nilebodgers

The original ceramics didn't sound great, but I didn't want to spend a lot of money on pickups as it was meant to be a budget project. My thinking was the roswells have alnico5 magnets, measure the same resistance as an equivalent Fender pickup and they were £25 the pair s/h - worth a punt. I was more than pleasantly surprised with the result and very glad I hadn't spent £100 on a "nicer" pair. My cheaply tarted up MIM Jazz is now my favourite bass by miles.

As a keen fixer/modifier I have stuck to Rosewood boards on my own basses to avoid dealing with the coated finish. I clean with Naptha (lighter fluid) and use "Howard Feed&Wax" which is a beeswax/orange oil to condition afterward. I'd just use Naptha on Maple to clean then polish with a dry cloth (I'd try a non-silcone polish to see if that helped make it slipperier).

Good spot, I didn't look at that page on their site. It's fascinating working out who is OEM-ing the bits behind some major brands. It would be ironic if the MIM Player Jazz series are using an unbranded version of the same Roswell pickups I stuck in my 2008 MIM Jazz.

Interesting - is there a source for that info? They might do all the incoming QC in California then just ship to the Mexican plant along with other parts. Easier than a split delivery I would think especially as they will be getting them in pallet loads (or container loads if they are shipped in from the Far East with other parts).

Triangular corner ports?

Did they fix the really thin sound when they remastered it though? (assuming they did remaster) I had the original vinyl copy back in the day and it was unpleasantly tinny-sounding.

With a Gibson logo?

That is still selling counterfeit goods though i.e. not legal. I would have thought a private phone call would be enough, no need for a crusade. If they were arsey then a call to trading standards should put a stop to it.

My old Yam BB sat in an unheated warehouse for 15 years and could have also done duty as a competition bow when I dug it out again. It took quite a bit of adjustment to get the relief back to a normal value and it also took a few weeks in the house to be stable again. Truss rod access is rubbish on those too which made it especially annoying (heel end embedded nut that standard tools don't fit properly).

You are dead right for most small venues. The main problem with a simple vocal PA is that it requires a lot of discipline from everyone in the band to keep their acoustic and back line levels at the right levels to get a good overall mix. Not a simple thing to achieve when egos are in the room!

Roswell pickups (http://www.roswellpickups.com/) are their own thing, no connection to Wilkinson. I have a set of the Roswell Alnico5 J pickups out of a JB75 bought s/h on here and they sound surprisingly good. I replaced the ceramic pickups in my 2008 MIM Fender J with them.

That is a perfect example of less-is-more in drum kit size. What a player too.

The B3n isn't an interface unlike the original B3 model, so won't help with recording.

Haha, yes - put a ponk on it...

I was recently looking for an inexpensive drum program for PC and I found this video (there is a second related one also): I downloaded the free kit VST (which sounds great) and Reaper and I was away experimenting with drum programming really quickly. The kit VST has loads of pre-built loops that can be used to get things going quickly, so its easy to make something convincing to play along to with hardly any knowledge of Reaper itself (I have no DAW knowledge at all, just a bit of Audacity audio editing).

That is fab. Excellent bass and guitar tones and I really like the space in the track.

That is because there are at least 160 circulating strains of the common cold rhinovirus, targeting that with a single vaccine is a massively difficult task.

Most UK pro audio hire companies use either the BSS AR133 or KT DN100 as the general-purpose active DI. Both have top-notch signal paths and proper shielded audio transformers and isolated phantom power supplies so true galvanic isolation can be achieved, something that can't be done with low cost active DIs (or even some expensive boutique ones).

Zoom B1-4 is a great practice solution. Built in drum machine and looper plus an aux input.

It was possible to play a cracking game of buzzword-bingo on the word "cool". I lost count...

I just got myself a Zoom B1-four last week for silent practice and some of the amp sims sound pretty nice to me, at least on headphones. I am wondering what relation those sounds are to the real thing though - anyone else have any opinions/experience?

Just got a B1 four to use as a headphone practice amp. It was by far the cheapest way of getting a tuner, pre-amp, aux in mixer and headphone amp. Plus a free basic metronome/drum machine and a looper. Shame the usb can't be used as an audio interface too.

When I was last playing live I used Schallers and never had any problems. From an engineering point of view I like the fact that even if the locking mechanism was flaky the weight of the bass is still held by solid metal. If it failed you could stick a cable tie round the U and that would hold securely. I am intrigued by the new ones as they fix the problem with the thread being too short for some straps and the nut unscrewing itself (I think I added loctite and really cranked it tight on mine). I wouldn’t try using the locking buttons with a normal strap except in an emergency, there isn’t enough of a lip to be secure.

Giving a bit of a bump to this topic - I watched a video by Josh Fosgreen recently: This put me on to a couple of brilliant resources for self-teaching: https://www.musictheory.net/exercises/ear-interval https://www.earmaster.com/products/free-tools/interval-song-chart-generator.html Since finding these I am actually working on it rather than just thinking I ought to be doing it and not really having a good way to start.