mcnach

That's strange indeed. One thing that might help anchoring is putting the string back through the slot after a half turn. I do that with guitar strings, especially the plain ones. It should help with the thicker bass strings too although I never thought it would be necessary. Just to be sure: the string is losing its anchor then, it's not about the windings being a bit loose and settling in etc, right? It's the actual anchor being loose and the strings ends up being detached?

As always, being sensible is desirable. I tend to leave my switch at the 2 ohm position. That automatically limits the power somewhat when using a 4 or 8 ohm cab, which may help. I only do it because of simplicity and that I like how it sounds. I use one cab alone frequently, for rehearsals.

The B word that cannot be pronounced will soon take care of that...

For a small ding I've used nail varnish.

Do you anchor it in the tuner? As in putting the string down the hole, then sharply bend it? That alone is enough to keep most strings in place, even without a full turn winding (I sometimes have cut the string too short by mistake and found it was stable). Do you have a picture? Been using DR strings mostly for a decade now, Fat Beams, Hi Beams and recently Sunbeams and Pure Blues, and never had an issue like that. It's intriguing and I would first think of a string being incorrectly fitted... but you don't sound inexperienced so I don't know. A picture would be useful. Any chance the string core broke and it's being held by the outer windings only?

Mesa D800+ with a pair of Two10 here, playing mostly funk/ska/reggae but also Rage Against The Machine, RHCP and more... It's just mighty. Great combination.

Not e-pic! Slap LIKE now!

FX pedals with LEDs so bright that you can't see what each knob is set at

amplifiers without a mute button

1) Don't they make chrome AND nickel? I was convinced they did, but it's been a while. Mine certainly seemed to match the other tuners (chrome) 2) the ones I've had (a few BT-1, a BT-2 and a BT-7) looked just fine, the lever matched the rest. 4) I'm with you there... I really dislike reverse tuners. I owned a Classic 50 Precision for a few years and never really got used to it. 5) Being somewhat 'vertically challenged' I never encountered this problem 9) why would it be more logical the other way around? Unless you're lefthanded, of course. With the pedals in front of me, if I plugged into the leftmost one, the cable would get in the way between myself and the pedals.

I'm not a fan of the one in my VM4, so much so that I'm going to remove it. I like it a lot in passive form, even with the limited tone control that it has in passive form

I imagine it's whether the cable joins the two outputs in series or parallel. If in series, you double up the voltage, in in parallel you double the current.

I only have experience of the Soul Food and the Mojo Mojo. The Soul Food is better than the Mojo Mojo, but still not fantastic. I would suggest the TC Electronic Spark Booster or the Valeton Tube Refiner. Both are very good at low gain warm sounds, and can get some nice overdrive if pushed.

So sad to hear... I hope it's just a temporary glitch, I thought he was moving to a larger workshop sometime in the past few months and that his health was better. He builds superb cabs. I've owned six of them (keeping a pair of S112 as a compact, light and great sounding solution)... I hope he's ok, and that he catches up with the backlog soon. As sympathetic as I am towards him, the OP should not be in this position. Fingers crossed! @Contrebasse did you buy other cabs by now or are you still waiting to resolve this first?

That's freaky!!! I have a translucent green one. I bought it on eBay. For... £40. When? In 2010, so nearly 10 years ago. Where is it? With my brother!!! 😲

Yeah, I was very disappointed with mine. I sent it back.

I'd say skip the single and just go for parallel/series. Keep it humbucking. Single is a bit too thin by comparison, generally, with the parallel giving you a better option...

TKS S212 is nice and light and great sounding.

So maybe it *is* worth the 200 after all. If my LMIII goes, I'd spend the money. I really like the amp and I can't buy something I like as much for that price, so...

My girlfriend has one of these Standard Series in some kind of burgundy metallic type of colour. It's a very light, comfy bass with a thin neck, like a Jazz. It sounds pretty good stock, I've borrowed it a couple of times for gigs... pretty impressed with it.

Me too. But not when it comes to something I have being said it's 'terrible': if I like it it's all I need. You need to discern. Otherwise I'd probably be playing a Precision with flats and talking crap about active instruments or some such, you know what I mean? The OP starts by stating that he's heard the Jazz bass bridge is terrible, without any idea of why it is so. It's not a good starting point.

I would trust more your own judgement and experience than what other faceless anonymous people say on the interwebz, when it comes to things like this.

That looks really good!

In what way are they terrible? I see some people changing them (while common, it's far from being a majority), but I have never found the original bridges lacking, and it would not be just Jazz basses being affected, as other instruments use the same design.

Is it that the new glue is delicious? Are they going to have to change it again?