BassBod

32" scale plastic coated are really few and far between - the rotos are the only ones I can think of. However, flats in general opens up a few more excellent choices - Thomastik flats are available in 32" and getting them from Germany avoids extra UK taxes. Same goes for the Pyramid Golds, as used way back when - these are fantastic for the 60's sound. Get the set made for the Hofner beatle bass, and that should be a good fit (the Hofner is 30" scale, but also has a long tailpiece to bridge section). I don't think extra wrap around the tuner post will cause a problem - but flats can "move" where stressed, so don't be surprised if the windings open up a bit. I'm afraid basses with shorter scales/tailpieces can be a bit hit or miss with strings. BB

I've got the same set (32") but on a fretless, so I always think its my fault! I've tried a few types of plastic strings on 34" scale basses, and there is something weird about the roto's tuning - its all a bit undefined. The Labella's are very different, with a clearer sound and better intonation, but they don't do a 32" scale set (and come with warnings about breaking if they don't fit well). BB

I put a set on a J bass a few months ago - very nice, but also traditional. Output is fine, sound is what I'd expect from a good passive J. If you're wanting something brighter/more aggressive/slappy then its worth looking around for "overwound," split coil or active options. One thing is to decide if you can live with single coil hum - it bugs me, but I love the trad J bass sound (or souped up with Aguilar outboard preamp). One day I'll explore the various split coils that claim to have the same sound...it never stops, does it? BB

I've had this a lot - he was just trying to get a clean sound, and take an unknown variable out of the equation. It may seem unreasonable from a players' perspective, but does also make sense. Some players use extreme amounts of eq that can be hard to control front of house or for recording. You will often find that amp DI's give you a choice of "line/direct" and this is the same thing - direct being pretty much the same as the signal going into the amp and line allowing the tone shaping of the preamp circuit and effects loop to be included in the DI signal. For me, I don't make any fuss when the music suits a clean sound (jazz, folk, EUB) but for rock/blues I try to use a good passive DI box from an amp output (preamp out, or effects send) that allows the preamp sound to go to the desk. Using a passive box usually avoids any complaints about noise and hum - which is the other reason engineers sometimes don't want to use an amp's DI. I also try not to use eq in any extreme way - keep it clean and gentle! The sansamp is another great option..provided you like its sound. BB

Nice to see the old jazzer is still getting out and about...now you've got me thinking about black Stingrays....ohh deeaar BB

The EA cxl112 is a great cab - very revealing, and a bit of a shock when you first try it. Much more midrange than you normally get out of a bass cab, and that translates in a band situation to hearing everything you play. Bit like a DI experience - you either love it or hate it. A couple of times I've had sound engineers take a good look at it, as they've been very impressed with the way it projects sound. They are pricey new, but come up secondhand for around £350 - 400? BB

Pickups - no problem (as long as they fit!). As for the strings, not knowing what type/guage you're using, but I'd +1 on the Thomastik flats on a Jbass, really great tone and a very flexi feel (but not if you're going for a Marcus sound..). Also DR Sunbeams - nickle rounds, pretty flexi and a very good all-rounder. They're expensive (don't buy in the UK?) but last for a while. BB

That's just a bit weird..isn't it?? I wouldn't reply...it could get stranger....just walk away...quickly. BB

If you're lucky then swapping the wires around on one pickup will work fine - but if you're not lucky you may find that you don't get the "humbucking effect" when both pickups are full on. I've had this - its because one pickup also needs to be reversed magnetic polarity as well as reverse wound. If you do a google you can find more details, but from what I remember there isn't a standard between makers, although a pair from any maker will be fine you can't rely on single pickups from different makers working as a pair (even if they claim absolute vintage fender authenticity..) BB

Funny thing is - white plate looks like it was made that way, tort looks like a former sunburst that's been stripped....or is that my fevered imagination? I'd go for the stripper every time, of course. BB

I use a Radial ProI - the cheaper passive box. Never had any problems or complaints (but I sometimes did when I used active DIs....running from an amp output). For a good cheap active DI look at Orchid Electronics - excellent for passive basses or piezo pickups on acoustic things. BB

I use Grado SR60's with a Cafe Walter headphone amp - both fantastic. Not cheap, but not daft either. Also makes a great portable hifi, with an ipod. BB

PRS from what I remember - Robbie Shakespeare also uses one, but I can't think of anyone else...they weren't a great success. I think they only made them for a few years. BB

I've only got finger noise with one pickup (Fishman) and I actually like it in some circumstances, but I know what you mean when you hear it in isolation. My experience is that strings don't make an enourmous difference, but some brighter metal strings are really really squeeky for the first week or two, then settle down to be the same as others (like Innovations, with a "nylon" core, or the plastic Labellas). My Clifton bass was built with a small rubber pad under each bridge foot, and I think Mo Clifton said this was to lesson the finger noise with the Fishman pickup (he used them or the Wilson a lot before the Realist was made). I've no idea if it works, as I've never removed them to see if its worse... If you can blend the pickups, that's the best solution with various different pickups. I think you can also reduce the output of a hot pickup with a small resistor...but I'm not the person to ask. Its also worth checking if each pickup is supposed to feed a particular channel of the preamp (or just swap them to see what happens?) Orchid Electronics are worth a look - John can make all sorts of custom blenders and preamp/DI boxes that may be more versatile than the K&K (although they seem well thought of in the acoustic world). BB

I'm no expert, but the bridge pickup looks like late 60's/70's to me (with the blade magnet) and the neck pickup looks like a Guild humbucker - a bit of custom work by a former owner? BB

Shameless plug - I'm selling a lovley fretless J - see for sale section (if you can get to Bristol...the gig bag isn't really up to shipping!) BB

After a few tours with a small stack (only one 4x10) I decided I could happily gig/tour with rented amps (usually Ampeg) and rely on my ten year old Sansamp for house and stage monitor. You have to set it up carefully, esp the blend control, but it really does the job. If I already owned an Aguilar setup like that, and was happy to shift it around, I'd try a good passive DI (Radial) run from the amp's preamp (or effects send..) to hear the real tone of the amp is. They've got a great reputation. Then you could use the sansamp more as an occaisional effect, just to dirty things up for the louder bits?? My experience was mainly on blues/rock gigs, so the bass sound wasn't critical...it just had to warm and a bit fuzzy! BB

I've used an SWR stereo 800 for years - not very powerful on paper, but always sounds excellent with the Goliath II. It does get hot, and has a noisy fan...but nothing you'd notice on a gig. I've also got an Alembic preamp, and it sounds really good run into the front of a Euphonic Audio 500. In fact it sounds great run through everything... One thing to watch though, the Goliath II or any other cab that has a significant mid-cut (most 4x10s?) means a re-think of the Alembic eq settings. You have to really crank up the mids to get clarity...and go lightly with the bass end...but you probably know that already! The best all round cab I've used is the EA CXL112. Not very big or heavy, very clear clean sound and works surprisingly well as a monitor on bigger stages. BB

Worth mentioning that the "highest profile" job I've auditioned for didn't involved any reading - not even chord charts. You just get a phone call, a time and place, and a CD posted to you by the management. Then you don't so much get judged on your playing, but everything else (sound, gear, looking for cues, coping with key changes..) as well as looking the part, getting on with people etc. It seems to me that music is increasingly illiterate. The older jazz guys are the only people I know (other than theatres) who ever use standard notation. Knowing your way on Pro-tools and being comfortable recording to a computer screen is far more important it seems. Its a dodgy old game...but fun, sometimes. BB