brensabre79

It's a popular mod these days. I like the blocks and binding too Ones on the bay can be hit or miss to be honest. Especially as there's a lot of people cashing in on the popularity of the 70s blocks & binding look these days. I've done this with a Squier VM neck (the older type with satin) on a P-bass body, it looks the bomb, fits properly and plays well too. I'd spend a bit more on an allparts one (they come up on the bay occasionally) or get yourself a secondhand Squier VM.

Same here, this is great news!

I think it greatly depends on the gear you're using and what sound you want to achieve. From the output of the bass onwards... but in general I think it's not good to have some flat out full and some barely on.

[quote name='allighatt0r' timestamp='1400079543' post='2450543'] Out of curiosity, is the pickup spacing on a Squier Silver Series the 60s spacing or 70s spacing? [/quote] I would say it's probably 60s. Most Jazz Basses and derivatives are. Even some 70s reissue ones are 60s spacing. The issue many have with 70s spacing is that the extra 1/2" makes the bridge pickup just a bit thinner sounding. I've compensated for this with electronics on my bass but I hardly ever use the BPU on its own because it's just too nasal. I notice quite a difference between this and my 60s spacing American Std Jazz.

I've owned enough basses (especially Fenders) to know: If you have a neck you like, keep it! If you want a tight fitting neck join don't buy a Fender! Give it the old switcheroo, at least that way you can see the sort of compatibility you can expect and if it's more like what you're after... As long as you keep the rest of your Geddy Lee bass, you can always return the neck to it's rightful owner if you decide to sell in years to come

Mine's got one stacked knob EMG BTC (and an S-1 switch on the vol for that matter), but have matched the knobs to the originals. I doubt anybody can really see the difference to be honest. Only you would know...

Conan I believe it will. Nice combo by the way I don't think the neck pocket specs have ever changed. As long as its a licenced Fender body it should be fine. I think people run in to problems with non-Fender copies where the neck is rounder or squarer at the heel. Stick with the genuine article and you should be fine. Loads of bodies on the Bay - some fully loaded - although if you want the Badass and EMGs not really much point... I have a '74 neck - so the older 4 bolt 70s style like a Geddy, (mine's got white binding though and it's like a tree trunk compared to Geddy) I've had the neck on 3 different bodies, and I also had a Squier VM neck (the slimmest I've found except for the Geddy) on the same 3 bodies with no drama. If your Geddy truss rod adjustment is at the heel (like mine is) then try and get a body (and scratchplate) that is already routed for this.

I love EMGs personally. On their own they are far too hi-fi, but in a gig situation the entire band noticed the difference. The lead guitarist has a great ear and remarked that there was so much air in the sound that, even cranked up loud (the way i like it on stage), I wasn't 'getting in anyone's way' sonically speaking. That said, on my 70s Jazz I have Wizards in - but whilst I love the sound, whenever I use that bass we seem to get into a volume war. When I use my bitsa with the gold EMG pickups in (P/J) there's never an issue. +1 for swapping the necks on those two, I can't stand the black binding either. I notice they just started making the Geddy Lee with pearl blocks and white binding... what a shame it's waaaay out of my price range.

Also, dont forget that double power doesnt equal double volume...

+1 for getting another one the same. Mixing different cabs is a minefield as you won't really know how they work together until you're gigging with them. But needless to say you can expect different tone and volume outof different cabs - making it tricky. I would get another PF210. SImple as that.

My Mustang is a '68 competition stripe blue, and doesn't have a recess in the body unfortunately, so any adjustment has to be done with the neck off!

Forget the UPS. For your average gigging musician an RCD on the plug in the wall followed by an extension lead with Surge protection will cover the most dangerous of eventualities. We've done gigs in lots of places with dodgy power, some with blackouts. The thing to worry about if the power goes off is the valve amps - they can fry pretty easily if it comes back on and they are not in standby. First thing we do if the lights go out is put the valve amps on standby. The rest should be fine with the RCD and Surge Protection. Beware of the Serge:

Great track, and some impressive mixes. It just came down to personal taste in the end for me.

[quote name='HowieBass' timestamp='1399384162' post='2443678'] There's a tension and gauge calculator here [url="http://www.stringbusters.com/stringfaqs.asp"]http://www.stringbus.../stringfaqs.asp[/url] so you can work out how the load on the neck will change from an EADG to a BEAD tuning. If the online calculator is right then you'll actually see a net [u]decrease[/u] in load (where for steel strings it indicates that a 130 tuned to B pulls 31.47 lbs and a 45 tuned to G pulls 42.43 lbs). Obviously the actual load experienced depends on the string type and manufacturer but overall I think from tables I've seen elsewhere that a G often pulls more than an E and the highest tensions are usually found with the A and D strings. [/quote] Yep that pretty much sums up what I thought too. I think the balanced tension sets I've tried out are about 45-60-80-110.

Squaier VM range are great value IMO. And on the subject of Ebanol, a number of high end fretless basses have ebanol fingerboards as standard because of its consistent sound and sustainability. So whilst technically it [i]is[/i] a plastic of sorts, it should not be considered inferior - just different. @AttitudeCastle, I prefer a P with a Jazz neck, you see where I'm going here.... Sadly i must also resist as i just spunked the holiday fund on a Lakland D'oh!

As long as it's done right. i.e. nut, set-up and truss rod adjustment it should be absolutely fine. You might need to widen the slots in your Gotoh bridge a tad too. There's no difference in the mechanics of a 5, 6 or even 10 string bass from a strain point of view, the truss-rod counterbalances the pull of the strings. Although you'd be surprised how littel difference there will be in the amount of strain, the strings are larger, but tuned lower, under less tension...

Ah no worries. There's a version I did for my Jazz bass a while ago on here somewhere too. That had a Series/Parallel switch on it instead of coil tap

Quick update on this. I tried the .0047 (as it arrived in the post yesterday). I popped it on a DPDT on the tone control and went out to my gig. Well it made a huge difference. I was really pleased with the result too. After i'd wired in the above circuit, with the pre-sets and started using a compressor, alot of the volume issues of both pickups disappeared anyway. Adding the capacitor mod basically gave me another tone to work with. In short (no pun intended), with the capacitor in place it sounds like that classic Ric tone. lots of bass and some quite pronounced mid/treble from the bridge pickup thrown in. Switch it out and its scooped like a Jazz on both pickups. Another interesting sound is with 50% BPU, 100% NPU and the capacitor in place. So I have about 7 quite distinct tones as presets on the bass now. 14 if you include the coil tap! I'm chuffed to bits with the mod, so thanks for your help guys

I'd agree with what said about genre's. We cover songs from 60's to present day, what we do is try and get 3 or 4 of a certain genre and put them together. We don't go chronologically or anything, but we have a few Ska tunes, a few Britpop tunes etc. The reason for this is the dancefloor. Sure there are stable floor fillers. But we have found for example, the opening sax honks to Night Boat to Cairo gets all the men up on the floor. Break in to Blondie straight after that and they will leave. Keep them up for 3 songs and they are likely to stay for Atomic because they've got into it now... We have our set divided in chunks like this, and often switch things around a bit on the night. Reading the crowd means we don't suddenly find everyone vanishes to the back of the room. Of course it's not always about filling the dancefloor. But we have found it gets us booked back alot, probably because dancing people get thirsty