Tobe

Why do you think truss rods are user serviceable? It's because wood necks move all the time with season and/or humidity, it's no big deal. It's the nature of wood in different enviroments, its supposed to be a tree located in one part of the world, not a guitar touring the globe! Many world touring acts are always adjusting their instruments, its part of it. Some tour with guitar techs if they're not savy to doing it themselves. I think it was Steve Harris I read about on tour somewhere talking about his neck moving all over the place, he took his bass out of case somewhere to find his action was about half inch. Older instruments without graphite rod support can move massively. I've even seen frets lifting and fretboards shrink so that the fret ends stick out of the edge of the fretboard, only to be fine again when humidity is better. The joys of wood. You can't even blame Fender for that!!

Just had a listen. It is a sequenced synthbass part, but easy to play on bass. the notes are basically C major pentatonic with added 7. the riff resolves into Am. going up C-G D-A (if you struggle to play every note just pull off the G to D open, then hammer on A) and coming down B A G E. then resolve into squence A - E - D - C - G - D -C .

The important bit !? how can 2 tones be independent when one pickup is on?

Yes, by lowering your volumes to 75% you are effectively doing what the summing resistors do, but having a quieter output with more tone roll off and an increased noise floor. If it works for you fine.

I've never seen a Flea jazz in the flesh, doe's anyone know if it has the resistors in? or is it the same as the reissues?

Thanks :) The difference you hear with the original 60's circuit (with summing resistors) is a slightly lower volume, which rolls off high end. that can be achieved on a VVT by simply backing off both volumes a shade. However! the original 60's (due to the resistors) had no mid scoop tone neither because of the separated circuits. As for the reissues that have no summing resistors, or the 60's that had them removed, there are no difference's other than having two master tones.

Yes it's true. passive stacked pots don't acctually work. the 2 passive tone circuits interact and cannot work independently of each other, so bassically both tones are master tones! this is because they're wired in parallel to one output jack. the truth is they can't actually do anything that one master tone can't do. The original 60's circuit however, had summing resistors (which is basically a passive mixer) to divide the 2 circuits, but guess what, that adds resistance and lowers output (quieter so higher noise floor) also high end rolls off and acts as a 3rd fixed master tone. And another by-product of that meant it didn't have the mid scoop jazz sound that we all know and love. Leo Fender scrapped this idea simply because it was rubbish. The Fender stacked reissues don't have any summing resistors because of this, and so you have two master tones that basically do the same thing. The only reason Fender probably did stacked reissues is because nostalgia is a big selling point! If you want the look of stacked pots then fine, but you're not gaining anything in reality. Here's an easy test you can do to simply understand this principle.. all you need is a way to plug 2 basses into one amp input. either a makeshift cable or a 2 to 1 jack etc. one of the basses has to have a passive tone obviously (J or P bass), the other can be anything. what you will find is the passive tone will affect both instruments exactly the same, this is because they are connected in parallel by one single input amp jack. So stacked pots are effectively the same as two passive basses plugged into one input, both basses tone knobs have the same effect on each other! so one master tone is all you need. Ric with their 'ric-o-sound' dual output sockets was their way around this problem.

None. The KiOgon wiring is exactly the same spec as the current standard wiring, with 250k audio taper pots and a 0.047uf (47nf) capacitor, so absolutely zero difference in reality. He also uses Bourns mini split shaft pots, which are of a decent quality, but aren't as good as the full sized solid shaft CTS pots that are in your bass as standard. Sorry to upset anyones beliefs, but that's the reality. To address your issue directly, P basses can sound a little harsh when the tone is wide open depending on the techniques you use to play, and more so when played out of a band setting as you seem to have found out. backing the tone off is the solution, but you do have capacitor options to roll the treble off at different frequency points! I believe the 57RI P bass uses a 0.1uf (100nf) capacitor, which rolls off treble and alot of mids too, giving a very dark sound when turned down. if you use a 0.047uf (47nf) cap, which is standard on most these days, you'll roll off the treble and some high mids, which is still quite dark sounding, but less so than your current cap! alternatively, a 0.022uf (22nf) cap will roll treble off leaving the high mids intact, which sounds brighter but removes the harsh high end, (used on many 70's Fender basses) which sounds like what you're after maybe!? some think it's honky sounding. or you could go inbetween with a 0.033uf (33nf) cap! it's personal preference at the end of the day. As for the stellar tone styler, total rip off if you ask me. I'd just buy the required cap that suits your needs, it costs peanuts and doesn't alter your bass! takes 2 mins to solder in, job done. And don't believe buying an expensive paper in oil cap to be better in sound or quality, its total oss tish.

I bought an Amp part from Markbass in Italy a few years back, and they refused to send it untill i disclosed my NI number, even though I'd paid them. Their accounts dept said it was no big deal and routine for security, their fiscal policy and processing. I've never had a problem since.

Wish I'd have seen that band Bilbo 🙂. I love all the tunes on Blue Matter. It taught me alot back then. My brother, a massive Dennis Chambers fan got me into it funnily enough. same with the Brandon Fields album, that was played to death in my car 🙂

Just out of curiousity, How do you feel about slap and tap on stuff like John Scofields 'Blue matter' album track 'So you say' with Gary Grainger on bass? or the Brandon Fields album 'Everybody's business' with John Peña on bass, tracks like 'B-sting' or 'Slop dippin' https://youtu.be/SuCxlckPXdE https://youtu.be/JJOF_oM3_MI https://youtu.be/In-vJ5uUQsc

Fair play :-)

I take your points 🙂 What is interesting tho, is the songs you quote with memorable bass parts that people could possibly sing, are simple and repetitive! the very thing the OP doesn't like! As the OP asked "Why Bother" I wanted to answer that. My question to the OP would be.. Would it be better if we all just sat at home listening to how Coltrane crosses the bar!? I mean, why dismiss anything! Some folk just wanna go out and dance with joy in their heart to Chic etc. Good times is probably one of the most feel good tunes, that millions of people at any age dance to at weddings etc. to make lifetime memories. I'm interested what any bass player would play in that tune to make it 'better', or would they prefer to just not have these tunes in existance, cos we'd all be better off at home with Mingus and Coltrane!? Don't get me wrong, I love all music, genre doesn't matter to me. I play every style, Jazz included. but the elitist and purist muso's that pretend to know better, not only bore me stupid. they make me wanna ask.. Why Bother?. 🤔😉

I know this is Basschat, and most folks are only really concerned with bass here. but meanwhile in the real world, the song is all that exists! If you ask someone to sing Good times by Chic, they won't sing the bass line. the bass in that tune is there to serve the bigger picture! If someone likes a song for its sentiment, or it's emotion, or to dance to, They don't care what any of the musicians techniques are doing to achieve the desired outcome. The ability to hear and serve the whole is what all musicians should strive for. All great songs are more than the sum of parts.

I had one a few years back that I loved the sound of, but had to sell it unfortunately as it was a bit too heavy for me.

So he doesn't say "this is a comprehensive guide" then? You have an amazing ability to read between the lines. To me he's talking about the 7 big fundamental steps. not what capacitors are in the Amp and and every single component. He's talking about the big steps. we can talk cables and plugs and every little thing and be much more comprehensive. He isn't doing that. I think you're being way too hard on him IMO.

Does he? I think you and I are watching different videos!

If he talks about Tone/color etc of each and every pre-amp then his video's will be 2-3 weeks long 😐 lol. I guess he's just giving 7 pointers to improve tone, not a comprehensive guide! I still can't see where he says that active bass EQ makes no difference. But hey ho, no worries Al Krow

I don't want another discussion. I was only referring to 2 points you made. You stated in your original post that Scott comments.. " that active bass EQ makes no difference". Where does he say this? You also say.. "how does he manage to not mention the pre-amps whether onboard, in a pedal or in the amp". What do you think an active bass is? it is an onboard pre-amp. If you're gonna criticize Scott, then fair enough, but at least give him a fair trial Dude

I'm not here to sing Scotts praises, cos I couldn't care less 😁. but I suggest the OP watches the video again because some of the things you've stated above are incorrect and you wasn't listening. Scott doesn't say Active basses make no difference. He says Active basses wont solve all your problems. He says an Active bass doesn't sound "better" than a passive bass, it just sounds different. and he says what an active bass does do.. is give you more flexibility from the bass, but it doesn't give you an inherently better tone, it just gives you a different tone. So Scott does mention pre-amp on basses, and that he doesn't like them and his is always switched off.(demonstrating this with his push/pull pot). And the EQ he refers to on the amp.. is the pre-amp in the amp!

7/8 = 7 x 8th notes. that's what it means. we're not talking time signatures here, although you appear to be! If you wanna read my response again to Mykesbass, you will see we are talking about a bar of 4 and 7 x 8th notes been played over it. you are misunderstanding me and misquoting me also.

.. and that's exactly what I said (without pictures), but you misquoted me. If the rest on your first example wasn't there though, that's where my point was with 7/8

how do you mean?

That's not what I wrote! If you count each 8th note of a whole bar.. 1 + 2 + 3 + 4 + you can see there is 8. when you end the bar on 4 rather than '4 + you've only had 7 of the 8 notes that complete the bar! so you either have to rest an 8th note at the end of the bar, or start not on the 1 of the next bar! hope this helps!?