Osiris

That I don't know, I'm afraid, it's only me and the guitarist who are on wireless IEM's and we each have our own transmitter and receiver systems. Have a look to see what it says in the manual, I've tried to attach it here but I don't know if it'll work as it's a pdf. Can't see why not but I don't think I've seen anyone else attach one on BC before! If it doesn't work, pull a copy off the web from the LD website, they're freely available. LD Wireless IEM's MEI 1000 G2.pdf

@Les for cheap and cheerful wireless in ears I can highly recommend the LD MEI1000 G2 system, I use mine with the mandatory KZ ZS10's and have no issues with sound quality. The lows are deep and powerful without being bloated and the highs are clear, they can get a little sharp if you really push them but nothing a touch of high end cut on the monitor mix can't resolve. To my ear there a bit of a dip in the upper mids which I suspect is down to the ZS10's, but this is no bad thing as it helps ease any ear fatigue by the end of the night. My ZS10's were from Amazon too! Likewise @EBS_freak has warned me away from the cheaper wireless systems but after having a try out with our guitarists LD MEI 100 G2 (the 1000 is stereo whereas the 100 is dual mono, I think?) I was really impressed. I was expecting something that was probably going to be of a similar quality to FM radio but to my ears the quality is much better, maybe not quite CD quality but probably not far off. And once you're in the moment on the gig and are not focusing on the quality of the sound so much as listening to what's going on then you'll find you can hear everything clearly anyway, which is surely the whole point! I picked my LD system up new for less that £200 in the black Friday sales last year, but the going rate seems to be around £250 new, which is still a great price, IMO. I can't comment on how they compare to the more expensive systems as I've not tried them but for me and the gigs I do (weekend warrior with a mix of pub and function gigs) they're more than good enough. I suspect to get any significant improvement you're going to have to spunk around 10 times as much on a system, but for under £300 including the ZS10's, I think it's a no brainer. The LD also comes with a rack mount kit too.

What about the Aerodyne Jazz bass? Obviously it has a jazz bass body shape but it has a Precision split coil in the right position and it has a jazz neck profile, at least the one I had about 10-12 years ago did. Great lightweight basses although the bound edge on the body will eventually erode your forearm down to the bone.

@martthebass I have acute Mustang envy 😎

I'm hoping to blag the other one if I can shift my Sandberg in time!

Cheers Nick, The board has already done a couple of gigs, it's perfect for what I was looking for

Having owned a Stomp for a couple of months now I find that editing on the unit itself is a doddle, I can see that having the editing software could be useful but I prefer to know my way around the pedal interface so I can make changes on the gig without having to think about what I'm doing. The limited controls have been implemented in a simple and intuitive way making edits on the fly quick and easy.

I find the pickup balance to be fine on mine although admittedly I don't use the J pickup on its own as that sound isn't for me. But the stock pickups on mine sound great and complement one another really well. I play varying the blend (I had the 3 way switch changed for a blend pot, that's the only mod on mine) between P only, both pickups 50:50 and my favourite setting of P on full with the J at about 30-40%. I've had a play with an American performer in PMT in Northampton, it was a good bass but I struggled to see where the extra money was going in comparison to my Mexican P/J version.

I've also found a couple of black Mustangs with maple fretboards on Reverb which look great too, although I just wish they didn't have tort scratch plates, nasty things that they are 🤮 😀 I can't find any other information about them online and the seller's are in Europe. Make of that what you will. https://reverb.com/item/23255553-fender-fender-mustang-bass-special-edition-pj-maple-neck-black

I've thought about changing the bridge to something bigger on my P/J Mustang too, what bridge have you fitted to yours?

FSR means Fender Special Run, essentially a limited edition of a particular model.

Just stumbled across this when looking for new toys online, I think I want one https://www.gak.co.uk/en/fender-offset-mustang-bass-pj-sea-foam-pearl/927703?gclid=CjwKCAjw0N3nBRBvEiwAHMwvNmsxvmgo1JDe6QimSKavDDPBq7CnzkXBcrx06Pp0Uz1KHNtVwSf3LBoCcHQQAvD_BwE&gclsrc=aw.ds

Gotcha, I read your first post as literally meaning they make you play better, not that they make your sound better But you're absolutely right, when set up correctly they make the bass consistent and punchy, I love a multiband for big fat lows and punchy mids.

Not in my case they don't!

I'm an unashamed pro-compression advocate! But I think the quote above is the fundamental issue that a lot of people have with compression, they see it as an effect and expect a significant change to their sound as you'd get with other effects, but that simple isn't the case. It can be, but that's not usually productive to your dynamics or a great bass tone. Compressors are dynamics controls, nothing more. They are there to stop the peaks and spikes in your signal and to even things out. Some will colour your sound in a way that you may or may not like but that's usually the most obvious 'effect' of them. I think if more people followed your lead and stopped thinking of them as effects there would be much less confusion and misunderstanding surrounding them.

Just received an old pedal board from Nick, great guy to deal with, good communication and great sense of humour!

A surgical Q as you call it is usually a very high Q (i.e. a very narrow band of frequencies are being adjusted) and as the name implies is used to control unwanted frequencies, for example on a booming stage you can cut the offending frequency that's causing the boom without having to cut the other bass frequencies and end up sounding thin. You're simple removing the problem frequency. Generally speaking most of us want a broader (lower Q) set of frequencies to be controlled by our EQ systems.

@Lozz196 One of the nerves in my left wrist is damaged and that has made it uncomfortable for me to play standard scale basses for more than a few minutes at a time. A mate of mine who's in the medical profession suggested a short scale bass to help reduce the wrist angle when playing. I picked up a cheap Ibanez Talman shorty from a mate and problem solved. I can now get through a 2 hour plus gig without any fatigue or cramps. I also wear a neoprene wrist support that really helps. You can get ones that look like sweat bands which hopefully shouldn't look too out of place with the image of your band. This is the one I use. Switching over to short scales has forced me to sell 2 of my 3 beloved Sandbergs. I'm in negotiations with someone to let the last one go. Like you with your Precisions, these are, or were, my perfect basses. But needs must, if I'd have kept my Sandbergs they'd be little more than ornaments which is wrong for such sublime instruments. I miss playing them but the change means that I can continue gigging which I wouldn't have been able to had I not switched. I've now got 3 short scale gigging basses instead. As for your strap length, it might not be the cool thing to do but if you shortened it a bit it may well help, even if you shorten by just a couple of inches. I'm a fat, bald middle aged man so any notion of looking cool has long gone for me 😀 I have the strap adjusted so the bass hangs at the same height as it is when I'm playing sitting down.

Close the door on your way out 😀