BassBod

There are so many variables - but I string type is the biggest. on my bass (EUB) I've used Spiros/Labella plastic/D'AddarioPizz /Innovation H and Rockabilly. They all had good points and bad points, but they all worked pretty well. My preference now is for low tension, dark sound so I'm very happy with the Innovation Rockabilly strings. I never thought I'd see £78 a set as cheap. I have also seen a device that adjusts the distance between the tail and body (look on cliftonbasses.co.uk) with the aim of making the bass feel "tighter" or "more relaxed". No idea if its works!

Years ago I met John from Orchid Electronics at a Mansons show (he's Exeter based, and did repairs for the shop at the time). I've used his services many times since (custom DI boxes, repairs, mods, cables) and recommended him often. If you want to raise your profile, and you're local then its a good idea...as long as they aren't charging you a fortune!

For me what was missing was the small independant luthiers ( I know Any Manson was there..and Bernie G). Its a small show but it would be a lot better with more interesting instruments.

He's a real pro, no doubt. But..he gets my personal alltimeworstbasssoundonagig award for Brecon jazz festival about 12 years ago. Upright acoustic in the dreadful sounding market hall - it was baaad..but not in a good way. Not his fault - nothing he could do about it, but it was a lesson in itself.

OOOOOeeerrr......just got another gig booked for that night...further south.

Sorry, if that didn't make sense - what Protium said. The core wire (in the middle, with insulation) is hot.

I'm assuming this is a two-half Pbass pup. My guess is one is North the other is South - there is a magnetic/electric difference but you can put either half in either place. They work as a matched pair. The best guide to position is probably the connecting wires between the two - chances are it is sized to sit in the cavity much better in one direction? The core silver wire is hot and the copper sheild is your neg/earth. Depends on your existing wiring setup, but the hot goes onto the vol pot lug, the earth usually goes onto the back of a pot Barts can be fairly low output, so it may be worth setting the new pup a bit closer to the strings to get a strong signal hope it works first time!

There is a box called an "ebtech" hum eliminator (or something very similar) which has a reputation for fixing persistent hums. But, I think its more important for SWR themselves to sort out a very expensive bit of equipment...it just shouldn't be a problem?

I know my old Grand Prix would hum like a big fuzzzzy bee when racked with the Stereo 800 power amp it was designed to work with (!) but it did have an internal mod to allow a fix (the star earthing that Alex mentioned). I could never work out why..particularly as the older Studio 220 is completley silent. Hassle them..and email MM to let him know!

My gig's been cancelled so looks like I could get there this time...

One quick suggestion - put two layers of masking tape down in front of the nut. That lets you cut the slots down virtually to the fingerboard, but gives you a bit of warning before you go too far....

That sounds a bit different....have fun!

Secondhand, from the USA is your best option to get the configuration you want at a "realistic" cost..plus the risks of shipping etc. Mansons are great to deal with, but they are never the cheapest - give them a good haggle and see what they can do for you? American producers (even the small ones) are generally used to discounting heavily through their dealers, so ignore the list prices as a starting point - its always worth asking.

TI jazz rounds are very very bendy - sound great (warm for a round) but the lower strings are very light and odd guages. They are a softer feel than even the jazz flats...but pretty similar. My vote would be DR sunbeams - a more normal nickel round, but in a choice of standard guages and with a flexible feel (round core, apparantly). Love 'em. BB

I thought the screw was supposed to eat thru a bit to make the earth contact, but you don't tighten too much...just enough to "bite"? My complaint is with the cable itself - I put together two leads a while ago, and they keep curling up. Its quite stiff cable (the thicker one) and combined with its desire to curlup...makes for a useless guitar cable!

In Bath, Neil Perry (Raw State) is fantastic with all things audio..and a real valve enthusiast. He isn't the cheapest but I cant recommend him strongly enough - remember those voltages are potentially lethal (he also works for people like P Gabriel and JP Jones...if that impresses anyone!) He's also a bass player. BB

Well spotted on the Mr Tone controls - a fairly recent addition from our very own Walbassist (a man of taste...and a few splendid basses). It seems to be most useful as a high pass filter, to keep the rumbles away on loud gigs. Not that I'm doing many loud ones at the mo... It really is a dream eq - dead quiet but powerful and extremely accurate. It could easily take you a whole soundcheck to disappear up your own rear port...if you let it. BB

Good point on the looks. My few experiences of the "pro" world have all involved comments extolling the virtues of "classic gear" or "vintage vibe" - and a Pbass, Jbass or clone will (it seems) often be taken more seriously than something like a JD/Status/Alembic/Overwater/whateveryouplay . Now I doubt many (bass players or not) could tell a Pbass in a blind test, from most other basses on neck pickup. My Jazz does a very good P impression..on the neck pickup alone. Add flatwound strings and you're 80% there for "old school". I recently moved my very good "old Pbass" on...and put flats on an Alembic Epic. What a great sound! Classic...vintage...vibey...deep...but also better. BB

The mike wrapped in foam and wedged down the tailpiece is the "classic" way to do it..and can sound good, as long as you're not in a loud environment and have a good engineer. You probably won't hear it at all....but the audience might.

I tend to avoid the issue by asking them to take the feed from my sansamp - engineers seem to trust these more than amp outputs and that gives me only two options (eq/sansamp amp emulation) on or off...but I don't mention the off option. I also don't use any drastic settings, just a little bit of low end boost, and a small amount of fake amp or drive. I'm sure that if "my sound" included tons of low end boost and squeeky treble I'd have problems sometimes! The other benefit of using the DI for your out front sound is that you become a lot less attached to your amp - so I can happily use rentals etc when needed.

Thanks for that - great paying. BB