bloke_zero

I've a neck I put on a body I hade made and it seems pretty unstable. I set it up Fender style and then if I move it to a different environment, say studio (pretty stable temp) to home it needs setting up again after a day or so. As I understand it the type of woods involved can make a difference? In this case it's maple with rosewood fingerboard. The weird thing about this neck is that the fingerboard tapers from 6mm at the headstock to 4mm at the body. Could that be part of the problem? None of my other basses really need constant setups.

Absolutely - my dad was that kind - I inherited an 80's telecaster from him in just that kind of shape. Fingerboard clean, finish good - kept really carefully. I try and keep it the same way.

Bob Moog and Dan Pearce designed. Might be worth checking some youtube for the sound. FWIW I have a mate who had a lab amp back in the day (I think BB King had one or something?) and wasn't enamoured. But what would he know? He's a guitarist!

There is a 74 jazz bass in the studio. Everyone hates it. There is also a 74 p bass - everyone loves that - regularly wins in the blind listening shoot out against all sorts of other basses (not all - it lost out against a new squire jazz the other week). I think modern quality control is often much better than it used to be. 4K is crazy money!

Cool! What do the knobs and switches do?

I thought it was Larry Graham! :hangs head in shame:

People might not be able to articulate or specifically notice what the bass player does, but surely a bass player that has thought about and sought for their tone, feels good and sits in the mix is going to make an objective difference to how the whole band sounds and feels? I couldn't tell you one thing about water colour painting, but I'd be suprised if brush selection had nothing to do with me thinking "oh that's kind of cool" when I see a nice daub. Passion never goes out of fashion.

Thanks - didn't know them - enjoying the listen - great bass work!

This finish has always excersised an unhealthy fascination for me. I have a bit of a thing about orange basses. DOn't worry about what you're wearing - no one will be looking at you!

Thanks - fascinating - always interesting to read about different electronic schemes and ting! Parametric eq! https://flatericbassandguitar.blogspot.com/2010/07/peter-cook-custom-builder-where-are-you.html

Lovely looking bass! For me this is the nicest p-bass combo. Probably true! And at the risk of starting a wood flame war (see what I did there?!) I wonder if the age of the wood is a factor? We know that as the wood ages it dries out becomes stiffer and vibrates differently: https://www.sciencedirect.com/science/article/abs/pii/S1296207412000404 With these 80's basses they have had 40 odd years to dry and age. Anyway! Congratulations on the bass - looks stellar!

Not had both, had a diy version of the original. I agree - the East is a more modern refined powerful full range sounding beast. You are paying for much higher quality components that sound more present and clearer. I can imagine situations where you might want the reduced bandwidth and grittier original though! Depends what you're after!

Nice - I just meant that the foot switches look very usable in a pedal context. The one in the studio is pretty smashed up and needs a service (channel 1 freq knob can trigger a cascade of brutal feedback at it's frequency setting and needs careful wiggling to stop), and has been hacked about so the limiter is no longer available.

Woah - awesome! One of my favorite pieces in the studio. I like how you did the channel select - really makes sense. How does it sound?

Can't you set the relative volume on the Luistand? There is a trimmer on each filter board on mine. That way you could set the height the same for tone but balance the volume electronically.

That is an amazing looking thing. I count at least 3 pickups? P pickup at an extreme angle neck bottom strings?! 2 guitar pickups off set and then there is the same plastic mounting as the P-pickup at the bridge which might have something?

Let me know if you do and want a deal - I went with a cheap alder body I got off ebay in the end so it's sat here waiting for a new home!

I got the 'mahogany' version. Was very easy to work with. It was very light and resonant and seemed well finished especially for the money.

Ack sorry - I thought 'Dave' meant somone on the forum selling a preamp! All links point to retrovibe!

What are you going to do with the extra hole in the control plate :-)? You could try the Passive Treble and Bass circuit they put in G&L basses? I think I have some details if you're interested. The only thing is it's a bass cut and treble cut.

Passive MM is good. I have one wired up parallel, series and single coil and really like the parallel and single and find the series a bit overwhelming - could be useful live for those moments where you need to go massive? I'm not sure about using the loom though as wouldn't that need 2 pickups? You could wire it up so that each half went to a volume pot so you'd effectively have two single coils just like the jazz? Depending on the pickup there will be plenty of wiring diagrams, and people like Nordstrand etc are happy to help. I wasn't wild about the Nordstrand 4.4 I had, I think I would have preferred the 4.2 as the additional coil makes it a bit darker and I prefer the zing. I've got a Delano MC 4 HE/S and I really like it - very bright and clear! Same as the others on this thread I don't think you have to worry about the output sounding anemic -especially in series!

People like these: https://retrovibe.co.uk/product/retrovibe-stinger-77-classic-mm-stingray-bass-eq-pre-amp-2-band-pre-eb-circuit/ I've not tried it myself. A portion of the Stingray sound is the preamp - it adds a bit of bass IIRC. Depends on how keen you are to keep the original tone? I like the MM passive - there is quite a bit of discussion on here about it. Like: