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The gun vs pencil soldering iron has been thrashed out above. Solder: traditionally, 60% lead / 40% tin with rosin core in the thinnest diameter you could get was historically the solder of choice. With modern legal limitations on the use of lead, you might not be able to find this alloy. When you go shopping for solder, ask an electronics supply store what is currently "legal," and get the lowest melting point alloy recommended. And make sure the core is ROSIN core -- stay away from acid core -- it is only used in industrial applications.

[quote name='Stealth' timestamp='1360061586' post='1964098']I have a mojo vintage pup i was gonna use.[/quote] If it is a single coil, it may or may not work well with a P pickup, because even if it has great mojo on its own, it may not work with a humcancelling pickup, and may induce noise or imbalance into the circuit. That's why I recommend a Fralin. You order one, you tell him the application, and it will come and exactly match what you're wanting to do. It's worth it.

If you do add a pickup, the best way to do it is to add a noise-cancelling Jazz bridge pickup so that it will be compatable with the Precision pickup, and add another hole to the pickguard along the same arc and spacing as the rest of the controls so it is wired standard Jazz-style V-V-T, moving the Precision volume to the new hole, the Jazz bridge pickup volume in the vacated hole, and leave the tone as a master tone and the jack as is. Recommended pickups: Fralin split-coil Jazz, DiMarzio UltraJazz, Seymour Duncan vintage stack Jazz, Fender Noiseless Jazz, or other comparable pickup. With the original vintage P pickup, I'd be more likely to go with the Fralin, and it is easy to add the extra pot it takes and rewire it to V-V-T. Routing is straightforward, since it is an established mod, and I'd choose the '70's position to have a tad more contrast with the P pickup rather than the '60's position, since the P pickup is a little closer to the bridge than a vintage Jazz neck pickup is, but has a rounder tone due to the way the coils work together.

Adjust the pickups a little bit closer to the strings and crank the amp pre-gain a notch.

I like to retain a little more mids when I back off the tone knob, and so I went with orange drops mainly because I could get the intermediate value, .033, instead of the more common .047, a lot easier than with other brands of caps. The radial leads are very easy to manipulate and solder well. I'm not sure I notice a tonal difference compared to other kinds of capacitors, disc, mylar, etc., but on my bass it does sound great.

I've had a DiMarzio Split-P. It doesn't need a preamp. It was designed as a drop-in for a standard Precision pickup. Just wire it conventionally and it should be just fine. And if you want to add a J-bridge pickup later, it matches particularly well with a DiMarzio UltraJazz bridge pickup in standard V-V-T P-J wiring: [url="http://www.dimarzio.com/sites/default/files/diagrams/pj_2v1t_std_series.pdf"]http://www.dimarzio...._std_series.pdf[/url] [url="http://www.dimarzio.com/sites/default/files/diagrams/pj_2v1t_std_series.pdf"][u][color=#0066CC]h[/color][/u][/url][url="http://www.dimarzio.com/sites/default/files/diagrams/pj_2v1t_std_series.pdf"][u][color=#0066CC]ttp://www.dimarzio.com/pickups/bass[/color][/u][/url]

Either/or would solve the override problem, but it would create two others: 1) the inevitable "pop" that would occur switching the active in or out, and 2) equalizing the output so that there was not a large volume drop between the two circuits. If you're absolutely set on having both passive and active, the only real solution is to have two output jacks and two amp/speaker setups so that each pickup has its own discrete signal path. I still would recommend the more conventional approach. After gigging bass and experimenting with wiring schemes of all kinds on both guitar and bass since the summer of 1976, I can wire anything for a bass for any purpose. But on my own custom fanned fret bass that is the main instrument I gig regularly with, it's still just P-J V-V-T wiring, with only a couple of tweaks: [url="http://basschat.co.uk/topic/174777-and-now-for-something-completely-different-in-a-pj/page__hl__%22fanned+fret%22__fromsearch__1"]http://basschat.co.uk/topic/174777-and-now-for-something-completely-different-in-a-pj/page__hl__%22fanned+fret%22__fromsearch__1[/url] That said, on my Ibanez SRA305 5-string I have for those songs that require it, it has the Ibanez "Phat II" control, which is their version of the EMG EXB (probably even the same unit under license), which for what I play is a very versatile control that raises bass and treble and cuts mids simultaneously, like a variable "vintage-to-modern" or "variable-slap" knob. The reason I mention this particular control is that my Ibanez SRA305 has two of the EMG HZ passive pickups, wired V-V-T, then into this control. It has unity gain, so using this control may also be an option to get the tonal range you are looking for.

Some really bad jokes come to mind....

Yes, check the physical alignment of the switch to make sure nothing is binding on a rout, or that a wire hasn't gotten caught up in the switch.

Send your current pickguard to Pickguardian and they will do a perfect copy of it to fit your bass, if you feel you must spend the money....

Go active. You get the effect of a passive '51P by turning the treble knob down a number or two on the preamp and setting the bass knob "flat," to emulate the "loading" that 250kohm pots and a .1 mfd tone capacitor do in the original circuit. I can see how having a bass with a '51P pickup in its traditional position and a MM pickup in its traditional position would be a versatile bass. But wire it straightforward with both pickups going into the preamp conventionally, either with a volume knob on each or a master volume and blend, then through the tone stack and out. The more you wire, the more there is a chance something will go wrong at at gig. Especially with bass, the simpler is usually the better. And since you have a noise reducing pickup in the MM, I still would go with a "split coil" '51P pickup.

Lindy Fralin also makes a noise cancelling version. Great pickups.

We play bass. The mod retains treble. Why?

Trying to run a bass with both a hi-z and lo-z (active) simultaneously is not usually a good idea. There are those basses which have passive as the "backup" for active if a battery goes down, but batteries are so cheap and plentiful, and thankfully most manufacturers make battery compartments accessible, so it should not be an issue. It should be an either-or, not both. One signal will override the other, and not get a good blend. Detail: most Fender-style passive hi-z pickups use 250kohm volume and tone controls for the proper circuit "loading." By contrast, EMG's classic active pickups use 25kohm controls. The EMG website used to have a manual (I don't know if it still does) that gave all the reasons why this is a bad idea. The issue is deciding whether or not to make the entire bass active or passive, and then what pickups. I personally do not like single coil pickups due to the noise. If a SC P-style pickup is desired, I'd get one of the end-to-end, or "split coil" pickups like Lindy Fralin makes. Moreover, since this style pickup is made on what is essentially the same as a Telecaster bobbin, it has a larger flange and mounting requirements. It is not as straight forward as mounting a Precision or Jazz pickup. I would rethink your project from scratch. By the way: the traditional placement of a single coil precision pickup is just about a pickup's width upstream from a Jazz neck pickup. Rickenbacker pickups are on the double octave and triple octave nodes, with the 4003 "one-inch" neck position a little more downstream than the double octave node.

Since the EMG has its own internal preamp, I'm thinking the EMGs are overpowering the MEC preamp.

Any standard J-bass wiring scheme will work, just substitute the hot lead of the P pickup for the hot lead of the neck J pickup.

[quote name='Dingus' timestamp='1356730283' post='1913094'] I would look for a good condition used post 2008 American Standard , and the Basschat For Sale section is where I would look for it . Apart from being great basses , the added bonus would be that if for whatever reason you wanted rid , you could get your money back out of it with little or no depreciation . [/quote] +1.

This is the time-honored, proven product that will take the goo and not disturb the finish or the plastic pickguard/scratchplate: Goo Gone. [url="http://www.amazon.co.uk/Goo-Gone-Cleaning-Liquid-29/dp/B003BQRQ02"]http://www.amazon.co...9/dp/B003BQRQ02[/url] or [url="http://www.axminster.co.uk/goo-gone-prod376969/"]http://www.axminster.co.uk/goo-gone-prod376969/[/url] or even probably at a local store that sells home hardware or cleaning supplies. After removing as much of the sticker with the edge of a fingernail or such that won't harm the finish, then a few drops on a soft cloth will take the rest of the sticker residue off with just a couple of rubs.

[quote name='gruffers' timestamp='1356383430' post='1909861'] Red P. White Scratch. Maple board. Easy. [/quote] Exactly. And the red colour has to be the same as used by Coca-Cola, since "Santa Claus" as we know him in modern commercial Christmas and holiday adverts is based on the original 1931 Coca-cola marketing campaign: [url="http://www.adbranch.com/coca-cola-santa-claus-1931-1949/"]http://www.adbranch.com/coca-cola-santa-claus-1931-1949/[/url]

After reading the above repartee, God, I'm getting old!

The traditional price point as to good versus overkill has almost always been the "street" price (good deal on a good day, not the "list" price) of an American Standard Precision bass, or slightly less than that for new bass, and 1/2 to 2/3 of that for a good used bass. This is because an instrument in this price range will be above the mass-produced level of beginner instruments, and will have quality wood, hardware, electronics and finishing, but not necessarily be esoteric in any of these aspects. In other words, a standard workhorse. What tone are you after to compliment your DB playing? If you are needing a "standard" electric bass tone to compliment certain songs in a standard jazz/dance band gig, then yes, a Precision bass with its signature clean tone and chunky neck are still the standard. Even my custom bass is derived from a P, with the custom modifications to fit my personal ergonomics. There are many brands and models of electric basses out there. Every person on the forum will have their recommendation, as opinions are, well, everyone has one. Fortunately, build quality overall at all price points is higher than it used to be. But for a standard doubler, I'm still a fan of a P or possibly a P-J (a bass that has a Precision bass pickup in its traditional location and a Jazz bass pickup in the bridge position), if the J pickup is hum cancelling, if you need a variety of tone rather than just a basic (pun intended), clean electric bass tone. Strings: Since I "triple" (i.e. double bass, electric bass and tuba) I feel qualified to compare strings. Once you get your bass, then a good set of strings that will last a long time is not the same as a set of double bass strings that can last a year or more. Rounds have the shortest life. Flats have the longest, but not necessarily as long as a set of double bass strings. The set of Fender flatwound 9050CL in gauges 45-60-80-105 have similar characteristics in tone and feel as double bass strings, not too zingy, not too thumpy, and have good longetivity and value-for-money. Other options are GHS or similar "Pressurewound" strings, that actually compress the windings. These also have a good tone that is not too bright or too dark, and last a long time. Many folks are devotees of D'Addario Chrome flats, and they are great for traditional old-school rock, blues and rock-n-roll tones, but I find I need the added growl (think Spirocore) of the Fender flats to be as versatile as I need to be. Of course, at the brightest end of the spectrum are the Rotosound Swingbass and other stainless steel roundwounds, which are very bright, but will lose the brightness after several gigs. Most rockers play some sort of nickel plated rounds, like GHS Boomers, D'Addario XL, or similar. At that point, it's all preference. Hope this helps.

[quote name='apa' timestamp='1356033513' post='1906119']I see you went for the fan to start at the nut as apposed to having the 7th perpendicular. That because of the donor neck? Im aiming for the 7th prep myself. How was it getting hold of strings? Im assuming since the E was 34" you could use standard sets. A[/quote] Thanks. The primary reason for starting with a square nut is my ergonomics and all my old injuries to my elbow, wrist and thumb coming back to haunt me, so the elbow and wrist follow the neck and I do not have to pronate my wrist or duck my elbow under for the upper registers. The secondary reason is for being able to use conventional strings. Currently I play the Fender 9050CL custom light flats in 45-60-80-105. Even though it is based on a Precision, there are Rickenbacker elements in the scale of the G string, the P position pickup, the narrowed string spacing, and the narrower neck heel, so it has some similarity of feel to my Rickenbacker 4002 (yes, "2," not "1" or "3.")

[quote name='apa' timestamp='1355950945' post='1905015'] Good stuff I cant use a stock pickup though. Its going to be a fan fret so I was thinking of 2 jazz types side by side at an angle. Im not actually looking for 'That MM sound' just something close. Thats why I thought an MM pre would do something for it. Seems not though. Since they will be custom made I could have them made with the big MM cores and windings and use a J-Retro. That would make life alot easier for me actually. A[/quote] Look at Sheldon Dingwall's basses for how he slants pickups. I also did a fanned fret bass, which is my #1 gigging instrument: [url="http://basschat.co.uk/topic/174777-and-now-for-something-completely-different-in-a-pj/page__p__1632811__hl__different%20fanned__fromsearch__1#entry1632811"]http://basschat.co.u..._1#entry1632811[/url] Two items: 1) if the Jazz pickups are rotated enough, the mounting flanges will clear and you can possibly get the coils a little closer together; but, 2) rotating the pickups effectively narrows the polepiece spacing of the pickup (remember your basic trigodometry), so you will need to make sure that the strings will still go over the center of a single polepiece, or between the polepieces of a 2-poles-per-string jazz bass pickup. Or, you can obviate the issue by getting a rails pickup, like a Barden, or a Bartolini, which the Jazz models usually have two small blades and two coils to make them noise cancelling. On my bass, the pickup in the "P" position is a Rickenbacker humbucker that has blades, and the bridge pickup is a DiMarzio UltraJazz neck pickup with the strings narrowed on the "bolt stock" bridge to keep them going over the middle of each pair of polepieces.

[quote name='stoker' timestamp='1355915841' post='1904308'] If you had one of the J coils reverse wound you couold have the switch as series/parallel/coil tap for even more options. [/quote] J-pickups are RWRP to begin with. All the OP needs to do is wire them together. [quote name='neepheid' timestamp='1355918115' post='1904374'] Something like this?[/quote] That's a start, but it will still sound like a J with more midrange. Compared to a true MM pickup: The placement of the pickup is close, but still different. The coil geometry (width, height, number of turns of different kind of wire) is different. With the polepieces, being a single large slug per string per coil, the tone has more "attack" than a J-pickup; And so on.

All the folks on RickResource.com, and even on the Gibson site, now recommend Zymol. My Gibson J-45 accidentally experienced some pick thrash from a friend, and the Zymol made it all but invisible. [url="http://www.premierbodyshops.co.uk/zymol/zymolshop.htm"]http://www.premierbo...l/zymolshop.htm[/url]