Ghost_Bass

IMO and IME isolation bases like gramma pads and the likes don't do much effect. They can reduce floor coupling but don't avoid having your cab sitting low, close to the floor and pumping sound to your legs. Wou won't hear the highs and mids clearly, only the lows. My rather inexpensive solution to this is to use a amp stand. This is the one i'm using: It's a amp stand from Warwick, Rockstand RS 23010, was something like 30€ from Thomman. It's adjustable in height and i can use it with with a boom bigger then the other to use the combo slanted if i want. I've been using it to raise my 2x12" for the past 3 years with great results. A chair, beer crate, drummers case, empty hardcase, etc. all work fine aswell as long as they can raise your cab(s) enough to have the driver (and tweeter) pointing directly at your ears. Setting up the gear away from corners everytime possible is also great to avoid a boomy stage due to wall reinforcement and result in a clear tone with note-to-note definition. Another thing, as sujested, is to pay attention to the sub-low region of your EQ. If you're going through the PA then you can HPF on the 70-80Hz and that will clean up your lows surprisingly well. If providing bass for the room from your gig you'll need more lows but keep in mind that that comes at the cost of a muddy stage sound. Another thing to pay attention is to not get an excessive scooped sound, that may sound great in the bedroom or when you're soundcheking alone but add a band to the mix and the bass will get lost and your band mates won't be able to hear you well. Just by doing all this things i can get my stage sound cristal clear whith more than enough low end to be felt and everybody can hear me. This also allows me to play at a lower volume and be able to hear the rest of the band while saving my ears from premature deafness. I have constant compliments to my sound from the band and the audience. When we (the band members) go out for a drink or listen to some live music my guitar player is allways telling me how much he prefers my sound to what we're listening so i must be doing something right, i think

Oh, BTW, i used the same gauge for both sets: 0.045-0.130. Can't say how the .100-.045 would compare with the .105-.045 but i'm guessing that the E string will be "tighter" with the heavier gauge.

I've done it. The feel is pretty much the same so is the rough feeling in the fingers in the first hours of playing. I didn't had to mess with action or truss on my basses and i didn't felt any difference in tension. I came back to Prosteels in the end as i felt that the extra zing of the Flexsteels was too much for my basses wich are already much bright and open sounding. I felt that the Prosteels sounded "flatter" and more musical to my ears.

Thet's clearly a case of bad wiring. I'm sure there's something either connected to wrong place or with a dry joint. Tricky part is that the more we look at the wiring less obvious seems to be the problem, trust me, it happened to me more times than i want to remember. Solution: Unsolder everything, i mean everything - every single wire and cap from the pots - then start again fresh following the Fender diagram. Solder all the grounds (leave the pickups to the end) together between the pots and jack. Solder the wires for the hot signal between pots and jack. Then solder the cap back in. Finally solder the pickup wires in. Tip: Since you're converting your bass in a VVT move the tone to the hole where you had the switch. Replacing the switch with a volume pot will leave you wuth a VTV config and would make it much harder to do a visual comparison with the Fender diagram drawing. If all fails just order a brand new wiring loom from kiogon. And if you need to use it live in a hurry just solder both pickups straight in to the jack and sort the tone with the amp's EQ just to get you by.

I see this as a natural diference between the tone of the two basses you're using and adding more gadjets may help but will not cure the problem. SR's are more mid and punchy and they'll cut through the mix like hot knife on butter while the Jazz is more scooped (even more when fretless with flats). If i was in your shoes i would start by changing my approach to the Jazz, i would set it to favour more the bridge pickup cutting volume on the neck pickup, raising it's height if needed and playing with the right hand on top of the neck pickup. This would result in a tone with more mid and growl and would get you in a starting point closer to the Stingray mid-punch. I would also look at my strings, if they are flatwound i would replace them by a set of D'Addario's Half-Rounds wich would bring more "zing" to the overal tone and allow the bass to pump out more mids. << [EDIT]: On fretless basses, having the fretboard epoxied will also open more the tone and get more growl out of it. >> Only after this really inexpensive changes i would go for auxiliar preamp - either on-board like a Glock/J-retro/Aguilar/Audere/etc. or a preamp pedal, no option more correct then the other, you'll just have to try what you can and figure out wich sounds the best with the bass in question. Results will vary depending on the gear you use, in some cases on-board pre is great in others a pedal is the way forward.

Once again, the band has to talk to the guy. Tell him he's not going to continue with the band but if he's willing he can play the (paying) gigs until "X" date. It's the most honest way to do it. Doing so the bass player knows he's leaving the band and stopping to earn money from gigs at a specific date and can start looking for a new paying band in the meantime. The band is left with s set date for the new bassplayer to be ready for playing. If the current bassplayer decides to leave in the moment he's confronted with the issue then the band needs to forget about recording for a few days and lock in the rehearsall room with the new bassplayer to get enough songs rehearsed for the live gigs. It's possible, even if they have to simplify some parts just for a while.

Band reunion explaining the bass player that he needs to learn the new set or the band has no choice other to let him go. If he says that he won't be able to learn the songs then the band informs him thet they'll get another bass player learning the songs and if he's willing he can keep playing with the band until the release of the album. Of course he may choose to quit the band instantly and force someone to learn the songs in a hurry for the upcomming gigs but it's his choice and the band should be prepared to deal with the situation. Conversation is allways the best way to solve things, going behind someone's back shows intention to sack him off without giving him a chance or explanation and even shows that the band took advantage of his good will to have him playing the required gigs until they had the replacement ready. Sorry mate, i'm siding with that bass player in this, must be an awfull sensation to be sacked of a band like this.

I know my gear, its of good quality, i do proper maintenance to it regularly and it's been well handled and not abused. I should be the one who rolls eyes and snorts when the soundguy comes over with a battered old AR-133 that looks like its been caught under a jackhammer and dragged through gravel...

[quote name='Chienmortbb' timestamp='1486041382' post='3228693'] SadlyI think some Soundmen/women would be terrified by the switch options on the Amp. [/quote] [quote name='discreet' timestamp='1486043150' post='3228729'] Every time I offer up my own DI box or amp with a DI out, the sound guy snorts, rolls his eyes, gives me a withering look and connects the box he brought with him. [/quote] I have quite the opposite reaction. Once they read "Alembic" on the face of my preamp they drop the AR-133 and hook up to the preamp with a smile in their face... even with the Genz nobody has ever said they prefer their DI or given me a bad face. Nobody has complained about the sound quality also. I do ask them to leave their DI next to my amp just in case something bad happens and the amp goes up in smoke mid set. Only sure answer i know i'll get is to when i ask if they want the signal pre or post EQ

I wouldn't go for a custom build even knowing and having the experience with basses that i have today. OP has had the same middle range bass for the last decade, i'm not sure if he has tried lots of other basses in this period or not so it may be dificult to choose between all the features available on a custom build. It's too easy to go for a set of features that individualy are great in a number of diferent basses but put all together may not give a great result. Best way to go custom is to find a builder with a good stock of his own builds and try all of them to see wich features you like the most in each one of them. Have the builder build a prototype unfinished bass to check for feel, balance, pickup placement, electronics, etc, replacing parts until achieving final configuration. Then take some sound advice from the builder regarding any issues the build may bring and only then jump in to the final build. It's an expensive route to go custom and may not end with the perfect bass, IMO there's more cons then pros, but if you take your time and have a good luthier at your side it's possible to find the keeper. It's a bad situation (and i know of a lot of people in it) to have a custom bass that doesn't meets the expectations. After spending several k£'s on a bass built to each own's features it's hard to find somebody looking for the same thing who wants to buy it so custom builds often end on the market at a huge lost for the seller. NOTE: I'm not saying not to order a custom build, i just want the OP to be aware of what might go wrong.

[quote name='D'AddarioUK' timestamp='1486040977' post='3228688'] Congratulations to James and thanks to all who entered the competition! You can of course still sign up for Players Circle and earn points for your strings and accessories which can be redeemed for t-shirts, strings, accessories and perhaps most importantly high quality ceramic D'Addario mugs. [url="http://playerscircle.daddario.com/strings/customer/account/login/"]http://playerscircle.../account/login/[/url] [/quote] Is the players circle also only for US/UK/Canada/Australia users? I'm still sad i couldn't enter the competion as i've been using D'Addario strings in all my basses for the last decade so i have a lot of sets that i could have registered in the comp. Well, maybe next time...

[quote name='MoonBassAlpha' timestamp='1485951823' post='3227927'] So he didn't get [i]everything[/i] right first time! [/quote] Am i late for the mob? I was taking a bath...

[quote name='casapete' timestamp='1486025090' post='3228543'] Often easier to just use a DI box than have the tech stressing over how your amp works. A Behringer BD121 is a cheap useful bit of kit for such occasions. [/quote] So... here's the Behringer: And here's my amp's DI out on the right of the back pannel: Do you really think that the Tech will have less trouble setting up the Behringer? And i won't even mention the huge difference in quality between the Genz Benz's DI ou (or Alembic F1-X's DI wich is what i use the most in outdoor gigs with hired PA company) and the behringer... Same applies to simpler DI's like the BSS AR-133, same number of switches and one more cable to connect: Oh! And a battery that need to be checked too...

[quote name='Sibob' timestamp='1485882446' post='3227487'] Personally there's not a lot to say about it I don't think, otherwise it's just a whole thread of "try this bass....try that bass because I like it". If you go down the 'off the shelf high-end' route, take your bass along to Bass Direct, Bass Gallery and/or Manchester Bass Lounge and try a LOT of stuff in comparison to yours. Even if they're a bit of a trip, they're all treasure troves, so worth it. If you go down the custom route, you have to ensure that the resulting bass will be as good as, if not better (hopefully better), than what you're playing now, otherwise it's a waste. Make a list of what you do like about your bass, and what you don't (and be critical). With any new bass comes some bedding in, especially after playing the same thing for 10years, but if you try for something that encompasses the things you do like, and fixes the things you don't, then getting used to it shouldn't take too long. Quite frankly, you may just find that you go with a really high-end Yamaha.....keep it in the family and all that. Enjoy Si [/quote] ^ This is the best advice you'll ever get. A wedding present bass will be something you'll never sell so you must make sure that you end up with something you'll love. If i was you i would avoid having a custom build made because there are too many variables and a big percentage of you ending up with something that's quite not what you were looking for. Go to stores and try everything you can. I agree with Si that after 10 years playing the 775 you'll end up with a high end Yamaha as it will be very familiar to your current bass but with better quality and sound. I'm suspect for saying this but if you can find a TRB5PII (yes, i have one of those) you'll be quite happy. I upgraded from a RBX375 to the TRB and been happy ever since. [quote name='Huge Hands' timestamp='1485943732' post='3227822'] Maybe you should show her you're a keeper by not going for the most expensive thing you can find [/quote] Absolutely, buy a used bass if you're not bothered with that and pass the savings to help fund the wedding. She will be very happy with you and may offer that savings in the way of a new amp or cab... well, you're already at the music store, might aswell take that lovely WT-800... Congrats

I'm not surprised by your findings, it's what i would expect having owned a WT-550 and a Reidmar250 in the past but i wouldn't put it up to the class-D issue. Eden amps have a built-in colour that's very bottom heavy, mid-scooped and clear highs as the Reidmar is more open with lot's of mids and harsh highs. That's the reason i moved on from both those amps, i couldn't have a clear sound with the WT, it just muddy(ed?) the stage and i had no note-to-note definition. With the reidmar i could hear the notes being played but i found it too hissy and harsh. It's the nature of the beasts, i'm sure a lot of people will use them at great results achieving their desired tone and a good marriage with the rest of their gear. The reidmar got returned to the store 2 weeks after the purchase and replaced by a cab and the WT was replaced by a Thunderfunk andi found tone heaven! Now you've got me sellers remorse... i'm happy with the Shuttle9.2 but i wish i still had the Thunderfunk for outdoor gigs... anybody wants a trade for my rack with alembic f1x and 1000W poweramp? Oh, the GAS......

[quote name='Chienmortbb' timestamp='1485904384' post='3227690'] It is amazing how many bands don't go FOH to check the sound in a pub gig. [/quote] How do they mix the band's sound? Does each one only worries about being able to listen to his own instrument? Not very professional, especially if they're being payed for the gig... IMO and IME most punters will judge a band for it's sound, if the sound is bad the band is bad and not worth staying in the pub to listen to them.

[quote name='Grahambythesea' timestamp='1485900301' post='3227645'] What's wrong with Superglue? [/quote] If it runs in to the finish it'll do a pretty good job at ruining it. It'll also make it hard to remove the screw for a future pin replacement.

[quote name='prowla' timestamp='1485798899' post='3226807'] The difference is it's not in the bass. Actually, I have a SansAmp which I use to boost passive bass to match the active. I do get the point, and indeed I have said on occasion that the instrument includes the amp and speakers too! However, looking at the component parts, an active bass is one which has onboard active electronics and a passive is one which doesn't. [/quote] I think it's obvious that i was exagerating a bit on this . Active is active and passive is passive, etc... My example was to point out the amount of users saying that they use a passive bass so they don't have to fiddle endlessly with the EQ section of an active bass but then they go and add a preamp pedal to their signal chain to be able to obtain the desired tone. The forum is filled with threads about "achieving this tone" that end up with the addition of a sansamp/vtbass/BDI/etc. In those cases the fiddling avoided on the bass will move on to the pedal, don't you agree? [quote name='EBS_freak' timestamp='1485865531' post='3227260'] You could route your bass and stick the Sansamp in your bass. Probably wouldn't be much wood left in your bass... But then of course, routing for batteries and circuits obviously takes away from everything that a passive has on the "tone wood" front. [/quote] Nonsense! I could fit Chris Wolstenholme's entire pedal board inside the bass with spare room for the roadie. Have you even seen my bass?

Using a preamp pedal allways on EQ'd to achieve the desired tone (as i've read about a lot of BC users doing) between a bass and a amp isn't different from having a preamp mounted inside the bass, is it?

Everytime i play a gig with hired PA company i make sure that the techs know about how my amp's DI work, i let them know that it has a switch for mic or line level, another for pre or post EQ and also the ground lift and let them set it the way they want. For me it's great not being in control, takes my mind of the overal sound and just focus on playing with the band. In pub gigs i generally get stuck with the mixer as i can step in front of the PA to listen the band's mix and correct anything needed. I would prefer to not bother with that.

FB radius doesn't affect action appart from the exception that Dood mentioned. When a bass is set with a very low action the playing attack must be adapted to it, digging the strings harder will make the hit the other frets causing the "choke" and fretbuzz. If the OP want's low action he needs to play softer and IMO get some higher tension strings as the .040-.100 gauge is too soft and the strings will have a bigger travel when vibrating.

Either use a bigger screw (it's not that easy to split the wood, the screw can't be that big for that to happen, if it was it wouldn't fit the strap pin) or fill the screw hole with a wood dowel glued in, drill in a new hole slightly smaller than the screw and refit the pin.

And there's that lot of players that use passive P and J's and say they don't want anything to do with active basses but add a Sansamp (or similar) in the signal chain, thus making their basses "active".

Only way i heard of doing this some time ago was through EBMM directly as they had some NOS ones stored. Now it's likely that they have more stock of them as the Classic line features the mutes.