Circle_of_Fifths

[quote name='Ou7shined' post='1004631' date='Oct 28 2010, 04:57 PM']That being the case you should know that "nonce" in Brit English in the main means something slightly [url="http://www.urbandictionary.com/define.php?term=nonce"]different[/url]. [/quote] I wish youse guys would learn to speak the King's English! Maybe Bill Shakey* meant that in his prose when he used 'nonce'. I shan't use it any more though - thanks for the tip! * William Shakespeare.

[quote]lojo Posted Today, 12:40 PM Mate, do you ever stroll past the their bins[/quote] Never tried that - they prolly have a guard with an AK47 near it. That's the funny part of your English and mine. 'Bins' here are usually something that holds parts for assembly - like a parts bin or a bin of flour or rice. But I followed your statement after I tried to form the mental image of just how I might be walking past their bins of inventory for guitars. All I'd need is 5 minutes and a very large box, methinks! [quote]LawrenceH Posted today, but I'm not too sure what time it was Circle of Fifths, I agree with most if not all of what you say - in case I wasn't clear, I wasn't saying one or the other is necessarily superior, just pointing out some differences between US, MIM and Jap basses that hadn't been mentioned yet. Whichever pickup set sounds better to me out of the MIM Standard Vintage and the US Vintage 75s will be what stays on the bass, I couldn't give a monkey's where they're made as long as they have that sound! Very interesting to hear some of your insider info by the way, cheers.[/quote] Just call me Joe; 'Circle Of Fifths' is so formal! Totally no offense taken nor did I think your were being defensive. I was just trying to post something about the olde wive's tales and what Fender does or does not do with their line of gear. The economy here - and there - is really taking it's toll on people and any security they have. Extend that to big corporations and they are running around like chickens with their legs cut off. Thankfully, Fender has the Whole Squier line on which to fall back for the nonce. I too love an underdog (Squier) once in a while. The VM-Squiers are derided by the blue-blooded Fender owners of what they consider the ONLY Fenders that are supposed to be called so. They even dislike the MiMs as they consider them also interloping upon and sullying the line. You know - when I am posting here to an obviously Brit site, I try to watch the colloquialisms and trite terms we use here in the States. As such, I find I drop into what I feel is 'more proper' terminology. It might make it easier on youse guys to understand without me trying to compose like Geoffrey Chaucer. Just strikes me funny, that's all. sigh - I truly miss [u]listening[/u] to my associates from NZ and the UK

[quote name='4StringFortress' post='1004563' date='Oct 28 2010, 03:40 PM']There are a few acoustics I have been looking at i cant decide between the Fender Kingman, Ibanez AEB 10E, Takamine EGB2S or a Michael Kelly Firefly. Can anyone help tell me which are the best out of these? If anyone has any more suggestions for an acoustic bass for under £300 please let me know please? =].[/quote] Of course, I believe that I have the best for the money. One funny though - I was in the acoustic guitar-humidity controlled area at my local Guitar Center one day and as I walked near it, a Dean Playmate just ripped it's own bridge off the sound box. All by itself, it did! Makes me want to buy one of [i]THOSE[/i], fer sure!

[quote name='webby' post='1004476' date='Oct 28 2010, 02:25 PM']Yep[/quote] Obviously, they don't have much of an on-duty luthier in the store. Offer to take that defective one off their hands for a discount. Once you get it home we can fix it in a couple of posts here and you'll get a good deal. You can always mail me a certified check some day.

[quote name='stingrayPete1977' post='1004481' date='Oct 28 2010, 02:27 PM']This is my semi acoustic bass its an Ozark which I beleive are quite well known in the irish folk scene? However its a nice bass and well made for the cash. They are great for acoustic jam nights as most the other bands just use a normal bass through the desk which is a bit of a cop out IMO. Like someone else said about theirs I too find it a little heavy on the bass side although mine is an early version with just tone and volume pots so I think its maybe all part of the acoustic bass sound. Slightly OT but has anyone tried lowering the action on one? I have grown to like a lower action over the years and would like to reduce it a little bit, Is it just a case of skimming a bit of the plastic bridge blade if you know what I mean? Ta. [attachment=62448:up_ozark.JPG][/quote] I've dropped the bridge nut on a couple of my classical guitars, and it's not hard. You can do it two ways: 1) hit and miss with remove/cut/replace/test or 2) carefully measure what you need to remove and just do it once and be over with it. If you try either, it might be a good idea to find what the turn around is to get a new one if you somehow make a mistake. It can happen.

[quote name='webby' post='1004192' date='Oct 28 2010, 10:37 AM']The one in the shop had some space underneath the pot.[/quote] Between the Tone pot knob and the Control Panel? That's the problem I think then. That Tone pot knob is way too high!

[quote name='LawrenceH' post='1004199' date='Oct 28 2010, 10:48 AM']Don't the standard/deluxe USA necks use a different construction with graphite rods in? Probably good for stability, no idea if it affects the tone (although I'm beginning to realise that necks do play a big role in shaping the sound of a bass). Plus the HMV bridges/through stringing is probably pretty good for those who like that sort of thing. Obviously those features don't apply to the reissues.[/quote] I cannot say for certain, as the subject hasn't been broached by me with my neighbor's son yet - but I know the rods are in a lot of the MiA gear, but I don't know the whole story. The actual machine work on the neck blanks is all CNC and I imagine it's no biggie to swap a program to allow for or not the carbon fiber rods anyway, let alone the position of the truss nut. I personally would only replace the bridge with a HM or whatever for a particular reason if I felt that I need more or less glassiness or brilliance from the voice of the instruments, and I eschew the idea of just putting one on for bragging rights. I firmly believe that the bridge is the sonic portal to the ablative qualities of whatever tone wood characteristic the bass possesses. [quote]Regarding pickups, I have a Jap 75RI and the original (supposedly US) pickups are decidedly lacklustre, not like 'real' US pickups. On the other hand, the ones in the MIM Classic 70s are great. Note that these are 'Standard Vintage Alnico' (same as HWY1) and don't seem to be the same as in the MIM standard. I now have some US Vintage 75 pickups waiting to be fitted to see if there's a noticeable difference, I would also like to compare to US Standards/Custom 60s all in the same bass.[/quote] I feel there are many ways to wind the bobbins or wire size or ever potting material - and so there is a wide spectrum of possible voicing and timber from the p'ups. Also the type of magnet material/composition is something to be thought of too. Alnico verses IP or bar-magnets are all going to have interactions that vary greatly from the string cutting their fields, generating voltages. Also on the assembly line, it's not unlikely that with low-percentile product testing method criteria, (batch sampling) that a few going toward low- or high-end tolerances may skate through when the ones tested are within normal limits. [quote]Build quality of my Jap bass is good, though the poly(ester I think) finish is THICK. The MIM was let down by poor finishing around the nut but was otherwise fine, and a lovely neck to play, though again it's a thick polyester on the body. The US ones I believe have a thinner polyurethane.[/quote] Somehow I feel this is purely a Japanese deigned requirement by their local buyers that like heavy finishes. It just carries over to the exports and that's just the normal variable that should be kept in mind if one doesn't like that situation. This heavy applied coating is a little over-the-top for me too and just feels too 'plastic-y' for my taste, although I like a glossy neck - but not THAT glossy! [quote]The neck on the MIM is significantly lighter than on the Jap, though both are similar profiles. I wonder how that affects tone?[/quote] May be the thickness of the coating? I dunnow. I am still out to lunch on the opinion for the neck making much tonal shifts via it's finish - but I am coming around to the harmonics and interacting with- or being- the fomenting reason for the mysterious dead 'G-string at the 4th-6th position' quandary. [quote]The tuners are brass on the Jap, look like steel on the MIM, though I prefer the latter since they're lighter and the Jap ones combine with the heavy neck to give a bit of dive. Am considering changing them over.[/quote] One oddball thing I noticed is that my MiM gears are 0.050" smaller in diameter than my MiI VMs and even my MiC Affinity Squier Precision. Go figger! [quote]Finally, I don't think you can get ash bodies with MIM basses, only jap and US.[/quote] I don't think there's any smoking gun there though. It's just braggin' rights I feel for someone to be able to say their bass is 'better' or 'superior' to others for the wood they paid a lot extra for - since I don't really think of wood as adding [u]to[/u], but only selectively taking [u]from[/u] the tones. Think about the actual cost variable from one wood type to another on a piece-by-piece assessment. How much difference in jobber price can a square foot of wood make the final cost so different in ONE bass body to raise the retail price so much? They both have to be cut, sanded and finished, so I cannot pencil-out any gross amount of differences there. This voice or timber quality of a variety of woods may or may not fill the needs for a particular player - but I have some serious doubts that any one wood is superior for it's broad spectrum qualities, tone-wise, that is. One wood may TEND to be one way or another, but as a blanket statement for overal effect, no. There are seriously too many package variables to consider, I feel. What I DO seriously believe is that the wood in a solid body - not being active (no batteries or amplification energy other than the input from the vibrating strings - provides a one-way trip to it's black hole for vibrations). Other than being a nice place to mount the head and strings, I see it as rather an arcane aesthetic and the only categorical/musical value is as an ablative, never an additive device. The nitro paint on the RWs is SUPPOSED to be the 'secret' formula to it's tone. I don't think so, as the worn through spots would let all the magic sounds escape anyway. lol Overly thick coatings may ultimately soften attack somewhat - or harmonics or whatever - but thinner coatings, even when they are worn through {eg: RWs} are just bubble gum logic I feel if one actually thinks they make a better voice from the instrument. I am still awaiting a 2AM epiphany to make this all clearer in my head, if only once so enlightened I can remember it the next morning.

[quote name='neepheid' post='1003457' date='Oct 28 2010, 02:29 AM']Heh, I just sold one of those Ibanez AEB10E basses, the dark violin burst is very nice looking, they're medium scale (32") which had surprisingly little effect on my muscle memory, nice acoustic sound (but like any other acoustic bass, too quiet for anything more than jamming along to a (quietly played) song), plugged in it had a robust sound, not too harsh like some piezos I've heard - if anything it was a touch bass heavy with the EQ flat and I had to rein it in a little. Has some nice features like built in tuner (which made it ideal for why I had it - practising songs for an upcoming gig in my lunch hours at work), XLR and jack output, and most curiously runs on AA batteries instead of 9V PP3. I also had a Takamine acoustic a while back, also a fine instrument. Ultimately I got shot of mine because it's an expensive luxury to have lying around the office doing nothing when you don't have 24 songs to learn in a short time and the pressure's on![/quote] I have the AEB10 in black:: .......and love it dearly. It's warm and has a great thump-twang to it with wound bronze rounds on it. I have some Martins that my retailer installed for me for free. I made than part of the sale anyway. I've hear guys insist that they sound lots better with flats or nylon-wraps on it - but, gee, this is a specialty bass and the stock bronze-y sound is really great. One of my favorite bassist, Nathan East has a video of him playing what inspired me to rush out and buy an AEB for myself, although I got a 4-stringer. [url="http://www.youtube.com/watch?v=l4hv_8TXFWg&feature=fvsr#"]http://www.youtube.com/watch?v=l4hv_8TXFWg&feature=fvsr#[/url] If you have a sub-woofie on your 'puter, now's the time to turn it to 12 o'clock! Just listen to him and the sound of that bass!

[quote name='webby' post='1003310' date='Oct 28 2010, 12:18 AM']Great, thanks Joe (if that is your name). Ignore my question in the other thread, as you've answered it here.[/quote] Yup - that's my name - Joe. I can post the pix here too -

[quote name='webby' post='1003308' date='Oct 28 2010, 12:16 AM']Can you give me some info about the vol/tone control issue? Is it easy to fix?[/quote] If this is to me and about the Jag knobs - you can re-adjust the height of the lower knob by resetting it in a slightly lower position on the shaft. You need to compress the flat spring under the Tone knob a little to get the detents to work correctly and to stop dragging around the Volume knob. The knobs should not touch each other. The knob is held onto the shaft with a tiny setscrew and it is really simple to fix. It seems that 1) the factory misses the correct position a few times out of a dozen or so, or 2) the set screw isn't snug enough to hold and the knob slips upward toward the Volume knob on the same concentric shaft.

I live very close to the USA Fender facility where they machine the necks and body blanks. Many of them are shipped to Mexico where they are hand finished and then painted and assembled there. The same assembly procedure is in the MiA plant, but the people there are more supposed to be full-fledged luthiers, not just artisans. Ultimately the final shaping and sanding of the bodies and necks is done at each facility - but there can be some differences in personality in each and every bass or guitar too. I think fear is a great motivator in the Corona USA plant and the fact that the high-end market is pretty flat with sales still in the long drop, that there may be a little more emphasis on QC in the States with people clamoring for [u]any[/u] job and a lot of great luthiers are out of work, waiting to take the place of a malfeasant employee. Enter the MiJ and CiJ units and you have something that may appeal to many people - but you know that all the Japanese cars have little or no personality as they feel like they are cookie-cuttered and each and every one of them is the same as the last one and the next one. That may or may not be a good thing too. As an example - don't you miss the Morgan or the Austin when they were really Brit cars? There was absolutely NO consistency in them fer sure! I like consistency, but clones are something else again. 'Uninspiring' is a word that comes to mind and 'pride of ownership' is another. Back to the MiMs. The necks are all machined in the Corona plant and shipped to Mexico: this I KNOW as a fact!. (Neighbor's son works there) The electronics are all off-shore procured for all the Fenders anyway - and there can be Quality of Design differences, however I think it's more differences in assembly as most of the electronics and electrical parts are pretty much modular now anyway. The active ones, for sure and maybe less so, the passives. Painting and assembly is quite another story. The MiMs are all hand assembled, and although the MiAs are too, follow-through and QC can run a large gauntlet South O' de Border from 'Before Cervesa' to 'After Cervesa' attempts to build a guitar. American labor is totally aware of their personal replace-[i]ability[/i] factor, while Juan and Juanita don't seem to give a rat's rectum. There's the 'mañana' attitude too to consider. But - I digressed there for a few lines. I own a really superb MiM Deluxe Jazz that outshines every MiA that I've played and felt except for one - and that was an RW (but I hate to say it since I cringe at the RW concept - [u]totally, dude![/u]). No - I think it's an individual thing in the appreciation of anything that helps someone create artistic things: music, sculptures, finger paints, etc. I just like having so many choices and lots of differences. MY boat needs to float the way I want it to. I think blindly saying that all MiJs or CiJs are perfect in every way isn't the whole truth either - not that I'm making that accusation at all. If I can afford it and it sings for me - then I buy it. Simple. I don't look at the logos. [b] That said:[/b] I don't really look at anything that doesn't have a Fender head shape or says Ibanez on it though. .

[quote name='webby' post='1002738' date='Oct 27 2010, 09:22 AM']I tried one of these in a shop today, and both Tone controls 'took' the Vol controls with them when I turned them, and I was very careful not to touch the Vol control. Is this a known issue?[/quote] Yes it is. But it's not a problem if you understand the dynamics involved. The upper knob is dragging the lower knob around as it turns or vice versa. The TONE pot clicking-detents are supposed to hold against that happenstance - but that assumes the set screws are installed snugly enough to hold the knobs on the shafts exactly where they need to be. The biggest culprit is the lower know rises up and rubs against the upper knob because somebody didn't a) put it on in the correct position in the first place or b) the set screw wasn't tight enough. You have to loosen the lower set screw and push the knob down toward the panel to compress the flat ring spring just enough and then re-snug the set screw. It's simple - not rocket surgery but somehow there is little-to-no communication in the field how to do this simple set up.

[quote name='webby' post='1003076' date='Oct 27 2010, 02:04 PM']Had 20 mins in a shop today where I tried out a VM Jaguar, a VM Jazz, and a VM Precision. They all felt nice, and easy to play, although I thought the Jag had a bit of neck dive, but I didn't try it with a strap, or stood up. The jag had a problem with the controls actually. The concentric stacked VOL/TONE controls were sticking, so when I changed the tone, the vol changed. I was careful not to touch the vol control. The guy in the shop reckoned that the vol is disengaged when you turn the tone pot but I proved to him that wasn't the case. I think I read somewhere on here about this being an issue, but it being easy to fix. I can't find the post in question now. Other than that, I didn't really have much time to judge the sound of the basses. I was just getting a feel for them really. Before I left though, the guy suggested I try a Bass Collection Jazz Bass. It was what he uses and he claimed that he was very happy with it and in particular, felt the pups were really good. I don't know anything about the Bass Collection brand, so any more info would be great. Cheers.[/quote] When I got my VM-Jaguar, it was still in the box and I opened it and the first thing I got from my buddy who works at the store was a blank stare. The I told him to plug it in and he was floored at the growl and sheer power of the p'ups on it when he played it. I also have a VM-Jazz and a Fender Deluxe Jazz which is, of course, active for p'up comparison. The P I've done some 'work' on isn't fair competition though so I usually leave it out of any p'up-v-p'up contests. [b]Pound for pound[/b] - the p'ups on the VM-Jag sound like an active system as they are so powerful.

[quote name='simon1964' post='997421' date='Oct 22 2010, 10:49 AM']Accidental - although I like to think of it as "evidence of a hard life" rather than damage [/quote] It could also be the first line of defense in previous bar fights too.

[quote name='Lozz196' post='999649' date='Oct 24 2010, 11:49 PM']Fair opinion there, that way all "wear" on the bass is down to you. Differs from me tho, all three of my US P-Basses are 2nd hand, and couldn`t be more happy with them. I understand the buying it new theory, though I wouldn`t have had the near grand needed for a new P-bass, but could scrape the £500 each time, through a bit of juggling my finances. And I still got 3 amazing basses for approx half what they cost new.[/quote] Yeah - it's JUST an opinion too, but I may break a rule soon if I can find a trade to get another bass for a guitar I have up for SALE/TRADE :: But I won't likely sell it across the water as the shipping and insurance and taxes are prohibitive. The fact that you've been successful in your endeavors ([i]no 'u' in endeavors here[/i]) and have bought ([i]there IS a 'u' in that one![/i]) some nice gear used and gotten so much performance from them means something too. What really frosts my cookies (UK= biscuits) is that you guys pay so much for a Fender. I know they're kinda expensive here - but you guys get hosed! I've got friends in Australia and New Zealand and they get it in the shorts too - er, money-wise. .

I may come off as the Ugly American here - but I have only one time bought a used bass. It was a great bass - full of tone and sustain and great looking. But it wasn't 'mine'. Follow me here? After a 47+ year hiatus from playing anything but a stereo and CD player - I bought an Ibanez SR500 for my first 'return to the scene' basses and it's prolly the only bass I ever wanted from that point on in my life ---- for a while. The Ibanez is great - I still have it and play it regularly - but I've branched out into the 'F-brand' - which Ibanez fanbois cannot even say. The used bass? - I flipped it for twice what I paid for it and immediately bought my Deluxe Fender Jazz and that was the first and last time I will/did ever buy a used bass. I like the newness of something that I buy - it still has that new-car smell - can you understand that? Pride in ownership is another thing - but that usually gets a fierce argument from those who like RW or pre-funked gear. I just don't, really. I love the SR500 as well as all my Squiers and Fenders. I would not have done any purchases differently than I have so far. What I WISH is that I had considered a P/J Fender a long time ago. I have one now in the form of the VM-Jaguar. Happy - happy - happy. If happiness is important to you and you can afford it - then I'd always recommend NEW.

[quote name='stingrayPete1977' post='999144' date='Oct 24 2010, 10:52 AM']Sound like the full size open tuners are standard [b]now[/b] then? Im not sure how old my P bass is but the Jazz is a 2006 and both had the weedy little ones that wont hold in tune.[/quote] Not too sure where 'now' begins and ends, but I've got a 1999½ Squier Affinity Precision, and it has the open gears::: The Squier Affinities are a little smaller than the MiM Jazz though::: As far as quality goes - the Squier can hold it's own against most P's now since when a p'up croaked, I replaced them both with some from a Peavey P-style bass and then added a .1uFcap on a toggle switch and the ROTO 77s. Super chunky tone and deep resonance and lots of power. The wood has never been a consideration - but I am sure it's not a primo-type wood. It is just a place to mount the neck and strings I feel and quality of wood means very little in my opinion. I play this bass whenever a P is required and it's great feeling and sounding. Smooth, no fret sprout and it doesn't have any scratches, buckle rash or dings in it at all - but that's how all my gear is. I keep all of it that way.

[quote name='buff' post='989853' date='Oct 15 2010, 04:11 PM']I also bought one about a week ago, and fine the jazz pick up all or nothing on the tone. Not sure if it would benefit from a set of basslines pick up's or better pot's. Lovely to play, just not sure about the tone.[/quote] I can't figure that from you as I have a tremendous variety of tones and I can go all the way from ultra Motown to very glassy and brilliant. I bet you've got a tone pot knob with a slipping set screw. Remember that you have to take the VOL knob off to get a good setting on the TONE pot and press the knob down to preload the detent spring a little before you tighten the set screw.

I was on the side of the fence for neither the P or the J camp. They both are great designs and both have amazing capabilities. The P has the Motown bottom covered and the J can get into Guitarland for tones and timber. The along came the Jaguar - and the P/J setup is just very amazing to me. If I had it to do over - and I had a time machine - I'd go for a Fender HotRod and/or all the P/J combinations I could find and buy. WHY? Well - although a P/J cannot BE both basses, it can come mighty close to each of them and together the P/J p'ups blended, are a whole new world. A purist or just a nut case - and I include myself here - will argue that a P/J cannot be equal to either bass - and that's totally right in my eyes. BUT for versatility and application of multiple voicing and the ability to switch between them and even blend them both on the same instrument - is just so empowering for the player in a live playing situation. You need a P-sound? Dial in the neck p'up. You need a J-sound? Dial in the bridge p'up. You need sumpthin' different? Blend them both. { [i]As much as I would like to play that Frank Bello, I can't pick up something so gruesome. Too bad they don't offer one a in 'Naked-Style " since I wouldn't be caught dead with one as ugly. [/i]} It would be like dating a really ugly woman and having her wear a bag over her head so your friends won't see her face. ......... OR wearing a bag over YOUR head and one over her's, so your friends won't see you dating someone that's so ugly that YOU don't want to be recognized. ......... Or wearing a bag over her head, one over yours and ANOTHER bag over her's --- just in case the first bag fails.

[quote name='gary mac' post='980144' date='Oct 6 2010, 09:46 PM']Thanks for the heads up, that looks like an excellent product. It would seem it's used on cars and boats over here. Think I will order a bottle and give it a go.[/quote] Yeah - I used it on body work for customers and myself. One product that I really like - well, two really - are [b][color="#FF0000"]Meguir's[/color][/b] and [b]Mother's[/b]. If you get [b][color="#FF0000"]Meguir's[/color][/b], get the '[i][b]Deep Crystal System ~ Step #3[/b][/i]'. In the Mother's line, get the [b]California Gold[/b] or [b]Yellow Wax[/b] version - this is a paste in a flat can (tin?), but don't be afraid of it - it is very easy to work with and won't freeze on the surface like [i]Simonize Hard Shell[/i] will. If you ever get a wax that freezes and won't buff out 'cause you left it on too long, just apply [u]more[/u] and it'll work right out for ya.

[quote name='squire5' post='979176' date='Oct 6 2010, 02:29 AM']Anybody like this idea?I was tired of my VMJ's shiny black scratchplate getting er.. scratched,and looking grubby.I didn't like the look of it in that condition as it detracted from the good look of the bass.So I scratched it! With a green scouring pad! All over! It now has a matt finish which I think contrasts with the shiny body lacquer admirably. I like it anyway.What say you?[attachment=60660:Scratchplate_002.jpg][/quote] Not my style - but very interesting. If it doesn't shine - I make it shine more so. I use a very high quality carnauba wax to make my instruments shine better n' new and I've got a 13 year old Affinity P bass that looks better than the day it was new. Since I play primarily with my thumb, my fingers of the right hand tuck under the G string and the nails can cause a little scratching - but the carnauba wax fills them in to new condition. For anyone who's interested, don't get a liquid wax that has a product in it called: CARNUBA WAX" as it's an artificial product - very good and all, but not for our purposes. The real bean wax you want is "CARNAUBA" - so look for that on the label. The higher the carnauba content, the more costly the product. If you get it overseas, it's called 'Mother's" or "Pro Wax" without any cleaners or fillers. It should smell like a sweet candy. I totally filled and polished out some pretty severe buckle rash on the back of a Les Paul Special bass so it was really like new. Carnauba will fill scratches! Carnuba will not. I digressed - sorry.

[quote name='TJAS92' post='980020' date='Oct 6 2010, 02:57 PM']Ahh right, Maybe I've jus got a bad one I guess, A little unfortunate but what can I do hey [/quote] I'd pull the PG and the control panel and have a look/see at what's going on. Yours isn't normal as far as I can see. If you've got an Ohm meter, I'd test every connection and value of the V & T pots. I don't believe in 'bad ones' and there's always an answer to something odd. A human designed and built it - a human can figure out any misbehaving characteristics of it too.

[quote name='TJAS92' post='975642' date='Oct 2 2010, 05:50 PM']Did you happen to have any trouble with the pickups?, Because mine kept failing and it was cutting in and out at gigs! so I have had to replace them with the pickups that came out of my jazzy b deluxe![/quote] Wow - no, I've never had an ounce (UK= gram?) of trouble with anything on it yet. [u]Let me also put a short scale up for brightness and clarity of the three Squiers I now have. [/u] [b] With the deepest and least crystalline tones : the Squier P bass. With the tightest MIDs and still a lot of thump : The VM-Jass Brightest tone of all and even has serious low-end rumble ; VM-Jaguar. [/b] All three are different by quantum levels for voicing and timber. Output power is another consideration. The Jag has the most power output according to where I have to set the GAIN of the amp. The VM-Jazz is next and the P comes in last, but still honks although in a somewhat different way. I'd say that the Jag has about the same passive output as a weak active bass.

[quote name='lanark' post='973300' date='Sep 30 2010, 02:39 PM']Well NOW I just want to see that paint job [/quote] [center]Love [size=5][font="Comic Sans MS"][b][i]K.K & Ignatz![/i][/b][/font][/size][/center]

A 'bad bassist' will not be working much and therefor one won't hear them unless one goes to garage band open mic nights. C'mon - how many times do the cameras actually hold a shot of the bassist anyway? You could show up naked and not too many people would even notice, let alone in a wizard's outfit. Many times you can send in an MP3 of you playing and then you can get a beer and watch the crowd FROM the crowd on the floor in front of the band. All the audience cares about is that there's some low notes and they keep on happening for the dancers to find the groove - but bass-groupies don't exist in great numbers, so the audience has no idea from where the low notes are coming anyway. Another trait for a bad bassist is one who cannot hear the song in his head - can't hear the rest of the group - has little appreciation of the homogenized sound of a group that is tight and can play without a practice session and still sound good. Maybe the biggest sign of a bad bassist is one who doesn't increase his musical repertoire. Just build a song book and keep adding pages to it all the rest of your career: You can't help [i]BUT[/i] get better. I gigged a BBQ this last Saturday and a few 'talented people' wanted to try their hand at playing - OK, that's fair as it was a no-pay gig anyway. One guy came up with a Lakland or Lake-something bass and was fingering the lines he was gonna play for a song he knew - HIS ONE SONG! Really! I plugged him into my amp and although he was nervous - his real problem was that he had learned how to move his fingers for that one song with no spatial relationships to the music - nor did he actually hear the rest of the band. That was sad. He could finger the notes, hit the right strings and even held the bass pretty well - but he had no musical soul. Really sad.