Doctor J

Clichès gunna clee?

I joined a band shortly before a gig they had lined up. A mate was the lead guitarist and admitted he had been reluctant to ask me, warning me about the singer. I learned their songs, had one rehearsal and the guy seemed ok, decent singer. On the day of the gig, we met before the soundcheck, all good. When we finally started to soundcheck, there was no sign of the guy, though. We waited a little while, then had the soundcheck without him. A few minutes before the set was supposed to start, the singer finally reappeared, quite pished. However, the set didn't start off too badly, but gradually deteriorated as he kept downing pints. I had decided I was out before the end of the set, which fizzled out like the tail of a wet fart. My mate had decided to leave around the same time I did. As we left the venue, the singer was brawling with a punter. Classy.

Shooting greedy musicians who want to be paid a little more.

It looks like it was taken against the same wall as the other pics.

I don't think that one did but a mate of mine has a Charvel with it. It's a low mid boost, I think, thickens the sound up quite nicely. Edit -> and here it is

I would have the volume as the push/pull and leave the blend as is. I'm not sure what kind of availability there is for blend push/pull pots but I can imagine it would be a challenge to solder up cleanly, given the amount of lugs it would have.

You can do that with any four-conductor humbucker pickup, it's all down to the switch.

No. Now it's fixed

I don't have the Charvel anymore, but I'll put something together with audio samples of switching between serial and parallel with what I have left some time soon.

In fact, here are all of Pino's contributions to the entire article. From that, they've just built an advertisement for a load of unit shifters which they can get a sales commission from. Shameless 😂 “Bass is the coolest instrument on the planet. You don’t have to jump around. You don’t have to do nothing. You can just stand there, play the bass, and hold it down. Maybe most people wouldn’t even be able to isolate what the bass is playing on a particular track. But as soon as it stops, they’ll know something’s wrong.” “Keep it simple, get a P-Bass. The P-Bass just has one sound, with a tone control. And so many amazing records have been made with bass players playing on a P-Bass. You really can’t go wrong with that.” “The fiesta red is always a color I really love and I love the feel of the neck on my ’61, which is just a different profile. So Fender put together those two instruments brilliantly and came out with the signature model.” “For me, there’s nothing quite like locking with a great drummer, and just the sense of being a team player in that way. I think bass generally draws personalities that are drawn to being team players.”

[quote]All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.[/quote] I suspect Pino didn't have too much input. I think Cato is bang on.

I installed one in this Bacchus which, despite the look, has the Stingray sound in spades. It's a very useful mod and gives a whole new voice to Ray. It's still a Ray sound, just growlier. I picked up an EBMM Ray in a trade recently and I think a push/pull mod is on the cards 🙂

The push/pull was installed in this Charvel JP. It was VVT and, as said, the bridge volume became redundant when serial was engaged. The tone change in serial was far more noticeable on the Charvel than the Blade, possibly the result of the P being part of it. It's a noticeable change on the Blade, but it was a huge change on the Charvel.

After I installed the Sadowsky preamp into this Blade, I had a spare hole where the Blade pre had a voicing switch. I used a DPDT on/on switch to enable to serial mod and it's the same thing, in serial mode there is nothing going through the bridge pickup side of the blend pot. If you only have the bridge pickup selected, the serial switch basically acts as a kill switch.

Usually one volume control becomes redundant. Essentially, the switch routes the bridge pickup into the path of the neck pickup. The neck pickup control becomes a master volume and the bridge volume does nothing, as nothing is being directed through it.

It's depressing that every other article they link to on that page either starts with a number or starts with "The" followed by a number. If video killed the radio star, then lists killed engaging journalism.

If clickbait made sense, no-one would click the links. They need to have something stupid, but which can be argued for, in order to get people engaged, clicking and sharing. Clicks make money, quality content is an expense. Now, where did I put my Top-Ten Top-Ten lists?

I would keep stealing the B from the sign. So would all of you.

The point is grumbling about someone not enjoying playing a synthetic version of the instrument they have a passion for is a bit much. The experience is not the same and it's quite understandable why they might prefer playing the real thing, no? We might not enjoy the experience ourselves were the roles reversed 🙂 Besides, not all synths are keyboards 😉

The mechanics are the same but they're not the same instrument. There is a visceral pleasure to playing an acoustic kit which is entirely absent on an electric kit. How about telling a great Hammond player that he should be playing a Casio? The mechanics are the same but... you know what I mean? 🙂

How do you react when a drummer asks you to play bass on a synth?

Small tweak 🙂

Or... what about a stationary pickup mounted on a stand in front of the player and you just stand in front of it and play, keeping the bass positioned wherever you want the strings to be picked up. You could have an array of all kinds of pickups, P, J, MM, MFD, all mounted on the stand or maybe even on a rotating drum and selectable by footswitch. Have one bass but have all the tones, one bass to rule them all, I call it The GAS Master. Patent applied for. Back up, now, form a queue!