LukeFRC

Used my stomp live today at church. Passed with flying colours - did exactly what I bought it to do, nice compression and as I play harder it runs it into a nice SVT overdrive sound ... previously ild just end up peaking the desk and getting nasty sounds in my ears, or just having the old Zoom B3n sounding struggling with the input. Given that it’s a first time setting up two patches it went well!

I was wondering that too

Main major difference is size - the full fat stuff looks great in every way ... till I saw the size of it! The stomp is brill and wee.

So yesterday I had a day off and got to sit with the stomp for the first decent amount of time - man that was five hours that went fast! Got a few patches set up for Sunday church.

Careful with plasticoat on top of anything.... test it first as it adheres by melting the first layer of plastic slightly.... as a sculpture student in slightly different uses we found it horrid stuff and used the better and cheaper Molitow graff paint

The one downside of this is how much I’ve learned from reading advice build threads on here, bassich and Talkbass - it’s often in them that the “try this technique” type comments come out. Example being the tuffcab/leather effect funkle went for was originally found in a fearful cab build thread. My guess is more than a few people will build these themselves without the kit.

@funkle - do you want the rest of us adding our builds on this thread?

Beautiful both alder or is the fretless that “sen ash” you see used?

The basses will have Japanese pups and poly finish

Fender set up Squier brand with a Japanese factory (Gakki?) copying original 50's and 60's guitars. The first batch were large Fender logo with small "Squier series" logo on the headstock. Apparently they mostly came to Europe. These are the expensive ones, mainly based on rarity. Unlike it is suggested in every sales advert for anything JV these were Japanese made using Japanese parts (so metric screws!) and there's nothing wrong with that (possibly some of the first JV Strats used US pickups which is where the legend seems to come from). I had one of these in a '57ri P bass, In my view having tried out a fair few P basses if I wanted to get something similar now from Fender that wasn't a JV I would be looking for a USA AVRI '57 from a few years back or a current custom shop. In that company even £1000 for a JV isn't bad value. In my view, yours may differ! They then switched to large Squier logo on the headstock. Like the first batch they were fairly good vintage copies. Over time there were some changes in hardware which 21frets website lists. After the JV range there was a slightly cheaper Squier SQ range, which were not modelled on vintage basses as much. They are also good instruments. After that the go into single letter before the Seiral A, B, C etc. I have no comment on quality except by the early 90's the "silver series" was issued and was supposed to be better than the average. I've had Silver series Squier and it's not that close to the older JV stiff in terms of feel. At this point you're getting a Japanese made Squier rather than anything more interesting. At the same time as making these vintage reissue Squiers for the export market they also made instruments with JV serials for the domestic Japanese market, these would have had Squier or Fender badges. The problem for us now is that they sold a range at different price points, and not necessarily using the vintage correct stylings that make the export JV stuff desirable. Personally I wouldn't pay a premium for a domestic JV instrument - unless I played it and it was worth the asking price on it's sound as an instrument. That's partly because the justifiable hype around the early export JVs mean that sellers of domestic JV's hope that people don't know the difference and pay more, and partly as if your aim is Japanese bass from the 80's there's a whole ton of interesting and lovely stuff out there for the money. My 2p is: if it's a export Squier JV, either with the first series Fender or Squier badges, try it out. Ignore the price for a bit, compare it to other basses and decide if you want that instrument based on how it plays. People who have them tend to keep hold of them for a long time, and there's a reason for this.

PM Stevie

I ordered a 1kg tub, they said it was a 3 month lead time and it arrived about 18hrs after ordering ! edit: link here http://www.bluearan.co.uk/index.php?id=TUFFCAB1_TBL&browsemode=manufacturer

Thing is the smoothness is part of what means dirt won’t cling to it easily

I don’t know enough no! Having spent last night reading up I think I’m getting more of a handle on it. I figure I’ll use the basic compressor to experiment with and learn before using the three band. I need to learn this stuff, firstly as it’s a gap in my knowledge and also Compression and amp sims is a large part of why I got the helix. I seem to have a fairly large dynamic range and hit the strings hard at points - what I want is that not to mean My signal is suddenly peaking the desk. The idea (which is stage two) will be using the combination of amp sim and compressors to change tone as I hit the strings louder so there is a tonally large dynamic range but not a massive volume difference.

So I’ll still learning about using compression, but what compressors are ppl using best for bass? I’ve found a million and one ways to sound bad, have got some great ok tones on the three band and the studio compressor

And probably weigh as much as the cab!

We are waiting!

http://drtonelab.com/?fbclid=IwAR2fRWJLdx2Dg6uH0jRLirDA0uZjaXWXemQK-Iq7Z1xWy5hsYczVtFxh1iQ some of these have some good ideas in them

I’m not being facetious - but how do you avoid this?

I'm not disagreeing with you at all, but I've always found it interesting how much my playing sounds like me playing a bass, regardless of the bass. Other people pick up my basses and sound so different. (usually better). Different basses of course sound different, and some fit with my playing and some don't. I tend to think of it that the pups type and position/ strings/electronics are going to have the fundamental effect on where the bass is going to sit tonally. The specific pickups, and woods and construction technique I think are often contribute the "voice" of the bass- in the same way my voice is different to yours. Of course if we were singing BV in a band, the finesse of the voice is going to get lost to a certain extent.

I think what I was thinking is that if you high pass it around the tuning freq you can test if the high excursion is because the power of the amp is really good with transients, or if there is something going on below thetining freq which is giving the high excursion.

I don't really get GAS when I see photos of basses... this though I like the storage stuff under the window - what's the thinking with how that's laid out?

You’ve seen this site? http://www.zinfanus.com/zoom_b3/cabinets/index.htm out of interest - and Stevie May be able to tell us having designed the cab and done the maths - but if you use the HPF on the B3 can you dial out the knocking sound by taking out the subs? Ie is it the power of the amp or subsonics that cause the high excursion?

Fly screen and pet mesh is a fairly common idea in some of the old Fearful builds. Pet screen would probably work better than my fly mesh. I stole the idea from @2x18 of this parish who has used it to great effect on his fearful