NancyJohnson

I'm sorry, but no. Just because there's a P-pickup in a P-bass sweet-spot doesn't automatically make it Precisiony. There's so many other factors that contribute to the sound; the type of magnet, the number of windings, whether it's waxed or taped, the pots, the capacitor, the internal wiring etc. Everything in the signal path contributes to what the bass will sound like. Don't get me started on strings. Same applies the the pickup on the HB. For about ten/fifteen years I was the go-to resource here for Gibson Thunderbirds; I'll admit that of the dozen or so that went through my hands in that period, there was only one that sounded different - I mean by this that it had a bit more top-end definition, although I suspect was more down to the rewire it underwent just after I imported it from Japan. All the others sounded (more or less) the same and same goes the stuff I've got now (£20 to £5.5K). You know, the whole train of though here was seeded years ago when someone from the Bass Centre appeared on one of those Saturday night ITV gameshows like You Bet!. Flanked by about twenty basses, he claimed to be able to identify any of them played at random. I do recall this may have been the first time I'd ever heard the term 'Warwick Streamer'. I don't think he got one right.

Just being objective for a moment, would anyone actually look at this bass twice if the body shape was different? The point I'm trying to make is just because something looks like something, doesn't mean it is something. With no disrespect, it might pay like a dream, but seeing the comment by @mcnachthat, 'It does sound like some flavour of a Stingray' made me chortle a bit; you need to watch the footage of the blind bass shoot-out from the SE Bass Bash a few years back, my friend. 25 basses, 30 bass players all trying to work out what bass @cetera was playing behind a curtain. People couldn't even recognise their own basses, let alone any others. It's amazing how vanilla pretty much every bass sounded. If Thomann stuck that pickup and circuit on this Soviet beauty, nobody would be saying it sounded like a Stingray.

5th gig shot. I doubt I've played to this many people in my entire life. A good start.

I suspect this is in the wrong thread...

The thing is with original material, you're not realistically being measured against another version. I've always felt that I'd be bringing something different into things, I can't bear playing covers. Old material will likely ebb and flow, likely disappearing as time goes on. If you have decent chops, they'll see that.

Steve Jordan has a bit previous with Keith Richards, my first thought was he be a perfect fit. I doubt there was too much of a conversation/debate.

Just a weenie update - for one reason or another, a) I've not really picked up a bass in the last month or so, b) the original 18v PSU purchased was a positive-centre, so unsuitable and c) the original 9v PSU I'd been sharing with the dUg wasn't really suitable (the DI-2112 just sounded shrill, tinny and underwhelming). So an 18v negative-centre PSU arrived earlier and as it's daytime, I just gave it a test drive. Same set-up as above, might have tweaked the horn in the Darkglass 112 since my initial test two months ago. Mother. Of. God. Powered up with the 18v PSU, the DI-2112 is insanely good, the increased power input just gives more of everything (headroom is an uncomfortable generic catchall term here); it sounds louder/phatter/toppier/bigger. With the Lull (John East/active), I've just got the Drive/Tight button pressed in and have just been noodling at volume. It's odd how rolling off the mids from the bass and boosting them back on the DI-2112 has such a vastly different effect than just trying to keep the mids flattish on both. While I don't think [it] has the variety of the dUg, it's certainly not a one trick pony. From an aggression perspective, I'd certainly say that the DI-2112 sits comfortably between the BDDI and the dUg; both will dial in a close approximation to the DI-2112, but the DI-2112 just does it better.

I am at a loss why more manufacturers don't offer a one box power solution. So many of us run these floorboards full of effects and I'm just horrified when I see people plugging these into the front of an amp. I gigged at The Star in Guildford a few years back, was running a rack (Sansamp RBI/Matrix set up) into my old Hartke kit (115/210); all the bands were using my backline and generally the comments were positive - except one. Another bass player was using a Rickenbacker through about six stompboxes which he insisted on running through the RBI. so he was just piling his dirt and tone through the dirt and tone the RBI was already providing. I remember trying to say he should just try and eliminate the fuzz from his signal source as the Sansamp would cover this, but no. Ended up with him telling me my set up sounded terrible. Err, no.

My wife is asking what I want for my birthday and I'm again looking at dipping my toe into the EUB field. I'll profess that while I've been playing regular basses for 30+ years, I've only played double basses/EUBs maybe twice in that period(!), but like to think I made a decent fist of it (I got a small round of applause in a bar in Budapest). Whether they're decent or not, I do like the design of the NS WAV and NXT basses, and of course, why would I bother with a four string when budget either way allows for a five? So, the WAV5 or the NXT5a. Looking at the product descriptions, they look very similar although the NXT has a dual truss rod, an active electronics circuit but weighs 800g more. I assume the WAV is made in the far east and the CR is from the Czech Republic (similar to the Legend and CR Spector basses). I'm fortunate enough to be in the position where I could go for either, but I do like to have nice stuff and I know if I got the WAV I'd be questioning why I didn't go the extra ££ and get the NXT. I'm just trying to justify to myself that the extra ££ is worth it, or whether (for instance) it would be better to get the WAV and maybe use the difference (c.£600) on buying a second Darkglass 1x12. Oh the dilemma. Anyone got experience of both?

I'm fairly certain I want to go this route at some point...

You could use a powered cab; I have one up in the sale section (also has a mini stand to get it up to ear level).

Hubba bubba.

I've seen photos of this configuration...I think I have some on my computer. No idea whether the neck pocket matches. IMO, a Status Graphite Stingray neck would arguably look nicer on a black Jazz bass.

My first bass was a white/cream Arbiter SG thing, £30 loan from my late father. I sold it for a small profit to this hippie bloke and moved on to a Columbus Jazz Bass copy. I honestly no idea where it came from.

Where does 'back in the day' fit in?

Back then? We're not talking the 1940s. The t-shirt I'm currently wearing pre-dates my NR purchase!

The Sweet. Specifically, Sweet F*nny Adams, Desolation Boulevard and the rebooted Strung Up album.

The NR Thunderbirds are now listed on the Andertons site for £1,650.00, so more than double what I paid for my first run NRs about nine years ago. I'll pass this time around.

'The bottle stopper' With so many people suffering from this form of arthritis, you'd think that procedures would become a little less arcane...my wife commented once something along the lines of, 'well, can't they just take the bone out and put another (metallic) cuboid thing in there?' It's a great idea, but you have to consider that a piece of titanium will just wear down the bones going into it. It's amazing how failure of such a small piece of one's body can be so debilitating.

I've gone from running biggish rack systems/dual cabinet set ups to having a desire for small set ups. All my front end tone comes off either the Dug Pinnick or Geddy Lee Sansamps, so I just want to amplify that signal as purely as possible. I can see the allure of racked gear, but I don't want to go back to that; I genuinely like the idea of the Demeter Minnie and a Sansamp.

Bwahaha. Err, nope. In most cases, in the majority of cases, the sound guy has never heard a note you've played and has little idea what you're supposed to sound like as a unit. Be nice to the sound guy, yes, but beyond that? Nah. Being nice to the sound guy is akin to not sending your main course back to the kitchen.

Haven't had my trapeziods removed, but suspect it's coming, I suppose come the time, it's just a case of deciding which process is better (the rolled up tendon or the bottle stopper/ball joint method). To be honest, I've seen some horrific stuff online (people in persistent pain etc.) and I believe that when it's time to have the op, I suspect I'll park bass playing for good; that said, I do wonder at the age we live in, wherein a rolled up tendon can be used to replace a dice shape bone. Turmeric helps as an anti-inflammatory - I don't take it daily because the pain isn't there all the time. I also take glucosamine sulphate occasionally which purports to be good for the cartledge generally. Oh the pain of getting old. Well, older.