LeftyJ

Yes, that is unusual for a JV. It should have a round access hole with a cross head screw to adjust the rod and not a hex screw. If it is a genuine JV, it may have had the truss rod (or at least the truss rod nut) replaced. Does it have any more stamps or writing, at the bottom of the heel and in the neck pocket?

I just put a set of LaBella Deep Talkin stainless steel flats on my Lionel. I chose the lighter gauge with slightly lower tension, 043-104. Obviously they're still very new and bright, but time will tell! I haven't played flatwounds before but it just suits the Lionel so well. It had Pyramid flatwounds when I got it, but it was a very unbalanced set with an incredibly boomy E-string that would clip my amp when all the other strings sounded fine.

That's probably the closest I've ever seen a piece of wood look like a pair of jeans! Jokes aside, that looks great! I love the wood pickguard, control plate and pickup covers too.

Actually, it's Sandberg that have the pickup closer to the classic P position relative to the scale length . 5.5" from the bridge on a 34" bass versus 5.5" on a 30" bass will sound warmer on the shortscale because it's actually further from the bridge relative to the entire scale length.

I like the look of the shorty, but the colour... not so much (it's the only colour it comes in). It's about 1.5x the price of the Squier Sonic Bronco, I wonder how it will compare

Sunday was maintenance day, I took it apart for a thorough cleaning, polishing and oiling of the fingerboard. Looks and plays almost like new now, except for some minor damages that won't buff out with just a rag and some guitar polish fluid. But I'm happy, and after all it is a 25 year old guitar - as it turns out it was made in 1998! (no, I didn't really get the action THAT low - this is what it came back to after putting the neck back on and restringing it. So either the neck wasn't properly seated into the neck pocket before, or I did something wrong when bolting it back together. There definitely was no shim prior to my work, and I didn't install one. I adjusted neck relief and saddle height to compensate, as you can tell from this pic the saddles were set very low. Adjustment was weird already when I bought it, with the neck set VERY concave. It adjusted right out with a few turns of the truss rod) Frets good as new! It also turns out it is, indeed, very purple! The stamp confirms it

I think Praxis Musical Instruments is only their "production partner" as they call it in their "About"-section, just like Cor-tek (Cort) is for many guitar brands (PRS SE series, the Indonesian Ibanez models and many, many more). But yes, you're absolutely right: the EBMM factory won't feel a thing from the demand for the SBMM SUB Joe Dart model. Their "cut out the middle man"-approach to selling these through their own channels is clever and helps raising demand by creating an air of exclusivity, since it won't be available through their regular dealer network.

Paging @pepe1001 Edit: Works for Eich, but hasn't been here in almost 3 years. Maybe not so effective.

I suspect "class D" could be replaced with "small and lightweight" in this case

I don't think that's accurate. They call themselves "Sterling by Music Man" for a reason About | Sterling by Music Man Their predecessor, OLP, was unrelated to EBMM. But when their license to build Music Man copies ended, Ernie Ball took matters into their own hands and started the Sterling brand. OLP was a subsidiary of Hanser Music Group, who used to be the US distributor for brands such as Kustom, BC Rich, Michael Kelly guitars, Traben, Warwick and Spector. Under the OLP brand they also built cheap versions of Traben basses and a line of motorcycle-inspired "Orange County Choppers" guitars that were awful, back when OCC was at the height of their popularity due to the Discovery Channel series.

Quietly (and unintentionally, really), and amicable. Our ADHD singer was juggling 4 kids (at the time, she's at 5 now) and too many hobbies and just didn't have the time and the focus. She was completely unreliable to make any appointments with - and entirely unaware and oblivious of it. Eventually it just didn't work out anymore and we had to tell her. Together we decided it was in our shared best interest if she quit the band and we found someone else to replace her. This proved to be easier said than done. We were an originals band who played poppy metal. We had one album out and had played about 20-30 gigs per year in small clubs and sometimes as opening act for bigger names in our genre. Not quite established, but we were making a bit of a name for ourselves. We were in the process of writing new material for a second album, and were looking for someone who was equally amazing as our old singer: she had great pitch, a great voice, good English pronounciation, and was able to create good and creative vocal lines on the spot in jams, with temporary nonsense-lyrics. Turned out she wasn't that easy to replace... We held auditions for weeks and had about 10 female singers try out. Only one of them was any good but she was a true pro and we couldn't offer her what she was looking for - because all of us had different day jobs and no intention of making music professionally, with the exception of our drummer who had a degree in contemporary music. So she kindly thanked us for our time and left. The others were all terrible: either absolute beginners, or just an absolute mismatch to our sound. And none were creative (or confident) enough to join in on a jam and create on the spot - which is OK, we were perfectly aware this is difficult when playing with a bunch of guys you've never met before. Then our lead guitarist left. He already had a PhD in chemistry, and would go to Oxford University for 3 years for a postdoc research project of 3 years. That's about 8 years ago now, and he never came back . He's a professor at the university of Barcelona now. Our band is inactive ever since, but it's safe to say we all quit. The 3 remaining members (rhythm guitarist, drummer and myself) still played together in a doom metal project since late 2019, but unfortunately the guitarist was booted a couple of months ago for not making enough of an effort. That was (and still is) a real bummer for me, having played together since 2009

Wow, that marley blue one is great! I much prefer this bodyshape over the T, so seeing one with two J pickups is a pleasant surprise. Great mod! My Lionel is on the heavy side, but it's a satin finish which come with an ash body. The glossy and aged ones are all alder bodies and much lighter. I didn't weigh mine, but it's definitely one of my heaviest basses.

I haven't owned or used that many amps, and rarely have GAS for another. I've been using the same EBS HD-350 and EBS Proline 4x10 for over 15 years now and I have no desire to get anything else (except maybe a Fafner). So I guess that's my contribution: #1: EBS HD350. Very flexible, it can do glassy clean hifi sounds but is very much capable of some warmth and tube-like drive too (without actually using a tube). It's plenty loud through my 4x10 at 4 Ohms, I've never been able to turn it up past 11 o' clock without fellow bandmembers or sound engineers giving me dirty looks or yelling at me. It's got a useful and functional compressor/limiter that smoothly and subtly evens out unwanted peaks, despite having only a single control knob. That said, the best live tone I've ever had was: #2: Ampeg SVT-II Pro + Ampeg SVT810. Gritty, punchy, and it needed almost no EQ'ing to sound the way I wanted it to.

I could drool at that GMR all day Almost needs a NSFW tag, it's that beautiful!

Revelation Bass VI-alike

This is my Fender Crafted in Japan JB75-US. The pic is from 2009 so this isn't even its final form () I changed: the electronics to an Audere JZ3T preamp with 3-way impedance switching, but hated it, for several reasons (1). I had a battery box routed into the back of the body for this; the electronics back to passive VVT, but with the addition of a De Gier / Vanderkley FatBoost,. It's a subtle active bass boost of up to 6 dB, accessed via a rotary switch where the jack used to be, with a regular Jazz Bass knob to camouflage it. It has an internal trim pot for setting the gain level. Works great, subtle but effective. The electronics cavity needed to be routed slightly to make room for it; the stock bridge to a Leo Quan BadAss II; the stock tuners to Hipshot HB2's and an Xtender; the strap buttons to Schaller security locks; added a pickup cover. The previous owner had already changed the white pickguard to a black one, which I like a helluva lot better, and had holes drilled for both covers but I never mounted a bridge cover because it gets in the way of my playing and I don't like the look. It's a heavy beast with a fairly deep neck profile, and oddly for a '75 RI has the bridge pickup in the regular 60s position (like most CIJ JB75's in fact, but there are exceptions). But it plays and sounds great and I love it. (1) I was always struggling to find a "neutral" tone that matched the passive sound of the bass. It just wasn't there. And the most important USP of the Audere, its impedance switch, was a totally useless feature for me because I hated the high-Z and low-Z settings and only used the normal position. Besides that, the Audere was prewired righthanded, so the pots turned in a direction that was very unnatural to me. They were PCB-mounted, so I couldn't change that. I hated it so much that I stopped playing this bass alltogether, which is a shame because it's so good! So I had it changed back to passive and it reignited my live for this bass.

Welcome, fellow lefty and Warwick fan! Lovely Streamer you have there! I have two Streamers, a 4-string LX and a 5-string LX5. The 4-string has the same colour as yours, but in high gloss lacquer.

I tried an Audere JZ3T in my Jazz Bass once (it was the 4-knob version with active 3-band, passive tone and 3-way impedance switch, but they sell them in 3-knob config too) and it was nice, but I got lost in all the tonal options. The impedance switch is cool but to me it didn't really offer anything usefull beside the middle (neutral) position. The low-Z setting gave a very deep, dubby low end and less high end. The high-Z setting was thin and almost a bit out-of-phase in character and was completely useless for me and my bands. In my Ellio Martina I have an Aguilar OBP-3 in a 3-knob configuration (volume/pan stacked with active/passive push-pull, mid/treble stacked with mid frequency select push-pull, and bass) but I don't like the center frequencies they chose for the EQ. The bass frequency is too low to my taste, the treble control is too high, and the mid control somehow only has a noticable effect when it's almost entirely up. May be a problem with the MEC pots it's coupled to in my bass, I don't know. Probably not the recommendations you were hoping for Other preamps I have experience with were stock electronics of various brands (Carvin, Ibanez, Cort, Status) so not much help there. I have yet to try the Darkglass, but the idea of two mid controls and no upper treble sounds very appealing to me, and very functional.

Your bridge appears to be an ABM Mueller 3705 in aluminium. Your best bet would be to send them an email or give them a call. Make sure to check the spacing first, these bridges come in either 17 mm or 19 mm spacing and the saddle inserts might differ in width between the two.

Was that the Kiesel Osiris copy?

It's not for the Roadster RS900 in your profile pic is it? That's not a Roadstar II but a Roadster from the first series. They use what I believe to be Gotoh GB-1's with a custom heart-shaped knob instead of a clover. The normal GB-1's are still readily available from Gotoh.

Ooooh, finally a lefty version of that Mustang-like shortscale PJ! It still only has a master volume and master tone, but the switch is a great add! I'd love dual volume. But FFS, why only black for us? I would sooo choose the Shell Pink one if I could!

Came here to say exactly this

Wow, I wouldn't have guessed the Cutlass necks to be made by Modulus. The Alembic and Musicman necks were constructed very differently to Modulus necks, with their woven graphite monocoques rather than the patchwork necks Modulus used on their own basses. Today I learned!