booboo

Cheers guys, I suppose what I'm really asking is should the most even string balance change from low volume / headphone amp to high volume / rig? All the more confusing as it's the opposite problem with one bass to the other.

I have a J with rounds and P with flats (original I know!) and both decently set up with a nice low action. I set the PU height with my Cafe Walter amp and Grado phones which are pretty transparent and all seemed well. I'm finding though that on a gig the 'E' string of the P bass is very weak, and the 'g' on the J is also weak through the same rig and with the same eq. Should I go back to the drawing board with the PU heights, or is it likely an amp eq or some other issue? Any suggestions appreciated.

All round good-egg is stealth. Totally trustworthy. Package arrived safe and quick.

Could be par for the course. I've had two AVRI 62P necks that I had to run at near max on the truss rod to give a slight relief with low tension strings (TI's). If anyone has a 62P neck that can take a set of heavy labella flats and stay straight with some adjustment left then they have done well.

Any advice for swapping between basses / string gauges. I run a P with flats and J with rounds (predictable I know) and feel comfy on either one, but always struggle swapping from one to the other between days - never mind between songs! They are similar gauges and both basses are set up to be as close to each other as possible, but when I swap I'm pretty sh*t until I get used to the change. Any advice from nutters that happily swap between different basses during a gig appreciated!

I replaced the Le son piezo with that HT-30 that you put in the op. 10 min job - I'll post instructions if you like, and the difference is night and day as far as noise goes. I'd used the combo for recording, and people around me found the hiss from the tweeter during quiet sections annoying although it didn't bleed into any mics and I was DI'd. Using the VLE as a tweeter atenuator does work to kill the hiss, but also chops off some highs. the foam in front of the tweeter is not a bad idea if you want to leave it as is, it does work ,and the hiss is only an issue if you are not doing a loud gig tbh. I've not needed to use an extension yet, but plan to get the matching NY121 cab used on here when funds permit. If it has the same tweeter I'd be tempted to put an HT-30 in that as well. I'm not slagging off the combo - far from it, its a great bit of kit and I think this mod is well worthwhile.

Your'e right, the VLE does kill the hiss by chopping the top end but also fundamentally changes the eq/voicing of the amp much more than just a bit of noise reduction. I've replaced the tweeter in mine with no ill effects and now not only his free, but with (IMHO) a sweeter, refined and more open top end.

Bought Ryan's ISP Decimator. It's the second time I've done business with him and once again faultless with no issues. Good trustworthy bloke.

[quote name='molan' timestamp='1388576622' post='2323494'] It is pre-filmed but not in August, lol. Rehearsals didn't start until 9th December! [/quote] If they filmed it in August every year they would end up looking tw*ts eventually when one of the older guests or performers dies before NYE!

Avoided. Did Jules manage to display his 'versatility' by playing his same tired boogie-woogie style in a sh*t cover version with all his guests?

What settings do folk use on the BDDI to replicate the Ampeg sound with a passive fender p or j with all the knobs on 'full'?

[quote name='mcnach' timestamp='1387329375' post='2310873'] Oh! So I'm not alone in disliking the tweeter in this otherwise fantastic combo? How did you disable it? Does it entail anything other than opening it up and unplugging it? I have no idea! But if it's not complicated, I'd like to try disabling it too. It just adds a very fizzy high end that I find irritating. [/quote] [color=#282828][font=helvetica, arial, sans-serif]I've replaced the Le son piezo tweeter in mine with a Stage Line HT-30 Minature Horn Tweeter. £12-13 online, remove (4xphilips screws) grill, remove (3x philips screws) tweeter. Use a large file / small saw to enlarge the cutout at the bottom until HT-30 drops in. The wires are push fit, blue + black - . The results are so good in terms of reduced hiss and nicer highs that I was tempted to contact MB to suggest they made this a change to the current design. I then realised my combo is still under warranty so I'm keeping quiet in case it blows up![/font][/color]

Yet to try the extension cab. I keep saving the pennies, but end up blowing the cash on other bass related junk before I've got the £300ish required for a used ny121p. I've used the 102p that you have, and had no issues. If it was a bit boomy I'd tilt it to the monitor position which seemed to help. Maybe that was just the onstage sound that changed rather than what the rest of the room heard though tbh.

The problem with filing down nut slots is there are two heights. Too high and too low - very difficult to hit the sweet spot in between, and when you do you'll always think it could go a bit lower until it gets too low and the fret buzz starts.

The rear ported CMD121p is very room dependent, and you have to tweak it's location to suit each venue. Sometimes in a big room it needs to 'bounce of a wall, but in a small place with plenty of volume I'll often move it up on a chair and away from the wall to keep definition. Like many MB users I tend to run things pretty flat, but along with placement there should be enough tonal options with the mid controls and filters to get the sound you want in most situations. I guess you could say this about nearly all half decent combos though.

Is it best to tune intonation at the bridge to the harmonic or the fretted note at the 12th fret? For those of us more likely to be playing mustang sally than portrait of Tracy surely it's the fretted note?

Had to do this to a fairly expensive AVRI with good results. It gave me the room I needed for adjusting the action with height to spare either way at the bridge. Advice about the nut height is also true - from (bitter) experience the correct amount to shave the nut down by is about one file stroke before you say 'oh bu*ger I need a new nut now'! Difficult to judge and take it slow. Same with the shim - you don't need a door wedge in there, just a strip of card/plastic/wood.

You could stack thin washers tho the right height on the screws between the pup and the body. this would be solid and wouldn't move, but although the foam seems a bit old school it does give you real micro-adjustment.

I find the same with just walking through standards. Sometimes it seems like I can't do any thing wrong, and other days the brain and fingers just don't seem to be connected. Maybe early onset dementia? I do find that if I start with simple ideas things seem to 'grow', but if I go for it straight away and try to be clever I crash and burn pretty quickly.

Just bought Dan's Boss pedalboard. Easy deal, well packed, quick postage, and honestly described. Good bloke, and well worth checking out his playing on the youtube/facebook linkys.

Try lowering the 'e' string side of the pick-ups?

I have TI flats on the P and TI jazz rounds on the J. Similar gauge and feel to you don't have to change your technique so much going from one to the other. The rounds are very mellow as rounds go once worn in (what some would call dead) they are just like the flats but with a little bit of growl if you dig in a bit which works great on the Jazz.

Legend, but a grumpy old bugger nowadays apparently.

Has the neck/bass been unstrung? If so, once the nut/neck have sat under tension for a few days the glue might not be needed.

Ryan is a top bloke to deal with. I bought his MXR octave pedal. No dramas, quick, good communication and honest.