Chiliwailer

[quote name='Bridgehouse' timestamp='1487851000' post='3243491'] I need to play a lot of basses I think.. [/quote] Right you are. But to be fair, some players also need to actually own various basses sometimes to see how they get on with them once the initial honeymoon period has ended. Buying second hand, especially here, is a great way to experiment at home and then lock down what you want/need without loosing any cash.

Nice dilemma to have, and one to enjoy You've chosen two very different animals to pick from, but it sounds like your heart is in the vintage one. I've had a fair few 50-60's Fender basses, including Jazzes, and when they are special they really are special, but when they are average they are very disappointing. The prices are wild and value is questionable, so get one that looks, sounds and feels great and it's all good. I have a Mike Lull bass which is custom, and nearly bought a Lull Jazz Bass a while back, they are amazing instruments but IMO so far removed from the vintage vibe, which I feel about most custom or modern basses tbh.

Quick update as I just posted about these in another thread just now... I love them, very happy. They ended up on my P Bass as from the feel out of the packet I could tell they wouldn't be bright enough for the Music Man, glad I trusted my gut as they suit the P Bass and my finger style (other flats can make my tone too muddy). The tension is nice and low (45-100 guage), they didn't feel sticky and I was smiling from the first note. Sadly, I think my love affair with Thomastiks is now over, though I'll still keep Fender flats on my Jazz Bass, well for now anyway, cobalts could end up on there too at some point perhaps Anyway, I reckon they are well worth a try for those interested and not looking for a true old school vibe flatwound string.

As mentioned, there are low tension flats out there, LaBella market some an Thomastik are notoriously low tension, though very Marmite. Ernie Ball cobalt flats are low tension too. Problem is, some guys who use 45-105 rounds get the same gauge in flats when a lower gauge might be more suited. I like thinner flats anyway for a clearer tone, unless you want to seriously fill the room and move some air because fat flats are killer for that. I love Thomastiks and Fender 9050L light gauge flats --BUT-- the new Ernie Ball cobalt flatwound are my new faves and amazing strings - possibly even a flat to convert some folk. They are not as bright as rounds, but a great alternative to old school flats. I got the second lightest guage (45-100) as I heard them were low tension, they didn't disappoint.

[quote name='Funky Dunky' timestamp='1487603530' post='3241093'] That's a good idea, actually! You're Tim from PMT in Newcastle, aren't you? [/quote] Doh, busted ...now pick up the phone and put down that deposit....

[quote name='Funky Dunky' timestamp='1487583425' post='3240829'] Shame about the RRP, but I still have to have it. If I find a buyer for my Standard, it will be mine. [/quote] Any chance you could make the purchase on a 0% credit card and pay it off when your bass sells? Only saying that as I always believe we should jump on those basses that makes us tick, they can vary massivly even when they are the same make/model etc. Hope you manage to get it

Nice one Sam, always good to hear. I've felt the same about my P Bass for the past 2 years. I've had some killer P's over the years, but this is the only one that has felt truly 'mine'. And of course, flats as standard

I once had 2 Lull PJ4's, both ash body, maple neck and same P pickup, both made same month/year. They sounded very different to each other to my ear. So it can't ALL be in the fingers

[quote name='hiram.k.hackenbacker' timestamp='1486480422' post='3232149'] triptych. [/quote] I had to look that up, nice word

Every time I update on here I end up selling or replacing one. It's now time to post on my favourite thread and break that cycle 1979/80 Music Man Sabre - 2015 Mike Lull PJ4 - 2015 Fender US Std Jazz [URL=http://s1381.photobucket.com/user/chiliwailer/media/The%203/4BDE43E8-9DC1-4658-9FBC-18D5FE441D3F_zpshfdthl5p.jpg.html][IMG]http://i1381.photobucket.com/albums/ah227/chiliwailer/The%203/4BDE43E8-9DC1-4658-9FBC-18D5FE441D3F_zpshfdthl5p.jpg[/IMG][/URL]

Personally, in your position I'd get a HH or HS Stingray, or a good Jazz Bass and add a series / parallel switch (IMO more versatile than a PJ, but it's close and of course very debatable ) I own a PJ, a Jazz with the series / parallel switch and a HH Music Man, all are versatile basses especially with different pedals. For that I use a Aguilar Tonehammer for an active boost, a JHS Colour Box for an old school Neve desk type tone and a Sansamp Bass Driver for heavier driven tones. Enjoy the fun of the search.

I stopped using them after a terrible experience involving a product return and lazy / arrogant phone and internet contact. They couldn't give a monkeys and they were the ones who had messed up!

[quote name='hiram.k.hackenbacker' timestamp='1486162423' post='3229843'] [/quote] Drools... Where's Starry?

[quote name='MoonBassAlpha' timestamp='1486120837' post='3229369'] I do this kind of soldering at work (and much smaller!) and always use a microscope. I would recommend magnifying spectacles at least for doing fine work as it gives you confidence that you are doing a neat, clean job, even if you can actually do the job without magnification. [/quote] Good advice, so mines going in the bin then! And cheers for the soldering confidence reboot

[quote name='hiram.k.hackenbacker' timestamp='1486071789' post='3229093'] Just love the look of that ebony fretboard without the dots. [/quote] [quote name='LewisK1975' timestamp='1486113629' post='3229271'] Ah - Stingrays, my nemesis, had 3 in my time, for me they are the bass that I always [i]think [/i]should work for me, whenever I hear someone else playing one, to my ears, they sound amazing. Then I get one, and they just haven't worked for me. I've been mainly a pick player for large parts of my life, perhaps it was that? Pretty much play with fingers exclusively now, perhaps it's time to give a Stingray another go??!! [/quote] [quote name='Musicman20' timestamp='1486113858' post='3229278'] Those limited Musicman basses are far nicer than I imagined. They've really nailed the interesting finishes to the necks. [/quote] [quote name='burno70' timestamp='1486129703' post='3229454'] Wow - just wow! And I'm not into Musicman basses! [/quote] Agreed, agreed & agreed. Cut my teeth on a Ray, miss having one very much. Having a Sabre & no money puts me out of this one. My fave Ltd Ed Ray so far.

[quote name='Crawford13' timestamp='1486162924' post='3229845'] Hmm is there any way to know the authenticity of this? Is this the actual album track. Listening closely the seems to be a lot of rushing the beat etc. [/quote] Im fairly sure it's real, if you've seen them live it makes sense and many album recordings have the odd blip left in - like the half buzzed notes etc. There's more of this stuff out there, you can also get Bit Torrent files for tunes from this and other albums with isolated drums, drums plus bass, guitar, guitar plus bass etc etc

[quote name='LewisK1975' timestamp='1485946137' post='3227849'] I see the s/h P4 that was at Bass Direct is now sold. Lucky escape for my wallet I think! [/quote] Yeah, but they just got this... http://bassdirect.co.uk/bass_guitar_specialists/Musicman_SR4_Starry_Night_HH.html

[quote name='BigRedX' timestamp='1486042674' post='3228720'] Can you not choose to solder to either the top or bottom set of contacts? Or a mixture of both? That might make it a bit easier. [/quote] I'm fairly sure you're correct there, it crossed my mind too. However in all honesty, I just couldn't trust my soldering throughout on the other little ones, and it was a pain all the way. I'd prefer to stick to the easy switch I already know...but.... when my new soldering iron tip arrives I might just give it one last attempt....

[quote name='ikay' timestamp='1485980459' post='3228268'] I can entirely see what you mean about those terminals being a bit fiddly Dan. I almost got one of these a few months ago but was put off by the weird configuration and went for a regular one instead. Much easier and it also makes sense when you look at it which helps - unlike this one! [/quote] Smart move, the terminals look even smaller in the flesh too so I really should have known better! Shame, as I like CTS pots but I'll be pleased when the Fender one is in. May this be a warning to the rest of you

I've given up on this one. Ian - your diagram did seem to be correct mate. But, I'm an amature and hobbiest when it comes to soldering and the terminals were very fiddly for me. I got it together but the connections weren't great and it was bloody hard for me to get it in the cavity in tact. First time I've ever given up I've ordered a new Fender one, which is fine as I've fitted more of those than I can remember with no hassles at all. They are straight forward and far from fiddly. I also need to order a new soldering iron tip. Even with a new one I doubt I could have done a fiddly job like this well, but it really did show up that mine is in need of a change. My Jazz Bass will be out of action until further notice So.... hobbiests like me...avoid this switch and get the old school one!!! Thanks for you help anyway fella's.

[quote name='ikay' timestamp='1485961085' post='3228041'] Ha, I only just realised the OP is you Dan - hope all is well! And yes I'm still enjoying my lovely old '57 [/quote] Yup, all good here buddy. Great to hear the 57 is still getting the love it deserves. Hope all is well with you too

[quote name='BigRedX' timestamp='1485963181' post='3228067'] If you are going to be doing your own wiring then a multi-meter or at the very least a continuity tester is an essential piece of kit. That way you can quickly check what the contacts on an unfamiliar switch actually do and then use that to work out what wire needs to go where. [/quote] I wouldn't argue with that for more advanced stuff. Though over the last twenty years I've managed to change pickups, pots and caps and all other switches with a diagram and absolutely no issue. It's just this one particular bloody switch, lacking diagram, that's got me stuck!!! If I bought a MM it'd gather dust!

[quote name='BigRedX' timestamp='1485937979' post='3227773'] Get your multi-meter out and check the contacts to be sure, but I would suspect that C1 toggles between contact 1 & 2 and C2 between 3 & 4. Then it's just a case of following the diagram. If it's the wrong way around for what you want then simply swap the wires going to contacts 1 & 2 and likewise 3 & 4. [/quote] Thanks for the post, I don't have a multi-meter though and would also need a crash course! [quote name='ikay' timestamp='1485938320' post='3227775'] Just replicate your DPDT wiring using the corresponding CTS terminals as in the pic below. This should do the job, (with 'up' for series) .[url="http://s1090.photobucket.com/user/iankay/media/Stuff/CTS%20DPDT.jpg.html"][/url] [/quote] Cheers Ian, I was thinking along those lines as a 'give it a go' approach tonight. I guess you made that diagram yourself? Hats off and big thanks pal

Hi all, I'm stumped. I bought a CTS 250k push pull pot for my Jazz Bass. It's different to the old school ones I usually use and I can't find a decent diagram to wire it for series / parallel. The diagram that came with it seems to be for a humbucker being put into series / parallel, and it isn't clear where the wires from the other pots go... It's a 2015 USA Std Jazz Bass, so black and white wires with regular VVT The pot: [URL=http://s1381.photobucket.com/user/chiliwailer/media/Cts/IMG_2116_zpser7xqgac.jpg.html][IMG]http://i1381.photobucket.com/albums/ah227/chiliwailer/Cts/IMG_2116_zpser7xqgac.jpg[/IMG][/URL] The diagram it came with: [URL=http://s1381.photobucket.com/user/chiliwailer/media/Cts/IMG_2114_zpsu8mcdqg0.png.html][IMG]http://i1381.photobucket.com/albums/ah227/chiliwailer/Cts/IMG_2114_zpsu8mcdqg0.png[/IMG][/URL] I recently used the diagram BELOW to fix a series / parallel toggle switch to my Lull PJ4, and it worked great. I was wondering about copying it, but the terminal codes wouldn't match up to the first diagram pic I posted. (I.e. Terminals 1&3 are linked on the old school one but it's C1&3 on the CTS). I could take a guess and 'translate' where they go, (so put 1&3 to C1&3) but if I get it the wrong way around (2&4 to C1&3 as the diagram below has no codes) then push might be Series and up Parallel, not what I want. Or it may not work at all????? Am I missing something here? I'm happy to do this but understanding electrics is not a strong point. [URL=http://s1381.photobucket.com/user/chiliwailer/media/Cts/IMG_2113_zps38cuw4uc.jpeg.html][IMG]http://i1381.photobucket.com/albums/ah227/chiliwailer/Cts/IMG_2113_zps38cuw4uc.jpeg[/IMG][/URL] Any ideas guys? I'm hoping not to waste time by using trial and error on this one. Cheers

[quote name='FinnDave' timestamp='1485716074' post='3226066'] Well, I seem to have gone full circle, as my black n maple US standard jazz is back with me. Bought it back off Lozz today, and determined to try to achieve the mellow, full, and 'fruity' tone I heard last week from a Jazz strung with flats. I don't like the feel of flats, so that might be a challenge, but I've strung one of my Precisions with a set of Chromes to try (again) to get used to them. So, the real question has to be...what herbs go best with a diet of words, as it seems I need to eat a few! [/quote] I'm like you, often dipping in and out of the Jazz Bass world, with the old "never again". I now have the same as yours, also with flats on and I love it, even though it'll always be 3rd in the pecking order. I've learnt now to just keep it around for those days when I'm craving it, and those days are great Being a P Bass and Music Man kind of guy, I find that a series / parallel switch makes a very nice difference, especially for those days when the two pickups in parallel don't do it for you. A CTS push pull switch is inexpensive and an easy mod too.