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I've Been playing along to Deborah Bonhams version of Superstition, as it is best version I have played and its been years. so found it on Spotify then checking her out on the tube I came across this. How do ya get these three in the same place. https://youtu.be/Q5gc9Yk6OPc?si=8ojqcIw2klDubyv5

This is what AI says - although it may have just regurgitated the above discussion 🤣 "Yes, there can be a subtle sonic difference, with individual saddles generally providing a slightly tighter, brighter, or more focused sound, and two strings sharing a single, larger saddle (common on vintage-style bridges) potentially offering a warmer, "ballsier" tone with a more pronounced midrange. The difference is generally minor compared to other factors like string type, pickups, or playing technique, and is largely a matter of personal preference."

If the question were rephrased to ‘a bit posh’ then I guess my answer would be about £1.5k used £2k new

Fascinating. In that they are so similar in many respects, I wouldn't have thought it would make that much difference. Just a wild thought - in that the original saddles share two strings each, I wonder if there is some sort of impact from the two sources and characteristics of vibration on each pair. But yes - a surprising result whatever the explanation!

Thinking on this, not just his music but his world view was a lot of things that Springsteen’s was in the 70’s/80’s

Hoxey Aluminium Peavey T40 neck

Hi there. No I haven’t, but I’m suspecting that it may be a lead issue on my pedalboard, as there’s some noise and interference going on when I stomp on certain pedals. Now that I’ve got a break I’m going to take my board apart and will check each lead and pedal.

This is my solution, single PUP wired to jack 🙂

Where's you ser/par switch? Push/pull pot?

If that's the extent of your ambition, go for it.

Interesting to pick up on this. Our singer mentioned on Sat night she only used one ear piece and left the other one out "otherwise she felt disconnected from the band and audience" - which is a classic IEM conundrum. It doesn't affect me at all in the same way - I enjoy the clarity and comfort of having a tailored IEM mix and no one's complaining about missing out on the experience of a deafening guitar amp - ok maybe the occasional dep guitarist - now we're all going through FoH apart from the acoustic drums. I don't really fancy the additional set-up faff and need to worry about an additional source of feedback from an ambient / overhead mic, just for the sake of one band member, but was wondering if there's decent ambient IEMs on a par with the KZ ZARs we're using, that don't cost the earth, and she can treat herself to a pair?

Well, so that I don't fall foul of gear abstinence rules next year, I've ordered the on-off-on switch required to make it north (single)/series (both)/south (single), instead of north/parallel/south as it is wired stock. And in case you're wondering, this is what I'll be doing with it:

One more sleep - Leona Lewis

Perfect thanks!!!! Still a bit surprised that you cannot use the output/volume control from the TE1200 to set the onstage volume, as that is how I understood power amps work

There you go @bassbiscuits - Ned Stark of Winterfell has spoken

Ah - hanging is too good for them … but … you could disown them immediately before they learn too much and so cannot be persuaded back to The Light

Mind you, alternatives to a Prog Xmas are available:

Would anyone at the BBC go to the trouble of fitting a bridge pickup ? There's what appears to be a Telecaster guitar control plate alongside the standard 51 P-bass plate. Can't quite make out what pickup has been added but it does hint at Ric treble.

Our last one before Christmas was at The Jubilee Club in Ashton in Makerfield. A good friendly and appreciative crowd, lots of dancing, mainly in the second half. They filmed us and have put one song up...

I recently acquired a lovely Jazz (having sworn off them for a good few years) and I find myself facing the same first-world problem that I always have - quick changes to the sound. I know that many people swear by the Volume/Volume/Tone (VVT) setup, and like to juggle the volume controls for subtle changes. Frankly I find these too subtle to be worth bothering with, and I converted my last Jazz to Volume/3-way switch/Tone, a bit like a lot of the passive Yamaha BBs. My current Jazz is a stack-knob with the later variant control circuit (no mixing resistors) and I'm starting to think a little modding might be in order. The everything-on setting alone is worth the price of admission but I have the same issue as with the VVT in that there is only any tonal change over about 1/10 of a turn of either volume knob. It has 250k volume pots but 500k tone pots, so very little happens to the tone until the bottom quarter of the pot rotation. For now I have tacked a couple of 56nF resistors in parallel with the existing 50nF ones, which has improved things from my point of view. I'm currently considering getting a 3-knob control plate and setting it up in one of the following ways: Vol/3-way/Tone Vol/Blend/Tone as per the diagram below - I originally found it on Talkbass but then found that @TRBboy had posted this thread about it last year. I could easily try both and see which I liked best of course So - what passive blends have members had success (or not) with, and who gave up and either fitted a 3-way switch, or returned the bass to stock?