bloke_zero

I've been thinking a lot about cleaning up my technique and I never had a settled right hand muting technique, recently I had some time on my hands and I went with the Jaco, which I understood to be: Little finger E 3rd finger A And letting the playing fingers mute D when you got that far - I could be wrong! The thumb kind of floats between anchored on the pickup and I really struggled with the 3rd finger - it felt like it was getting crooked and in the way when I was playing the D string, but it feels much more natural now. I basically played a lot of scales, arpeggios and then re-learnt a few of the lines with that in mind. I choose that method because it feels more anchored but flexible - like you're in a kung-fu stance but with fingers if you know what I mean? And because it was really unnatural feeling and I liked the change! Great playing in the video!

I have a nice one from https://www.bassculture.de/bilder.html Stacked - lovely warm round tone.

Great video - I had no need to know all that but had to watch as the suspense vs calm and methodical approach was better than TV.

https://www.ebay.com/str/sppinternational/FERNANDES/_i.html?_storecat=25405136012 These guys have a selection with free international shipping - almost tempting!

The warman looks interesting: https://www.warmanguitars.co.uk/product/mm4-4-string-bass-humbucker-13-09kohm-4-wire-overwound/ Any idea where the capacitor chart he references is?

I have a Nordstrand MM4.4 Quad Coil - great sounding pickup.

Is that one of the Northwest ones? I have pretty much the same thing on my pbass/stingray cross - really like it - nice weight, looks good, feels good under the palm.

Well, really, that human beings like to copy, and copying can be a path to innovation.

I agree - I was thinking that about the Wilcock thread - https://www.wilcocklondon.com/

I agree, but if you extrapolated that out it would be a pretty good argument for doing nothing ever. I’m thinking specifically of covers band - providing a version of something classic and probably definitively ‘done already’. But that ignores the human need too emulate and from emulation to evolution and all the value that the peers of the emulators find in that process, and the occasional brilliant steps onward that can come out of that process. as for the innovators - heads ain’t ready, until they are!

@Cathode_Follower - great - thanks. I’ll give it a go!

How are we feeling about the byoc kits? I’ve never built one - I really like the idea of that one! And what is a good UK source? I found http://www.vibe-o-tronic.co.uk/products.php?brand=1&type=1

Nice I admire your undertaking! I really like the ocd - I liked the bass mod described here: https://shop.pedalparts.co.uk/Disorder_Drive/p847124_9537006.aspx

Me too - cool lockdown project!

The lowrider looks really good to me - be interesting to see some reviews! I'm sort of sad to see they've ditched the raked headstock design from the Lodestone - but I know I'm alone on that one! Jarring like a seventies living room? I don't mind it - it's got some character at least!

Yeah - the Vong! It really helps with recording. The last time I got into the studio my signal chain was Vong, Guma Drive and pumpernickel into Ampeg pre - so mainly schalltechnik04. The keyboard player and engineer went out of their way to comment on the tone being good. I really like that there is blend on both the compressor and the drive - makes life a lot less A or B! I'm sad now I didn't opt for his bass preamp too - maybe that would be a good project right now: https://www.musikding.de/Growling-Krizzly-Deluxe-kit

I'm really interested and if I had a grand + to drop on a bass a cutlass would be it! The pickups being single pole must make a difference to the sound - I've read a few different reason for the Fender double pole pieces but most consistently seen a variation on: But also on the Seymour Duncan site: https://www.seymourduncan.com/blog/swd-qa/why-do-fender-precision-bass-pickups-have-two-offset-coils Huh!

There is a clone of the preamp board - he went into some detail for the research: https://www.musikding.de/Classic-Bass-Preamp-Preamp-kit Here is a google translate link to the orignal article: https://translate.google.com/translate?hl=en&sl=auto&tl=en&u=https%3A%2F%2Fandyszeugs.wordpress.com%2Fmusicman-stingray-classic-preamp%2F

Yes and no - it was a special Warmoth order that I got 2nd hand from eBay, so the only routing is the front pickup and then electronics cavity routed at the back. Looks like this: Thread from when I got it and the previous owner here: Thanks!

I cheated and got it that way - it's Warmoth. Passive bass and treble with volume, and a pull on the volume for parallel/series - based on this: https://www.bassesbyleo.com/passive_l_series.html I couldn't get a reverse 1meg pot with the right taper so it works backwards - less than perfect!

Welcome to my world:

I did exactly the same thing - except I took out the preamp entirely - there was something I liked so much about the passive sound that dissapeared with the preamp - I noticed it especially when recording. I'm not dissing the John East at all - a great characterful pre and awesome on stage, or for that MM sound. For me, in this case, more was less.

I did, I did - I went with the passive treble and bass control from the G&L L2000. I just found it fascinating that the volume pot would have such a huge effect as well. I know this is old hat to you guys but coming from the world of modular synthesis I'm amazed and loving the passive electronics I'm finding out about. I just need to figure out the right cap value for the bass cut now as currrently it's frequency is a bit high.

Mate - formica is a very under rated tone wood in my book!

Thanks Dave - I'll give that a try. The lowest I can get the action is 11m at the bridge (measuring from wood to bottom of string), my other bass is more like 8.5mm - I know the neck, depth of neck pocket etc will all make a difference but it gives an indication of how big the thing is!