LeftyJ

That should probably be Meinl Shop, after the drum brand. They sell Ibanez spare parts too: https://www.meinlshop.de/en/ibanez/spare-parts/e-basses/tuning-machines?p=1

I'm currently at work and unable to take pictures of my actual setup, but I'm using the Yamaha MW8CX. Not the smallest solution out there, but it works for me. I could make do with just two inputs, USB, monitor out and an aux in. The FX are fun but low quality. But then again this is already 10+ years old, I bet newer ones are more advanced and better and have faster USB connections!

https://rs-guitarworks.myshopify.com/collections/basses/products/contour-bass-54 Probably the inspiration behind the Squier Parallel Universe Jazz Bass '54 (which has J pickups instead of SCPB's).

I enjoyed mine a lot! I even recorded with it through the excellent balanced line out. The only thing it lacked, to my ears, was a tweeter. It could get really woolly and lacks brightness. That's what I do now: I have a little Yamaha mixing console with built-in USB recording interface with two KRK V4II's hooked up. When practicing, I usually plug my bass straight in because I'm lazy and I like the tones I'm getting. EQ is limited, but I don't EQ a lot anyway. I have played with a Bass POD xt in front, and with several preamp/DI pedals (Hartke VXL Bass Attack, EBS MicroBass II, Darkglass B7K) and all have worked equally well. My PC is also hooked up to the mixer for music playback and to play along to, but any other audio source would work too.

I'm sure Aguilar would work too. I have an Ellio Martina bass that used to be passive (VBT) but had an OBP-3 built in later in its life. It is wired with MEC pots, and configured with: stacked volume (reverse log because lefty) / balance with push-pull for active/passive; stacked mid / treble with push-pull for mid frequency; bass Very happy with it!

Forgot about this thread! Might as well crosspost what I posted in Gear Porn yesterday: My two Streamer LX's Left is my 2003 Streamer LX5 in Nirvana Black transparent HP (high polish), right is a 2002 Streamer LX4 in Burgundy Red HP that I recently acquired and have barely been able to put down since. The 5-string originally had gold hardware too, but when I got the bass around 10 years ago, much of the goldplating on the bridge had worn off and I felt it would look better with the black. Yay for the Warwick webshop and the affordability of their hardware! Both have chunky ovangkol necks, but I find them comfortable enough to play. The 5-string has been my main axe in my metal band, where it's had to punch its way through a full mix with two 7-string guitars and some keys, and it did so with ease. The tone is a bit scooped but thick and bright, and with just a tiny edge of Ampeg dirt it really does the trick.

Would have been cool, but Sandberg are way past their 2nd, 8th, 20th and 21st anniversaries

PRS differentiates between the Standard 24 (I just looked it up, those are solid mahogany) and the Custom 24 (flamed maple top on the US models, flamed maple (or other exotic wood) veneer over a plain maple top on the SE's). By that logic, the one you're working on should be a Custom 24 that has lost its flamed veneer.

Nice job, I like the new colour so far! Was this a Standard 24, or did someone accidentally sand through the flamed maple veneer?

My two Streamer LX's Left is my 2003 Streamer LX5 in Nirvana Black transparent HP (high polish), right is a 2002 Streamer LX4 in Burgundy Red HP that I recently acquired and have barely been able to put down since. The 5-string originally had gold hardware too, but when I got the bass around 10 years ago, much of the goldplating on the bridge had worn off. Both have chunky ovangkol necks, but I find them comfortable enough to play. The 5-string has been my main axe in my metal band, where it's had to punch its way through a full mix with two 7-string guitars and some keys, and it did so with ease. The tone is a bit scooped but thick and bright, and with just a tiny edge of Ampeg dirt it really does the trick. They're only 1 year apart, but have two striking differences: the 5-string originally came with a JAN2 (which was broken when I got it, I replaced it with a corian JAN3 but none of the available nut widths fully matched! I had to sand one down to the correct width) but the 4-string has an original JAN with individual string height. The 5 has the quick-access electronics cover, but the 4 has the old-style cover that is screwed on in threaded inserts in the body. I wonder if it's a lefty thing, I'm pretty sure the quick-access compartment had been around for a while in 2002 but maybe only on righties until then.

Like @hiram.k.hackenbacker, I did too but totally by accident. I have bought and sold many basses but one has just stuck with me. It was only my 3rd or 4th bass I think, and totally wasn't what I was looking for back then (I wanted a Stingray 5 but also considered ordering a Sandberg Basic Ken Taylor 20th anniversary new, but I ended up with a superjazz) but the moment I saw it online I needed to have it, and it didn't disappoint. Many more basses came and went after it (and many stayed, too) but it's still The One. My Status S2 Classic 5-string almost took the crown, but that Ellio Martina Forza is still my One.

1999 Fender Hot Rodded American Standard P-bass on Facebook, in Coventry: link

Ibanez Mezzo series, if you can get over the more modern looks and feel (quite a different beastie than that Rumblekat you have now). Maybe an old Vantage, Squier MIJ medium scale Precision, or a 1980s Ibanez RB600?

Try comparing the 5th fret harmonic of the D-string to the 7th fret harmonic on the G-string. When tuned correctly, they should sound the same. You can play these harmonics by just lightly touching the strings above the fret (don't actually fret the note) and plucking the string like you normally would when playing.

I quite like the contrast between the dark carbon fiber with the ultra black phenolic fingerboard and the white body. If you must, maybe something like anthracite?

We have a turd in the punch bowl. I repeat, we have a turd in the punch bowl.

That hybrid top is brilliant, that blue resin really compliments the look! Wow

Looks beautiful, and the Sadowsky-style knobs also add a touch of class! It looks a lot more expensive than it is.

Pretty much sums up the controls in my black LB75. The mid control also looks like it was added as a sort of afterthought, as the other 4 knobs form a neatly aligned diamond shape but the mid control dangles loosely to the side - the order is bass - treble - mid. I love the bass though, it plays beautifully and I love the range of tones I can get with just the blend pot and coil split. 🙃 That Glockenklang pre with passive tone sounds like it would work for me too! I'll have to look into it

Interesting! Do you have any pics of the guts? What parts did you have to connect yourself?

Sounds like you either genuinely do have a blend knob, or you've wired it in reverse. If it's a regular volume knob, switch the wire on the left tab to the one on the right (or vice versa) so it exactly matches the neck volume knob. If it is a blend knob, both pickups should go to the blend knob first, and from there on to the master volume. But you would probably have noticed, because a blend knob is a lot bigger (taller) because it is essentially two potentiometers stacked on top of eachother, on one axis.

I always fancied the Traben John Moyer (of Disturbed) signature model. It looks a bit more conventional than all the models with the huge bridge baseplates. When Hanser Music Group pulled the plug on Traben, production of this model was continued by BC Rich (also owned by Hanser). Most Traben instruments I've come across in the wild have been OLP's, I've never seen a real Traben in the flesh.

I did something similar with my MIJ 75 reissue Jazz Bass, I had an Audere preamp in it for a while but it made me stop playing that particular bass alltogether. It just had too many options for me, and I didn't like the base tone with the controls flat: I felt like it cut some of the lowest frequencies off, and sounded brighter. I replaced it with a passive VVT configuration with MEC pots, and had De Gier Guitars add a FatBoost (a 6dB bass boost engaged with a rotary switch), to beefen up the tone when I want to. I kept the stock pickups (Fender US-spec 70s J-pickups) and couldn't be happier with it.

I did roughly the same as @thebassmandave when I recently took delivery of a Warwick Streamer LX4 with a rather gunky fingerboard. I started with a Stanley blade, gently scraping off the worst of it. I then used a toothbrush to clean some off, and to get into the wide open pores of the wenge fingerboard. I then used the Dunlop 01 fretboard cleaner and prep on a piece of cloth (the "genuine Fender Custom Shop" one ), and repeated the brushing to clean the dirt out of the pores in the wood that had come loose. Before oiling up the fingerboard, I taped off the fingerboard and gave the frets a good polishing, and afterwards finished with the Dunlop 01 fingerboard oil. Really happy with the result For the fret polishing I use these pads I got from Thomann: https://www.thomann.de/gb/micro_mesh_soft_pads_set.htm

I've owned a couple of them, and still have two. Three of them have been very impressive, especially for the price I paid used. One was a dud, but then again it was modified by the previous owner (lacquer on the back of the neck removed and replaced with tung oil, and the profile shaved down by a couple mm) so I can't tell for sure if it always was. It looked fantastic though, it was an LB75 with a hidden two-piece maple neck through body, walnut wings and a flamed walnut top, ebony fingerboard, and it looked really well-made. I didn't get on with the neck, and it didn't sound as lively and not nearly as loud as the other LB75 that I had (and bought back last summer after 10 years). I think used Carvins are incredible value for money, because they hold their value very poorly. You can often find high-spec Carvin instruments for really low prices. I paid only 250 GBP for my black LB75 here on Basschat because of wear to the finish, and I paid roughly the same for a lovely B4 in perfect shape (bolt-on, natural gloss alder body, one-piece maple neck, birdseye maple fingerboard, passive electronics). My 7-string DC727 guitar cost me 600 GBP and it's like new, almost untouched. The 7-string and my black LB75 are the ones I still own, and not going anywhere soon 😎