Beedster

More pricey but better finish https://thebassgallery.com/products/yamaha-bb2024-1

There’s a 4024 at Bass Bros, not my ideal finish but you’d be hard pressed to find a better bass at £1500 https://bassbros.co.uk/product/yamaha-bb2024/

I’d look at a premium Yamaha, head and shoulders above the rest in that price range 👍

They know there’s an imminent influx of loan-laden freshers 😕

Ooh, lovely basses, and a proper rig 👍

That’s not a Classic Vibe neck either, looks like cheapo Chinese in nitro, might be nice but might not be

This ^

There's a current thread re some small shocks a singer is getting from a mic and it prompted me to think a bit more about safety. Although I think I'm careful around this stuff, I'm probably not as careful as I could/should be - especially looking at the state of sockets and cables in some venues - so I'm keen to know what devices folks use to reduce the chances of electricity going where we don't want it?

It’s a sublime tone

Basschat needs more of this type of advice 👍

I’d have fired him on the spot

I've a set of these (passives) in a P/J and the tonal range is pretty good, although I also use a @KiOgon VT+VT circuit which no doubt helps. The Dimarzio configuration also allows for series/parallel (which I don't use) which could add to the range further. @KiOgon would no doubt be able to accommodate that for you https://www.thomann.co.uk/dimarzio_dp126_creme.htm?gad_source=1&gad_campaignid=1581403900&gbraid=0AAAAADuDMCVsgt3nuIAmWBp8w-ZIRu_lG&gclid=CjwKCAjwtrXFBhBiEiwAEKen13q8gI4Wbnp-qssTHm2S5XJAOeQ4RSDaRgl1NZCcBpIFOv_uLYc_mhoCCAIQAvD_BwE Re routing the body for humbuckers, you might just find that the thing that has kept this bass as a preferred gigging instrument gets lost in the mods

Very good post. I never assume wiring in any building is safe, speak to any domestic sparky about the stuff they’ve come across …..

That's a very high quality bass 👍

Is it just me......? https://www.ebay.co.uk/itm/177354825803?itmmeta=01K3C6XXNFB1N5A14CFQEHQXRC&hash=item294b2be04b:g:mLsAAeSwmo1op2ig&itmprp=enc%3AAQAKAAAA4MHg7L1Zz0LA5DYYmRTS30nrDGubrLqbjYuKo3GK0tDGkUkPpKiiea00I%2BSvwI94BsKBei9GjE%2F3ponIK5IKGF6wacdjxcX%2F9iaAgPk%2FRyIcOEheUSVvHXKxCrXlXP4SOVVJjeueryVWFzBfk6eoupflj02pUD7TXoHDIXx%2F9477qjf5vhb8dWqzfCIJ%2BufAfNFRXHo9Hipaphoq4CjQ5WDif91IUILkda5sk%2FdJ8FDw6sIJy%2Bd1Xfd50%2FSszaD942JFyvYo4GP4yQD%2FGWP7pMQJhC%2B4W6deb%2FudzGK5rrQA|tkp%3ABk9SR8Td94abZg

I've always found CCR songs harder to pull together than you'd imagine from a casual listen, good luck 👍

How much would it cost for them to use blanks and do it properly? To me it shouts poor attention to detail 🧐

Why a 4-string nut?

I would go mag as long as you're not using guts or similar that don't create a field. My view is that you really want a PUP that produces a different tone to the Realist to give you wider options. I found that using a mag, which gave me very reliable and quite thumpy lows, I could EQ the bridge PUP to give me more highs (and cut some of what were to my ear less toneful mids coming from the bridge PUP), and then tune the balance of the two to get close to the sound in my head. I never get anywhere near perfect, but got close enough 👍

Challenge lurks in the phrase 'the louder we get'. Not insurmountable, but high stage volume + DB + mic = higher chance of feedback. There are ways around it of course but all veer in the direction of complexity and expense. I would perhaps try to get a different sound by blending and separately EQing two on-board PUPs? I got close to the sound I wanted at volume with a Realist and a Nadine mic through a Grace Felix, but the louder the stage volume the more I had to bias the settings in favour of the Realist to the point that often the Nadine was almost gone. Another approach was a Heil PR40 on a low mic stand in front of the bass which allowed me to manage volume and feedback by pivoting the bass (which was not possible with an H-Clamp as I found at one awful gig), but while it sounded OK, there are easier ways