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From those two choices I'd go for the Fender simply because it's easier to tell which is the transmitter and which is the receiver.

It's funny that two of the most well liked Fender signature basses are from rocks bassists from the 90s (or late 80s if you will) and are both roadworn/reliced. Might be nothing in those two coincidences but just crossed my mind there.

This was a long time ago, but then, my struggle when leaning the craft was not the pitched notes, but the rhythms (or the maths behind it). The book(s) were when the 'penny dropped' moment. So yes, hugely valuable.

Agreed. With the right set of strings, the Pure Vintage 64's are just about the richest sounding Fender single coils. The American Original has the same set. I couldn't get PV64's for silky999's prototype Daphne Blue Nitro Jazz, so I've ordered a set of the newer Pure Vintage 66's from the Am.Vintage II to go in that one.

Shall I pull out just one button of the battery and measure the current from the open contact and from what other point?

Alternatively intrigued to know why you need any additional pedals.

Which is essentially what most bass cabs are doing, and why I have given up on them for all my Helix Patches. Most of the time I can get a sound that is more suitable for the band mix just using EQ. The only cab sim I'm currently using is a guitar one that is part of a guitar combo model.

Take the other half of the battery from the contact, and measure the current from the open contact. Should be zero.

In the article, Mr Flea says that he "showed up, rocked out, and split". I must say that sounds terribly painful, and I hope the studio staff were able to administer suitable first aid until the paramedics arrived.

I would second @neepheid in terms of Artec's 'bang for the buck'. I can't think of any Artec product I've used or fitted that hasn't hit way above its weight and I've certainly used their lipstick pickups in my own guitars in the past.

I guess there might be a very specific reason these were suggested (?), but there's plenty of other hum-cancelling J-PUPs out there that are easy to get hold of in the UK, and many/most of which people here will probably have far more experience with 👍

If you listen to Jamerson's stuff isolated, it is not always pretty. We are, by now, used to playing to the grid. I have recently put a track together using a prerecorded drum track. It is very odd. The drum track is played live and bubbles along very nicely. I played the rest of the instruments using the drum track as a guide. Soloed, the bass sounds horrific - what we "know" as timing is deeply offended by what I played. But along with the drums it is just fine and dandy.

I've always assumed it's really driven fretless, digging in that hard there'd surely be a lot more fret noise, plus the intonation sounds inconsistent for a fretted bass?

Also - there are 2 takes available. The regular release and the alternate take that has higher drive and aggression levels. Apparently from really over driving a rack compressor with anything they could throw at it. I'm fairly sure it was the same bass on both versions, just played even harder with more dirt on it.

There's a lot of online speculation about what bass he used. Some thinking Alembic, others a Stingray. A large amount think it was either a fretless jazz or a fretless Stingray - with the clank being from the strings hitting the pickup and not the non-existent frets. He does play very hard. My old band used to play it and I studied it a lot and I think it's a fretless too but I didn't have one so I played it on the Status I had a the time. The drive is very much like the input drive on an old Reel to Real recorder with loads of cut on the deep lows and highs. These days I get the tone with my JPTR Jive pedal and then EQ and it's bang on with a bass with a bridge pickup. It's a great line and it's also really annoying that AM's current bassist doesn't play Flea's line.

They’re standard rhythm reading texts and hugely valuable I found. How about you? Reading music is really two things pushed together, reading from the stave and understanding the rhythm. I find the rhythm stuff harder so I put a lot more effort on that side.

All I'd like to see is the already freely available software be compatible via the already available USB port and phone-zap technology. TC can make a TonePrint, artists can make a TonePrint, I can make a TonePrint. I can install a TC TonePrint on a pedal or the amp, I can install an artist TonePrint on a pedal or the amp, and I can install my own TonePrint on a pedal, all by the exact same method. So, as they say, WTF? 'Artist' presets, especially for a fully configurable 3-band compression algorithm, mean nothing to me. I'm not looking to buy art; I want a tool to make it. And that's what they're supposed to be selling. I'm the artist I'm interested in, TC! Why do artists who are commercial endorsees get access to the full controls of the amp, while the owner does not? It's weird, and not a little frustrating, even if it is just for a built-in comp.

Is anyone playing with DiMarzio "Relentless J" pickups? For a while I blamed my old amp that some notes seemed quiet on my jazz bass, but last time I was in the studio (she says casually, as if not a rank amateur) the engineer was grumbling that notes on the A string were lower in volume. My technician had a look and recommended changing the pickups and suggested: https://www.dimarzio.com/pickups/jazz-bass-hum-canceling/relentless-j-bass-pair They're not cheap and not readily available in the UK, so I wondered if anyone else was using them before going ahead? I mostly play jazz, folk-rock and worship music.

Aaagh first world problems and that, but… had a couple of ideas and thought I’d hook up the phone to Reaper via the interface , but I’ve got a new phone so the pricey cable I bought doesn’t fit the new phone. that’s ok I’ll use the old iPad …no battery , and now I realise I’ve got no ear phones / buds for the new phone ! just when I felt a masterpiece coming on aswell 🤦‍♂️