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Without wishing to throw the proverbial cat amongst the pigeons I've found scale length not to be a factor with regards to decent sounding B strings. Design,build quality and neck pocket tightness seems to be more influential but I'm no expert on the science. I've tried Dingwalls in the past and think they sound good however 👍

Doobie Brothers - 50th Anniversary Tour (with Michael McDonald) on Thursday at Birmingham BP Pulse Arena and Saturday at the London O2 Arena. 😎

Just spotted that current jazz guitar fave Rosie Frater Taylor is the support for Lee Ritenour at Band on the Wall next Monday, and grabbed a ticket. Reckon Ritenour and his band will probably be OK as well.

Good to hear. It would be interesting to hear a comparison with the MXR. This is why I'm so baffled that a 20+ year old pedal like the Bass Synth Wah can nail the tracking so well. Such a shame I don't like the synth sounds, I don't find them in the least usable. Can't say I'm crazy about the octave tone either but it was a small price to pay for the tracking accuracy a

If you think about it, the MXR is effectively a combination of pedals as well, stuffed into a single pedal. The presets are effectively like snapshots on the helix - adjusting certain parameters at the press of a button. Admittedly, I use the presets on a Helix LT, with more footswitches available, which makes it easier to switch effects in and out. For most presets, I use a combination of stomp mode and snapshot mode, or sometimes both, using the control centre. I think it's worth persevering with the IMA synth presets, though; they are quite powerful and sound great, but they need tweaking to make them work for you and your particular performance preferences. Spending sometime setting up snapshots may be the solution you need. PS I do wish IMA had programmed some snapshots into his synth presets - just for a little more variety.

Had my SP1 almost 2 months, the B string is outstanding (just not quite as good as a 37), however the multiscale means the higher strings still have warmth and aren't at all 'pingy'. I still have my D-Roc for the heavier side of things.

Thank you. Seems the design is not right, unsurprisingly. I looked at the circuit analysis. I'm new to this software but perhaps the report for one tone switch on, and one off is maybe showing both pickups being pulled through the cap. Switch configuration: [Bridge Tone SW.ON2:KILL switch.ON1:Neck Tone SW.ON1] ┌───────────────────── C2 ─── R2 ──────────────────────┐ │ │ ├─ Dual blend pot - Vol.1-2 ─── Bridge Pickup.North<- ─┤ │ │ ─├── Dual blend pot - Vol.1-2 ─── Neck Pickup.North<- ──┤─ │ │ ├────────────── Dual blend pot - Vol.2-3 ──────────────┤ │ │ └────────────── Dual blend pot - Vol.2-3 ──────────────┘ 'Dual blend pot - Vol' potentiometer acts as a volume control for 'Bridge Pickup' 'Dual blend pot - Vol' potentiometer acts as a volume control for 'Neck Pickup' 'Neck Pickup' and 'Bridge Pickup' pickups engaged, wired in parallel All pickup coils are wired in-phase This configuration is NOT hum-cancelling. Ok. So I need to work out how to make them work independently. Learning is fun, for a while, then I'll ask for help.

This reflects my limited experience with 5 string Fenders……….very hit and miss.

I played the jazz version at New Kings Road and honestly didn’t understand the hype at all. I AB’d it with a real ‘63 and they were nothing alike.

Gave it a proper razz in a band context last night - it's gud. Plenty poke, and the tone control being half way thing still applies - up at 10 it's a bit too much, and to be honest it's not quite the right frequencies to be cutting through, but that might have been because I was going through an ancient Behringer 4x10 with a knackered tweeter. Also, new knobs arrived, because it's worth it. Not worried a jot that they're gold tops, it's a wonky bass, innit?

The only thing stopping me buying one of these is the lack of a tuner. If anyone here has the Roland account, can you do me a favour and ask if a tuner will be included in a future update? Thanks!🙏🏼

Very nice bass. I had an identical Squire JV Jazz Bass that I bought new in 1983. It was a lovely bass that, with the balance of hindsight, I should have kept. I could have had forty+ years good service out of it and I'm sure I'd still enjoy playing it now. It was the bass I made my most important progress on in learning to play and will always have a special place in my heart. These were considered very good affordable basses at the time, I suppose the equivalent of something like a Sire bass nowadays, but no one remotely suspected they would ever become desirable vintage guitars in their own right. I expect the fact that they were pretty faithful reproductions of old Fender basses with attention to detail is what has made them special.

Hello all, I see that this is an older thread, but I'm hoping for a little help... I have the Black model of the Squire Jazz Deluxe Active IV , and the battery door finally broke. any help locating a replacement door or battery compartment will be appreciated. Thanks in advance... backlineguy

He was their bass player for four years, then went back to painting according to Wikipedia.

CDBaby and Distrokid.

I have had real trouble with a TC Mic Mechanic alongside a Zoom B2 Four, On the same power lines there is a high pitched wine (Chateau Neuf Du Pape?). I had the same problem with the B1 Four and the Mic Mechanic. I must get the 'scope out and see whether the Mic Mechanic puts noise the powerline.

https://ebay.us/m/lZdv8F