mcnach

I would not worry about that. It's merely a pad switch. The label seems to imply active = higher output, which is simply not true. Active and passive basses come in all sorts of outputs and there's no hard rule about it. For example, my Stingray is not particularly high output, it matches a passive Precision / Jazz quite well... G&L L2000 in passive mode is one of the loudest things on Earth,, louder than any active bass I've ever owned. Neodymium Entwistle pickups make any passive bass scream... etc. Of course, if you boost the low end control to max on active basses, you're probably going to overload a normal input... In other words, it's not active/passive... but down to individual designs and what you do with them too. I always try the passive option first, and only if it overloads the input I switch to 'active' input. Engaging the 'active' input never sounds as nice, if the amp can take your bass in the 'passive' input, in my experience. I prefer amps with simply an input gain control (many these days)... then you simply adjust the input gain to suit.

Looks interesting! Thanks! Could be a very useful tool when working on new songs too that we've recorded at rehearsals, rearranging things etc.

I have to say that your bass is much more to my liking. As you may remember, I mis-specced the colours on mine (ended up with a redder purple than intended because of a mistake I made, and I specced the 'vintage tint' when I had in mind the 'yellow tint')... so while yours wasn't either exactly the combination I was after, I think it looks fantastic. If it plays just a fraction of how good it looks, it must be amazing

Finally! Summer this year might have been last weekend Over here you never take a warm sunny day for granted.

That amp has seen better days... but I have one just like it and it sounds pretty good. I bought it back in 2007 when I needed a little practice amp, expecting it to be disappointing just like every little bass amp I had tried until then... but boy was I wrong. I have no idea about the bass, 'though.

I liked that!

I owned one and sold it... and my girlfriend is buying it back

If I'm loosening it, I don't bother. If I'm tightening it... it depends. If it feels tight I do, if it doesn't I don't. Most adjustments are very minor so it doesn't seem to matter much... but the safest would be to loosen up the strings if tightening the truss rod.

Well... my 50th will be this summer, and it looks like I'm getting this: Most people would probably aim for something rather more upmarket... but I'm very happy about this one

You and your fetishism...

I hope it works out for you

Playing at the Ska & Northern Soul festival yesterday in Berwick upon Tweed... while we're not exactly either fully ska or Northern Soul... but it went pretty well. I only got my hands on a little mobile phone video of one of our newer songs... It was fun. https://www.facebook.com/jose.d.heras.7/videos/10155999696566273/

I hope they don't... because I'll end up buying one The new Squiers are really good 'though. The CV series in particular, they're great instruments with nothing lacking. When you compare them to what you used to get from a Squier, you realise the extra money is justified.

Years ago I bought something similar (not the same ones 'though) and they worked well but the glue was not very strong and they ended up moving about and losing a few frequently. I hope these ones are a bit better.

I've done various things. On a lacquered maple neck, I've used black marker to paint big dots. They do get erased over time but they're easy to repaint. Done carefully they look good too, and they're easy to remove without leaving marks. On rosewood fingerboards, a bit of tippex works well and it's also easy to remove without marks.

Ah... a Sire won. I have to say that I haven't tried many Sires... but they were all very good. Good choice!

I gigged mine a few times too. It sounded great and required no 'upgrades'.

J&D Jazz for me. It felt and sounded glorious. I know some people changed the pickups but I *loved* the sound of mine. Rough fret ends are sorted in minutes, don't let that put you off. Alternatively... a used Squier Jazz. It's hard to find a bad one if you stay from the Affinity range.

The pickup can be pretty microphonic, even if it doesn't sound bad. But one I had I just put a Wizard Thumper on it and it was pretty decent. If someone wants a cheap but decent Precision, this would be a good option. I still have one, converted to fretless. I preferred it to my Japanese beautiful natural/maple Fender which I ended up selling. The neck has a deep profile but it's not very wide. I wish it were a bit wider (and shallower). But it's a comfy neck.

I did get it and it was fine. Nut was cut a bit roughly but no worse than in any other budget bass (I bought a replacement, they're cheap). Fretwork was reasonable (minor fret levelling to get the best out of it). The finish will not win prizes, but it's not bad either, it just shows some minor imperfections in the lacquer... it clearly was made fast. It looks good, and the tint was exactly what I was after. They did a reasonable job replicating the logo of my original Squier. It's not identical but it's ok. It is fine. Nothing more. Which is no less than I expected. If you do your own setups and are happy levelling the odd uneven fret and cutting slots on a new nut, then it's just fine. I end up having to do that in a lot of the instruments I buy, no big deal.

I'm the same... but with a Jazz bass. I've owned more Jazz basses than any other type by far... they just don't quite do it for me, but if I don't have one, I just need to get one. Weird!

And your reaction to that didn't get you arrested? I admire your restraint!

That sounds like typical Stingray to me (as in, that's what I go for and I use one 90% of the time - a lot of the times when someone 'demos' what they think is a typical Stingray sound to me it sounds blergh)