andruca

I think Yamaha fits that "slow but steady" (and genius) Japanese innovation leit motif. Probably a generalization or even a cliche. I'm still OK with that, and I think that's why we all love our trusty Toyotas, Yamahas and stuff. I've owned some BB 5ers and currently I'm unconditionally in love with the Yammies I own now, SBV-500 and SB500S, best Jazz sounding creatures I've ever owned (I like them punchy and aggressive).

Photo is blurry, but I think that's how they look. The center section is higher. It IS Jazz Bass width inside indeed. Casing is loose on the sides. I know 'cause I have disassembled them to lower them (pole pieces were sticking out like 3mm).

Hope your repair goes well. You can always have the pickup re-wound with the same gauge wire. Not cheap, but those pickups are definitely worth it. I wish Yamaha offered these (and other) pickups, in 5 string version too (one has to dream big) 🤣 No, seriously, I'd have these in all my bass guitars, other than my Musicman 😁

My pleasure 🙏 Still my best Jazz Bass ever. After lowering the pickups inside the cavities (they were sticking out, and they're SHARP) and also putting shorter screws in the bridge saddle (also painfully sticking out) it is, counterintuitively enough, even more of a killer bass. Just wish it had a skinnier neck. I've been eyeing some 21 fret necks. I might try to adapt one, just to see if it keeps enough if its magic with a neck more to my liking. We'll see. Glad you joined the club on this, such a huge sounding bass. I still keep my flying samurai, skinny neck and all (my 12 y/o's fave bass to play), great tone too (same aggressive Jazz vein), but still not up there with the SuperBass tonewise (less bassy, less glassy highs). The SB500 is sharpness, body, punch and big yet articulate lows, all together, a naturally "boosted" beast 🤘

If the 1st fret we see is a zero fret then those dots on fret 2 are misplaced, and confusing (should be 1 dot @ fret 3). Looks more like a mockup someone photoshopped, not a real life instrument, but apparently it's real.

This piece is usually classified as a "zamba", an Argentinean folk music genre (not to be confused with Brazilean "samba", way more popular worldwide). The song is called "Alfonsina y el mar". Hope you like it.

Well, AFAIK they've used plywood in some cheap ranges. Not saying it IS MDF tho', just that it looks as unattractive for a trans finish.

That body looks like MDF where the photo flame is peeled off, yuck! Seems like a refin should be solid color. I'm lately partial to seafoam green (accidentally, a couple such color basses came my way lately, and I discovered I like it a lot). I love seafoam green Jazzes, with a black pickguard if the neck is maple, white otherwise. You already have the white pickguard, need I say more? 👍 Not that much into matching headstocks personally, so I'd leave the neck alone. Here's my seafoam green "Jazz" to inspire you.

Leo was such a visionary, he designed bass pickups so that Lego Technic wouldn't have to👍

UPDATE: Zoom Effect Manager 2.2.0 works as plug&play with my B1Xfour as with all my other (previous gen) Zooms. And no, effects can't be "migrated" from one gen to the other. It's generation coherent, meaning, depending on the model you connect it shows available effects from any SAME GENERATION devices. The good thing is ZEM also compresses effects for the B1Xfour (same as it does with previous models). I had 80 something FX at 100% memory (previously tuned with zoom-zt2, so no compression). When plugged to ZEM it showed less than 80% used. So I kept adding stuff (mostly more guitar and bass amp/cab/drive sims, the upright effect from the A1four and a couple more reverbs/delays -I keep SFX/REV/DLY categories minimalistic, I don't use those much-). I ended up with 111 effects at 100% memory with ZEM. Not the outrageous 182 effects my MS-60B holds inside, but still real cool 👍

Hi everyone! The Zoom Effect Manager guy did it again. Version 2.2.0 (released last friday) adds support for G1/B1/A1 four/Xfour models. Just awesome. https://zoomeffectmanager.com/en/ EDIT: the site claims any effect can be installed in any device. AFAIK ZDL and ZD2 effects are not interchangeable, but I'm not anywhere near the developer's sapience on the matter so I'll drop by with a veredict as soon as I try this (late afternoon today probably, have just found out about this release).

Exactly my story, just add some 15 years of Stingray in between the Jazz era 🤣 I couldn't live now without at least one exemplar of each bass in "Leo's trinity", but I wasn't always this wise. I don't have a problem with dialing any of them to sound equally like me (meaning equally like crap) 👍 Analogous to that, us not liking any given (properly functioning and set up) bass guitar is many times really not understanding how they WANT to be played. I've been forever clueless as to how P basses WANTED to be played, stubbornly so, so for me they sucked (meaning I sucked). BTW, holy 8 year threadsurrection!

Snake oil and snobbery make for giant SCAMS. I call HUGE B/S.

I'm an avid Zoom tweaker and I love copying sounds, but don't have such a thing as Mike Dirnt's tone figured out. Still I'll try my best to "deconstruct" Mike's tone so, regardless of gear, you get the concept, then can figure out your tone on whatever platform. First thing should be identifying the kinda BASS AND PICKUP COMBINATION used. It's usually P bass or neck pickup (if you have 2) for the P bass songs, and IDK what combos he uses on the Gibson G3 (i.e. "Longview"), but still a wide open 2 pickup bass can sorta' fake most of that. P bass is middier by nature. OTOH, more then one pickup in parallel (as wired on most basses with more than 1 pickup) is more scooped, and so does it sound on GD's tunes, not that P bass mids are tamed or they're reinforced on the G3 to compensate, they sound rather "natural", as they are, to me. The other thing is THE WAY HE PLAYS. Be conscious about it, there's no sounding like Mike Dirnt (and many other punk bass players) without a firm and rhythmic motion, hard picking in general. I can't recommend thin picks enough. I mostly use .60mm Tortex Triangles, and occasionally .73mm Tortex Flex Triangles. I prefer the fluidity and also the non-choking punch of thin picks (there's a limited amount of force you can apply to a thin pick before it starts "compressing" you by bending, great for consistency). Look, there's still people asking for holy grial gear to sound like Geddy, while some have been forever able to do that on just any random Jazz Bass. You gotta mean it from the start, from your hands and your bass. Most important part to get a sound you like. Next is some OVERDRIVE. For this I'd start with a SansAmp emulation (what I use the most in my Zooms). Start with EQ flat and gain/blend at 50/50. You might have to do 2 or 3 patches at various gain and blend levels, you'll find quite some gain variety from song to song. The blend control in SansAmps (and most emulations) does a great job making you lo-fi while keeping good (non-cardboard'ish) lowend. The kinda' distortion you want is grainy, but not hissy. Use the SansAmp EQ for correcting that, and overall shaping to the bass tone you aim at. Probably boost a little bass, give yourself some nice punching foundation. Then I'd use COMPRESSION (some more, as rhe SansAmp already compresses some). Nothing shy here. There's MANY compressors in your Zoom. I mostly use the 160comp emulation. Does the work for me. I do a lot of HC/punk with a variety of bass guitars and for that my compression is sorta' "binary", in that I'm either sounding full blast or I'm just not playing 🤣 Hope you get it, just use a high ratio and lower the threshold down to a point where pick attacks stop hurting and overall tone gets fattened a little (re-adjust to such side effect on the SansAmp EQ as needed). Finally, I'd add noise reduction to any overdrive gain patch, also pretty aggressive, as punk is, so you don't sound like a frying pan when not playing. Zoom's own ZNR noise reduction model works great, just set it to monitor instrument input, not all the chain. That (and the time spent tweaking) should be about it. Overdrive could be anything, I've heard anything from a Tube Screamer to a Metal Zone work with the adequate gain for the task and enough EQ and compression. Try different overdrives, theres LOTS of different characters you fan have from the emulations in that pedal. I'm exemplifying based on SansAmp because I'm sure it's in your B1 four, and also because it's one of the easiest to use and get a good basic tone from. Feel free to inquire further if needed. Hope I helped.

I've owned a CV-5 and loved it, except for the fact that despite the J-buckers' and coil tap switches' versatility it couldn't sound like a Jazz Bass. I recently pulled the trigger on a J5 and totally love it. Schecter is awesome quality, and their thin C neck profile is just superb 👍