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Doctor J

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Posts posted by Doctor J

  1. Do it. You sound like you want to do it. Possibly there's an expectation you shouldn't which is weighing on you? If someone wants to have a 74 and not touch it, let them buy one. That one is yours. Do as you want with it but, most importantly, play it.

    • Like 2
  2. They should explore a new name to avoid confusion. Gilla Band were formerly called that and released a couple of albums on Rough Trade under that name. Similar genre, too, and the first results in web searches send you to the Gilla lads. It'd be easier for them to do when the profile is lower.

  3. 1 hour ago, christhammer666 said:

    image.png.1125e0b2f1708540af4ee5e17cb76a1e.png


    I saw them on that tour, the bass was stolen in Nottingham a few days later, as I recall.

     

    Savage gig, although quite short as it was all of the first album and one song off what would become Legion.

    • Like 2
  4. 40 minutes ago, HeadlessBassist said:

    Agreed re your Stingray, EJWW. The lack of a centre detent on the controls means you can never get the same sound twice.

     


    This doesn't really make sense. A passive bass doesn't have detents either, would you say the range of detent-free travel on a Precision tone pot means you can never get the same tone twice?

     

    A two band Stingray has bass boost only, along with treble cut and boost. The way I set them up was to use the grub screw on the knob as a marker. For the bass knob, turn it all the way down, no boost, and have the grub screw pointing straight up, from the playing perspective. Then you know when it's flat and, if you boost, by how much. For the treble knob, I move it to roughly half way, then set the grub screw pointing straight up, from the playing perspective. You're roughly flat, at that point and it's very easy to see whether you're cutting or boosting and by how much. Very simple. FWIW, I would set passive basses up the same way, the grub screw pointing up when the controls are up full, i.e. flat, not cutting. That way you can see very easily how you are set on any bass, passive or active whether you have detents or not.

    • Like 3
  5. The R was used on sone Japanese models and some also had complicated switching. I would lean 95% towards it being USA but there would be a little bit of doubt.

    • Like 1
  6. Again, varifocal lenses are the answer here, a different prescription for different areas of the lens, no magnifying effect up close at all. Talk to your optician.

     

    Edit -> there's nothing happening here which hundreds of millions of people haven't gone through already. Your optician will be your best source of advice.

  7. I tend to run no EQ on the amp so start with everything flat and adjust to taste for what I'm playing, with no preconceptions of how it "should" be set. It depends on the room, my mood and the song. I use as little as possible to get the sound I'm after and I'm as open to cutting frequencies as I am to boosting. I have a few 2-band EQs on basses, often I will cut both low and high to accentuate the mids.

     

    If the bass sounds great with everything flat, you win, just leave it alone. If it doesn't, then the EQ is there to help you win. In short, let your ears guide you to the sound you're after and don't think you need to boost the bejesus out of everything just because you can.

    • Like 1
  8. 17 hours ago, Beedster said:

    why such a wide neck, could easily fit another string on there :) 

    It looks like a Fender width neck but the bridge is a narrow-spaced Hofner type. It'd be resolved by putting a 19mm spaced bridge on there.

  9. It doesn't matter if they're in other bands, however it does matter if they use this as an excuse not to be prepared when it's time to be in your band.

     

    People who think it's ok to waste other's time need to be cut loose, in my experience, even if this means short term pain.

    • Like 2
    • Thanks 1
  10. I would say no. That bridge P will be next to useless other than to add the thinnest of flavours to something else. I built this a few years ago, interesting experiment but, in the end, there wasn't really anything in it I couldn't get close enough to from the likes of a L2000. 

     

    Unless, of course, you're just playing solo in the bedroom and are feverously chasing microtonal changes. In a mix, nobody will notice how clever your pickup choices are 😄

     

     

    image.thumb.png.a7b5f2fd42c005f789dd55d95bbb1543.png

    • Like 5
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