Done it for you Chris. Great looking bass, I have always been very interested in Manne, I like the design philosophy and I love a headless with a 'headstock'

Looks great, I should think it's highly satisfying too

Ah I did wonder about that. I have no intention to upset the perfect setup I have been able to achieve with the bass so will maybe find out one day when I change strings. Good to know though, thanks.

Thanks for the info. I think my switches are in the order Funkle posted above instead but the frequency detail is really useful Nothing on my headstock - I swear I’ve checked every inch of the bass but it’s probably staring me in the face just like when I’m looking for something in the kitchen

Hi Pete I've had some time to play with the switches and have found my favourite sound is with all of them off - just a beautiful grainy 70's slap sound with a lot of growl. The controls still do a LOT - I tend to have the treble backed off about half way and still I'm getting a really clear hifi sound, with bags of treble in reserve. The bass control I tend to have just past middle for some extra oomph which doesn't diminish the clarity of finger style lines. Although the dip switches are a bit tricky to access, it means once you set it you still lonely have two EQ knobs on the bass, but it's like having the option of a completely different preamp depending on how you set it. I also tried the pre with every switch on, and thought it would make a great recording sound; very even and detailed especially when riding my limiter. Despite having bags of power the preamp is really musical - even with everything right up the range is useful and sweet sounding. Random Q - where is the serial number?! I swear I've checked it over completely but can't see anything, or in the cavity? The pre is a CPIIIA - I don't suppose you have any literature about the pre somewhere?