CameronJ

On the subject of the G&L LB-100, here’s a comparison against the G&L SB-1 as an example of how different 2 models of P-style bass can sound, even when made by the same company. Yes, both basses used in the video are 4 string but the characteristics of each pickup would of course translate to a low B string and affect how they each sat in the mix!

Indeed. My earlier questions, however, remain the same. The J pup was easier to hear on stage for you and your bandmates but has anyone in your audience described the J pup tone as suiting the song better than the P pickup? At sound check, did anyone in the band go out front and have a listen to both options? My points re: the characteristics of the Yamaha 2 series pickups being different to the “norm” were meant to challenge the thread’s title. A number of contributors to this thread (myself included) find their 5 string P basses to sound excellent in their lowest registers. Saying that, different pickups will be more/less ideal in different situations - dependent upon personal technique, what other instruments are present, what the genre of music is, what kind of room you’re playing in, how busy/sparse the bass line is, the tempo of the song, what kind of amplification you play through, how the other instruments are EQ’d (we often cast blame upon ourselves when it can in fact lay elsewhere) amongst other variables. My current gig sees me using my passive Dingwall Super PJ5 on a show with 22 numbers ranging from Soul to Rock to Funk to Pop between the 60’s all the way to the 90’s. I keep the P pickup soloed a good 90% of the time. On a few numbers, particularly those with the busiest of mixes and 9 musicians on stage including 4 piece horn section, I switch to P+J in series mode (specific to the Dingwall’s wiring) as it gives me a little gain boost a bit more low & low mid bump. I lose some mid character vs the P pickup soloed but with that many instruments playing a number like Dancing In The Street or Land Of 1000 Dances it’s a tradeoff I’m more than willing to make. I run through my own HX Stomp and both electric guitars run through Helix rack systems. I only have 3 main patches which I cycle between for the whole set list, adjusting my tone knob and pickup choice to give me different results with each patch. Our guitarists each have a specific patch for every single song. It took some time to set up in rehearsals but the end result absolutely worth it. I know you’re no stranger to the Helix line of products - this is the kind of specificity that this gear was designed for!

Devil’s advocate alert Did anyone out in the audience describe the P tone as muddy/undefined/displeasing? Do you have a trusted person in the audience who the band can use as a reliable indicator of levels/mix? Or was it simply that you and your bandmates weren’t able to hear the bassline as clearly on stage with the P pup as with the J pup? What sounds great on stage may not translate out front and vice versa. Equally, neither the P nor the J pup on a 2 series Yamaha BB are “classic” examples of their pickup type. They’re fantastic pups in my experience but most folk concede that they definitely have their own voice, different to that of their Fender ancestors. The P pickup not cutting on a 2 Series Yamaha BB is not necessarily an indication of any other P-type bass behaving the same in a mix. The same goes for the Yammy J pup vs most “more traditional” J pups.

For me, it’s never been as good as it is now. I currently own: 1. Dingwall Super PJ5 2. Dingwall Super P5 3. Wingbass PJ Custom 5 4. Sandberg Electra VS4 5. MTD Kingston Super 5 I’m looking to sell the MTD and, if all goes to plan, order a Dingwall Super J in the new year. Then I’ll have reached terminal velocity as far as my bass collection goes!

Yep - I played a JMJ at @thebassgallery a few months back and it felt/sounded delightful. Congrats on the NBD

I use a number of solutions, depending on which bass I’m using: Grolsch rubber washers (and Fender Strap Blocks, which are basically the same thing) work great if you want a cheap and very reliable solution, and if you don’t need to take the strap on and off your bass regularly. They require zero modification to your bass or your strap. The Comfort Strapp basically has a strap locking effect due to its double fastening ends, however if you don’t like the feel of the strap itself then you’re out of luck. Personally I really like them. I also have Dunlop Dual Design straplocks on both of my Dingwall’s (factory fitted as standard) which are excellent as they look like and function as normal strap pins, compatible with any ordinary strap, but if you want the extra strap locking functionality then you just add the appropriate pieces to your strap of choice. I’m currently using this on a theatre gig where taking the bass off over my head isn’t an option. Seems to be working fine thus far, and I’m about 30 performances in to a 92 show run.

After some research I’ve decided to get myself a specialist tool for the job. The Headphone Vac Jr. by Fir Audio. It should hopefully be with me by Monday. Not cheap but hopefully worth it. Take a look - the first video is an overview and the second video shows a typical cleaning session:

So these are the holes I’m referring to: and the cleaning tool in comparison to the holes: I can fit a single strand of the brush into the smaller holes but all it does is push the wax deeper down

They’re customs. I’m referring to the holes that the sound comes out of. There are 3 holes per side - 1 larger (which the cleaning tool can fit into) and 2 smaller (which the cleaning tool cannot)!

UE6s Tried taking a photo of the holes but my iPad camera refuses to focus!

How does one clean the tiny holes in their IEMs? The metal loop/brush tool thing is fine for the larger holes but I’ve found the smaller holes are accumulating a bit of wax and the included cleaning tool doesn’t work. Any suggestions would be highly appreciated!

@KK Jale thanks! I did a search but nothing came up Edit: and yet, absurdly, I liked one of your posts in that thread back in March! Apparently I have the memory of a goldfish

Anyone tried them? I’ve bought their nickel roundwounds and liked them a lot, but wondering if anyone has experience with the flats. Very reasonably priced at €35 for a 5 string set of flats - significantly cheaper than the equivalent TIs, LaBellas and Ernie Ball Cobalts!

My god, if that deal had been on 4-5 weeks ago I’d have jumped at it!! Horrendous timing

Yep, I’ve done this on my HX Stomp using the FX return as a 2nd input and giving it independent effects blocks.

I didn’t realise they had no truss rod! Curious 🤔

Agreed with the above - got a 5 string Aguilar P in my Wingbass and it’s rather tasty.