denki109

If you're reading this you will know just how brilliant this bass is. 

Leo Fender invented the P Bass with Fender and refined it while at G&L. And this example dates back to the mid-80s. 

It genuinely sounds like a Precision Bass on steroids and, when employing the OMG switch, this passive instrument will leave any instrument in its dust. 

A previous owner had added a scratchplate to the instrument and I think it looks great. In addition, it appears that the back of the bass neck has been sanded and oiles revealing a bit of beautiful flame in the maple. 

The nut width is just above a Jazz Bass width at 39.5 mm. 

It plays beautifully. 

It's not too scary in the weight stakes. According to my bathroom scale, this beast comes in at 10 lbs.

Yes, it's got a few dings. But that's because it's been used and loved. 

Truss rod works as it should and the bass comes with a non-original hard case. 

Were it not for a car repair bill, I would not be selling this. But, alas, desperation means that I have to part with a much loved instrument. 

Give it a good home. Please. Priced to sell. A vintage G&L from the USA for only a wee bit more than a Tribute. 

Is this still available?

I am looking for a Dimarzio Model One pickup. 

And I'm offering one of the following pickups that I would happily trade for it:

- Seymour Duncan Quarter Pound Precision PUP

- Wizard Semi-Thumper Precision PUP (a custom wound pickup that is at the sweet spot of 10k)

- Nordstrand Big J Blade Jazz Bass PUP

If you have a Dimarzio Model One that's gathering dust and fancy one of the above pickups as  trade, please reach out. 

So it's become a P with the option of PJ-infused goodness should you have the desire or inclination. 

It's a zombie thread that I am reanimating here but, yes, the world wants to know - how'd you get on Fretmeister?.

Is the BT7 D Tuner still available? If so, please send over a PayPal invoice to [email protected]  

I will settle up ASAP. 

Thanks. 

- Andy

I had a feeling it was Basswood. The spec sheet indicated Alder but I had doubts. Not that I'm a wood-ist. I'm not. And, yes, wood-ism IS a thing...........NOW. 

Dear Bass Gurus, 

Can anyone in this parish identity  the wood used on this P-Bass’s body? Thanking you all in advance. 

A. 

I have a Badass II Bridge on my Jazz Bass. It's all kinds of brilliant. Recently, I've been wanting to experiment with the brass/steel insert options made available by the Hipshot unit. 

Have you got a Hipshot KickAss 4 that you'd fancy trading for a Badass II? Let's talk. 

On 04/10/2018 at 14:04, Dood said:

There does seem to be plenty of posts online that suggest PJ-555's were also available in Basswood. Sadly, on finding the information I wanted, my lack of internal multi-language support left me high and dry... My own Power Jazz Bass Special is incredibly light though and that is meant to be an Alder body. 

04-2.pdf

03-2.pdf

04.pdf

03.pdf

In a rare 'it's a small world' moment, I can read Katakana. I can confirm that the PJ-555 is listed as having 'A-Lu-Da' (Alder). The PF and FB models are specified as being made of basswood though. Not being a wood snob, I just liked the fact that my bass sounded great. Being of Mid-80s MIJ vintage, I wrongly assumed it to be basswood. Many thanks for that great eye opener. I absolutely love the catalogues.  

On 10/11/2017 at 20:31, Dood said:

Very nice. I had no idea of the value of my own pair. In comparison to other basses, I'd say they were worth it. Fender Japan's finest.

Incidentally, they were Alder bodies

Were all MIJ Fender JBS models made of alder? I always thought my 1985 version was Basswood. Not that it matters as it's a great sounding bass either way. But I never realised that Alder could be so light. 

AJ567 - You're an absolute gentleman. 

Please forgive my ignorance, as I've never used the TonePrint desktop app, but would I be correct in assuming that I need to have the pedal connected to my mac via the USB cable before I can bring up the various parameters you've tweaked?

Dug accompanied me to a very mellow gig last weekend. This involved a musical ensemble with a cellist and trumpet player in its ranks. Yes, it fell a wee bit into the 'niiiiiice' category for all you Fast Show fans. For this live outing, I used my Rickenbacker 4001 on the neck pickup for the majority of a gig. Needless to say, the chunk setting didn't feature heavily BUT it did make a brief but well chosen appearance. I used the venue's amp, set flat, and the XLR of the unit provided the bulk of the sound out front. It sounded absolutely great. The compression was really sympathetic to the 'Rick does an upright(ish)' sound that I was after. And, more importantly, I had a prominent low end thud with oodles of definition. Dug is not a one trick pony. And getting a miserable cellist to compliment me on my bass tone is a testament to that. 

Reunited and it feels to good. 

The good folk at Anderton's exchanged my faulty Dug unit with a brand spanking new one and it's working perfectly as it should. Very impressed with Anderton's service on this front.

In the end, my faulty unit's output problems spread from XLR to the main jack output. I think I was just unlucky as all of my Tech 21 products have been reliable despite a LOT of use. 

I've an unfortunate addendum to my Dug experience. 

The XLR output became intermittent in a very odd manner at a gig and I had to resort to using my FlyRig backup. It was as though only certain notes and frequencies were being allowed through. When I brought 'Dug' back home, the XLR issue persisted and I'll be exchanging the unit with a new one thanks to the good folk at Anderton's. I look forward to receiving a fault free Dug and reporting back. 

On 17/06/2018 at 15:07, AJ567 said:

Chiming in late here, but I'd fully recommend the TC Sub'n'up for this.  I use mine exclusively for octave up. It replaced a Nano Pog on my board. It can do everything the Pog can do, in the same form factor, for a fair bit cheaper. It's also true bypass, if you care about that sort of thing.

Interestingly the tone in 'poly' mode is quite different to the Pog. When you use the octave up only, you get loads more bass and low mids. This makes perfect sense when you think about it - e.g. on a low E, by applying an octave up, you are 'doubling up' on all the low harmonics (82hz, 164hz, etc). So perhaps the Subnup gives a 'truer' octave up compared to the Pog.

Unfortunately, that sounds way too muddy in my opinion. I realise that EHX have voiced the Pog octave up to be quite 'thin' sounding. This sounds great when blended with the dry - the two voices are nice and distinct. 

So I made a tone-print exclusively for octave up. It slices off all the low mids / lows from the octave voice (HPF set at 400hz or something). I then reassigned the Sub1 knob so that this is a 'Tone' knob (variable LPF affecting the octave up voice only - got the idea from the Digitech Mosaic); Sub 2 is reassigned as a drive knob (affecting the Octave up voice only as well). Super versatile, and awesome sounding. Sounds pretty similar to the Pog with Tone all the way up and Drive all the way down. But by varying those knobs you can get a load of other great sounds. 

However the real icing on the cake is the 'classic' mode. This gives you an very cool, synthy-sounding (think OC2), fully polyphonic octave up.

I don't know how I never thought to do it before, but I've been grinning ear to ear since I made the discovery: I tried running an actual analog octave down (Octabvre in my case) into the Supnup octave up on 'classic' mode... synth heaven!

Is it possible to share TonePrint settings? That sounds like the perfect way to run the SubnUp in Octave-Up mode. 

More feedback. 

Dug made its first appearance with an electro project featuring no guitars and loads of keyboards last night. They band noticed a difference straight away in my bass sound. 

"I can hear you more clearly. But there also seems to be more space for my keys". - The keyboard player

This non-bassist's feedback speaks volumes. 

I have found myself being more judicious with the bass settings on this unit. Much more so than on any other Tech 21 produced I've used. But, so what? It's a very different beast and I love the fact that it has a very distinctive voice. And one that just 'sits' really well in the mix. 

2 Gigs Down with the Dug. 

Observations. 

The volume and tone knob are your friends. And not just Facebook friends, either. And much more so than with any pedal I've come across before. If you dial up something OTT and dirty with the volume on full, you'll be amazed at how well the sound cleans up by backing off the volume and/or tone control(s). Thanks to the compressor handling the low end, you'll not experience any drops in bass frequencies when you're taking the volume on your bass down. In a way, I've been using the Dug in the same way that a guitarist handles their volume/tone controls while going through an overdriven amp. The clean/mix 'channel' change option has become redundant.

I've used a Fender Precision & Fender Jazz (both passive) and an Active P-Bass thus far with the gigs (I changed midway through the set) and found that minor tweaks were needed while going from one to the other. 

My fourth bass, a Rickenbacker 4001, hasn't been introduced to Dug yet. But that'll happen later on in the month at another gig. 

So far, Dug has been used to handle front of house via the XLR output and through a flat bass amp in tandem. The XLR sound is darker (in a good way) but still punchy. And the amount of treble on tap of a non-shrill variety is reassuringly abundant. I am a finger style player (I love the sound of plectrums but am just really dire as using them effectively) and this pedal really helps to add punch and definition but not at the expense of the all important fundamental. 

I'm playing across 3 different bands at the moment and it's going to be interesting to see how the Dug copes in more sedate settings. The channel changing option isn't ideal on the fly but works with 'compromise settings'. With 'Mix' engaged and making use of those knobs on the bass - a bounty of great sounds are available. 

For the uninitiated, I can't stress how important it is to hear Dug in a band setting. Some of the un-nice sounds that you might come across when playing solo payoff in the cutting through stakes in a big way. 

Dynamically unsubtle but infinitely tameable and controllable. 

@intime-nick The knobs are identical to the Fly Rig. But, I've used the BFR regularly for about a year before getting the Dug and haven't had any problems with them. I agree with how they feel toy-like but, thankfully, they've been trouble-free. 

It arrived this morning.

Following Cuzzie's advice (see above), I started with the Dug and Squire presets and tweaked to taste. 

Having done that, I immediately used the pedal to track some bass on a full band recording and found that all of my personal settings sit well in the mix. Really well. In fact, that's what this pedal excels at. And it really nails that Geddy/Squire/Entwistle/Dug balance between dirt and articulation. It's 'voiced' rather than being a neutral entity. But Sansamp fans/users will be used to that. And, ultimately, it's a voice that works. I'll be using tonight and across the weekend for a number of gigs. I'll bring my Bass FlyRig to A/B it with and will report back. 

I'm really pleased with this pedal. And I have some fine sources of dirt to compare it with: Rusty Box, SansAmp RPM, Bass Fly Rig, BDDI alongside a Keeley Modded Bass Rat.

I envisage that, once set up to taste, the pedal will fall into the 'set and forget' category and that my bass's volume knob may factor into the overall sound quite heavily as well. 

Watch this space for further details. 

On 15/08/2018 at 10:03, Cuzzie said:

Ha!

well she didn’t walk out in the first song, and put my bass higher in the mix

We need more sound engineers like her. In related news, and thanks to your feedback in particular, I've ordered a Dug and expect its arrival tomorrow. I hope that my own canine sound engineer is equally as supportive. 

On 14/05/2018 at 09:26, Cuzzie said:

Been playing it a bit more, it’s getting a there, and trying to balance it across all bases and getting a setting to work clean and dirty and with a 12 string.

Current settings:

To be the Dogman........

my sound engineer 

 

Feedback from your sound engineer wouldn't have gone amiss.

PMd

I’ve DMd you. 

PM'd

I have an actual Superfly 1000. As stated above, it does indeed have a fan. I am aware that the 500 watt version was prone to overheating which is why Ashdown intended to remedy the problem for the range with the addition of said fan and an increase in power. The preamp is great and it's a really punchy and versatile head. No reliability issues and it's just as quiet/noisy as the ABM heads and combos I've dealt with (e.g. not that bad but that "characteristic" Ashdown hiss is there). It's certainly not twice as loud as the 500w version BUT you can drive a single 8 ohm cab off one of the outputs with the same might as an ABM 500.

I've not seen another Superfly 1000 version about so it's quite possible that less than 30 were indeed produced.

I would love to know if there are other Superfly 1000 owners in this parish. I'm feeling lonely.

- Andy