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This has been a useful thread. I appreciate all the comments. For those that care about such things, this is what I'm getting.

As an update to this topic, I had a belated birthday gathering at the weekend and my wife had arranged for a birthday cake that hit the centre of my Venn diagram of pedals, basses and Star Wars. It's one of the more over the top things I've seen but loved all the more for it. The bass even has the Dingwall logo on it!

Saw this on Coda Musics website, favoured maple neck whereas the majority of Mustang basses are rosewood, and pretty much spot on 7lbs, two major factors for my choices nowadays. Plus I can add some Hipshot Ultralite tuners and shave off a bit more so a 6lb-something bass, result. Out of the box the set up is nice, good even, and though I don’t usually like Fender strings it both plays and sounds good. I’ll have no use for the Jazz pickup on its own but the Precision pickup and both pickups together are difficult to choose between, each being really nice. Just have to make sure my arthritic thumb is ok with the neck, at first try it feels slightly thicker than my Japanese Mustangs so next few days I’ll be putting in the hours to make sure. Am sure I’ll keep it, intention is to swap the pickguard to black, and replace the string tree with a Hipshot triple retainer to encourage a better break angle for the A string. I was thinking about the bridge as well but it’s perfectly solid enough and given that I now play with a much gentler touch I’m not fussed about it not having any guiding grooves so it’s staying.

It’s got a dedicated input for me in the top corner

Well if you took any notice of some opinions towards Mr Clayton on here, anything with one string will cover it.

Who?

He does. And I think he blames me for it. But it does sound bloody good!

No, active pickups were created so that you could use a smaller magnetic field which would have less drag on the strings, giving you a more pure sound of what the strings were doing, but doing that creates less power from the pickup so you amplify it to bring it up to the output level of a normal pickup with a strong magnet. active preamp (on passive pickups, like most basses) was made so that you could control the output impedance of the bass, without the output and frequency response of the bass being governed by the output cable and whatever you plugged into, to give it more consistency between amps / effects. As a side effect you could then also control EQ better, but that wasn't the point. Ultimately all basses are active if you plug them in, it just depends if you want the amplifier before or after the jack cable.

As you’re in England I’d be looking local , both BF and LF Sys make world class cabs.

Remove the J pickup, that'll help with the weight! 😁

My economy pedalboard painted in Trace Elliot colours (nearly) to match my rig. After lots of shopping around it's probably cost me around £250-£275 all in. Best pedal of the lot? Boss NS-2 Noise Suppressor. Cures all ills. Close second comes the Sonicake Levitate Reverb/Delay. Magic for about £20.

Just how I play. One note at a time

The Blend control basically mixes between your un-effected signal and the SansAmp signal. This was implemented to emulate the type of signal chain that bass guitar was usually recorded with. In the studio or live, they would usually mic the bass amp and run a DI from the bass and the two sounds were mixed together at the console. The mic'd amp would be the main tonality and the DI'd signal would add punch and definition. If you put all the controls at 12 o'clock and engage the pedal with the Blend off or fully CCW, you will hear that your signal is the same as when bypassed. The Drive and Presence are the amp and speaker emulation. Ay you turn the Blend up to 12 o'clock your signal is 50/50 un-effected and SansAmp. The presence control is similar to the same control on a vintage tube amp. It adds high frequency content and also the attack envelope. Drive and Presence only work on the SansAmp portion of the circuit.

Nah - that's exactly why phasers are so good.

I have the birdcage version of Monique. When I bought it , I mentioned one was on the way (in another forum) and Jule contacted me to say he wasn’t aware of my order but he would make it right. I immediately told him I had bought a used one , he told me I could have kept him going for a week or two. I’ve since had several keyboard contacts with Jule , and he seems to be a wonderful character. I like him. Monique is truly a thing of beauty. I was running a Bergantino Forte amp , something that’s renowned for having clean transparent power , it’s a good back end for Monique. I use the effect return channel rather than the regular input to bypass the Forte pre and tone stack. Monique gives me that tube warmth and saturation , and there is magic in the sensitivity knob. Yes indeed. I want a rich old school thump , with warmth , and some serious slam. I want things to feel deep. I love what Monique does. I am a believer. Paid more than I wanted to , and today have no regrets whatsoever. Knowing what I know today I’d do it again in a heartbeat.

No, flanging isn't the same as phasing, it's more closely allied to chorus. https://producerhive.com/ask-the-hive/chorus-vs-flanger-vs-phaser/

Droomer, to be accurate

Just wanted to say thank you to all at BC who have helped me with advice over the last few years on here All my main bass gear is now sold and gone and the final small bits are slowly going or advertised on here. I feel very happy with my decision to quit playing especially live and I will enjoy playing my acoustic guitar at home and concentrate on enjoying a non gigging life. Once again thank you to all of you who have purchased gear from me and to all my BC buddies on here

All ( I think) of the new album played live November 1st + most of their best songs in a 3 hour long concert. They certainly give their fans the money's worth, and posting the concert on YouTube is ace too. (edit: posted it in the "what are you listening to now" thread but thought it belonged here too.)

Whats really extraordinary here is if I was to ask a question or make a statement about 'practise'.. it'd be lucky if it ran to a couple of pages yet this subject of 5 v 4 strings appears to occupy so much thinking? My moneys on practise..,Practise enough and you can sound great playing anything and forget about how many strings you have.

I like the headstock arrangement better with another tuner! The rest of it looks cool too. Wonder if they’ll do a six stringer one day?!

JE's a player I understand. If I had those songs put to me, those are the lines I'd play, at least the technically simpler ones. I'd love to be able to think like Flea or Zender or many of the great funk players, or play fretless as lyrically as Bakithi Kamalo or Mick Karn, or just hold it al down like Deacon or Macca, but I think at heart I'm an ill disciplined rock player, and the sheer joy I get from playing JE's lines makes this bass 100% worth it, one thing I am sure of is that it is going to have very little trouble finding its way through the mix 👍

So I have a set of DR Lo Riders lined up, purely because last time i used them on a graphite neck they went very very low without problems, so I'm going to start there and see the lie of the land tone and playability wise. Next few weeks I'm going to be spending some time with my cherished copy of this I imagine.....

Two B2s next to each other in Google search Which, via planes, takes us back to basses

Nordstrand Acinonyx 5 string prototype, sporting what looks like a humbucker:

Port radiation is omnidirectional, so the orientation doesn't matter. Scientifically speaking the radiation angle of any source only shrinks to 180 degrees when the radiating plane is less than a wavelength in dimension. At 100 Hz a wavelength is 3.43 meters. Yes, that means the cone radiation is omnidirectional at 100 Hz as well. That's why you can hear the lows standing behind a cab.

It is now in a separate action.

It does, but I hope he’s using a shielded cable.

This

Having done a substantial amount of DBT/ABX testing of audio gear, I'm not surprised at all. And speakers being transducers, are far less linear than the majority of amplifiers.

See this is what’s good about Basschat, always someone willing to help out……

I could probably tell my Precisions & Jazzes apart if recorded by me, then played back. Any others I don’t think I’d stand a chance. I found this out when hearing a mate play with the best ever Precision sound, was literally awesome classic punky P-bass at its best, only to find out it was a 70s maple necked Jazz.

no, your reply is absurd because he didn't say he held that opinion at all, so you made up an argument to be outraged against.

There have been 5 string orchestral basses for many years, of course. I don't get the horn player argument as jazzers have generally played 4 string uprights throughout the history of the genre. As you conclude, we play what we play/suits us and no-one can tell us we're wrong.

And a lovely little thing of squelchy gorgeousness it is too. It's in near-mint condition and has some retro-fitted solid oak end cheeks in place of the stock plastic ones, which are very nice. I might treat them to some smooth satin lacquer at some point, or maybe some Danish oil. I've only really gone through the basic bass sounds so far, but already I've found some absolute peaches (and that's before I get anywhere near modifying them). There's one called 'TaurusBass' that has made me very happy indeed Yes they are mini keys, but that doesn't bother me in the slightest. If I feel the need to move on (i.e. if I actually learn to play it properly) then I can get something with bigger keys. This will keep me happy for some considerable time though. I might even have a guff about with the vocoder at some point Please don't laugh at my 'training wheels' stickers on the lower keys Like I said, I've never learned to play keys and I need the help for the moment.

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