Bassmingo

18 hours ago, Higgie said:

 

If you went with a Morningstar controller, you could plug the expression pedal into that, and then the expression would be sent via MIDI. The CME could plug into the Morningstar, which would just become part of the MIDI chain

Yes, the MC looks great, but it's pricey. Can I achieve what I want with the MC3?

18 hours ago, LukeFRC said:

I think you may need something that can pass on midi so it gets both? No idea how it works with two bluetooth controllers though? 

I wouldn't be using the BT functionality on the Mvave as I believe it's not compatible with the CME.

Hey everyone, I've a specific query. 

I have a Stomp, with an extra 2-button footswitch, and my backing track player controls it via MIDI with a CME WIDI master.  I want to replace the footswitch with a MIDI controller, so that I can use the EXP/FS socket for an EXP pedal. I don't want to lose the WIDI, though. How can I have my BT player still control the Stomp, while also allowing me to manually override it with a MIDI foot controller? 

I was thinking of taking a punt on the MVave controller, it's only a few quid. Has anyone else tried something similar?

Had a passive 5-string about 25 years ago, possibly one of the few in Ireland. Sold it to buy a Stingray 5. Regretted it. (not the Stingray, selling the Shark) 

I've never seen another in the flesh.

On 16/05/2025 at 18:11, Hellzero said:

https://snarenshop.nl/rotosound-sbl110-losse-bassnaar-110.html

 

https://www.muziker.ie/rotosound-sbl-110

 

Both have them in stock.

Thanks for this info. Sadly, shipping on both those sites is more expensive than the string itself! 

I exclusively play Rotos and tune my bass CGCF, so I buy a set of 45-105 and a single 110 and swap the 105 out. I usually buy from Amazon as no brick-and-mortar stores near me stock Rotos anymore, and certainly not singles. But singles on Amazon have been out of stock for a while, and won't be back until November?

Does anyone know where else I can find single Rotos online, preferably EU, but I'd settle for UK?

Circa 1994/95 I bought my first proper bass after learning on a POS for the previous year. It was a Washburn B-10 and being the age I was, I adorned it with many stickers. Around 1998 I decided that this bass thing wasn't a phase and I needed a better instrument, so I bought a Musicman Stingray, which I still have to this day.  Soon after, an ex of mine said that her little sister wanted to learn bass, so I donated the Washburn. I certainly didn't want it now that I had a shiny new Stingray.

Fast forward to last week, when that ex messaged me on FB (we're still on speaking terms and we both now live in the same town) to tell me that her sister never really took to bass, and that she still had it somewhere and did I want it back? Of course I did! So I collected it last night, still in the same gig bag and with the same stickers on it! I was instantly transported to my teenage bedroom where I learned many a metal tune on this very bass and composed some of my first pieces of original material. The bass is still playable but there are some problems. The scarf joint seems to be starting to split and I can't get the neck relief straight enough as the truss seems to be causing a crack in the neck if I tighten it too much. other than that nothing a soldering iron can't fix.

Anyway, I think I'll leave it as is as a time capsule to mess about at home. 

Moral of the story, try and stay on good terms with your exes!

I found out about these basses too late. I never see them come up for sale in my neck of the woods.  I'll have to settle for finding a neck for my existing P

I'd love a black one to play out my Billy Gould fantasies. At least it would be more affordable than a Zon!

This chap was a pleasure to deal with. Hassle free transaction and prompt communication!

Sean.

Still available and would you post to Ireland?

Funnily enough, I just got my parts jazz electronics overhauled, and maybe it's because I'm properly hearing it for the first time in years, or I've just grown to love my MIM P with a DiMarzio, but I'm finding my jazz pups lacking. I bought them used and they're allegedly 75RI pups, but to me, they sound thin and weak compared to my P. So to hear that the DiMarzio Jazz pickups can be somewhat P-sounding is encouraging, as I now want my Jazz to sound like my P!

I use 45-105 when I tune DGCF as I like the tension. I would recommend starting there. 

I experimented with 50-110 roto rounds for DGCF but I didn't like the tension so I went with 45-105. 

I usually keep a 110 around for Drop C.

I'm in the opposite boat, I'd like some flats that have similar tension to 40-100 rounds tuned standard. 

Bass is a jazz type. 

Any recommendations?

For my DGCF basses I use 45/65/80/105, though a lot of people prefer a 110 for a low D. 

On 26/11/2021 at 10:44, Jus Lukin said:

As a box of tricks, it's very handy, very flexible, and sounds great.

 

If you're looking for negatives...

 

I agree with SumOne- the synths and filters aren't so hot, and neither are the octaves, really.

The outputs are balanced and can be set to instrument or line level, but there is no XLR output, which isn't ideal for most sound guys. It's a unit set up to be DI'd but without a standard DI connection.

The footswitches are limited in number, especially if you want to use the tuner. I have an extension for two extra switches, but it feels a bit faffy.

All those lights, screens, and processing power, yet the compressors are all set by ear- there is no gain reduction metering, or even an indicator to signify the signal crossing the threshold. I believe this feature is available on other versions of the Helix, so might make it onto future updates, but it is missing on the HX Stomp.

The power supply inspires very little confidence. It's clunky, awkward, and cheap feeling, and has a non-standard barrel connector (as far as pedals are concerned) so can't be replaced or upgraded with something sturdier, longer, and easily available like a One Spot. I'm a jobbing player, so I'm waiting for that flimsy wire to start to go, then have to hunt for an acceptable replacement.

The master volume on mine feels a bit fragile- in fact despite the pedal's cost and chunky looks, it genuinely feels a little cheap.

 

As everyone says. It's great, but it's far from perfect.

 

Re: your negatives.

1. Agree, synths aren't great. I find the pitch shifters OK.

2. True, there's no XLR but as the output is balanced a short TRS to XLR is all that's needed, and your sound guy won't care.

3. Yes 3 switches is limiting depending on your use case.  Not for me. I'll go into detail below, but as mentioned you can add two more switches or a midi controller, or falling that get the Stomp XL if you really need the switches. 

4. Agree, decent metering would be nice. 

5. There are ways to power the Stomp from the likes of a One spot. 

6. I think the unit feels sturdy. 

To the OP:

In my opinion, it depends on the type of gig you have if the stomp works for you. So I'll give you a run down. 

Do you use multiple tones per song, or are you engaging multiple effects per song?  Stomp MAYBE good. (some thought and good programming will be required)

Do you plan to go ampless, direct to PA and monitor through a wedge/FRFR or IEM? Stomp is PERFECT.

Do you plan to control the stomp via MIDI? Stomp is GREAT.

Do you want to integrate the Stomp into a pedalboard? Stomp is GREAT.

I'll admit for my gig I barely scratch the surface of the Stomp. I go ampless direct to FOH/IEM. I use three tones per gig, and never engage any other effects during a song. We play to tracks, so my Stomp is controlled via midi from our BT player. Song starts, my patch is called up and off I go. I only touch the Stomp to tune. I did buy a cheap dual footswitch for mode/tuner control if I ever feel the need to take up the 3 onboard switches with anything. But right now I don't. For my gig the Stomp is perfect. YMMV

Bottom line if the amount of switches are a dealbreaker, look at the Stomp XL or Helix LT.

If the DSP restrictions (only 8 blocks per patch) are a dealbreaker then look at the LT.

Define "Classic Stingray"

Pre Ernie Ball?

Post Ernie Ball 2EQ?

3 EQ with no string mutes?

7 minutes ago, hooky_lowdown said:

Why don't you get the squire and take it to a luthier and have them make the neck to your spec and refinish it?

I've never had to price a job like that, but I'm still gonna say: cos it would cost more than 500 quid total? For that kind of money you may as well marry a 50's spec neck to a squier body, and if I'm spending that much then I may as well buy a vintera...

The main point of my post is if there's an off the shelf option for 500 or under, and it's looking like the answer is no. I just thought someone might have come across one that I missed. 

On 29/11/2021 at 15:56, Woodinblack said:

I am guessing by the question that the Squier Classic Vibe Late 50s Precision bass isn't right for some reason?

I see that the nut is 1mm narrower than you want, oh yes, the radius is also wider.

 

https://www.peachguitars.com/squier-fsr-classic-vibe-late-50s-p-bass-2-tone-sunburst.htm

 

Other than that, fender classic series, but probably out of your budget and harder to find. Older G&L SB1s have it, Older sires have a 7.5" radius too.

Yeah, the Squier doesn't match the criteria, its kinda what has prompted this post. If I wanted a sub 500 quid bass that looked like a late 50's I'd be all over it. But I want one that feels like one. 

What era SB1 and Sires had the 7.5?

As per the title, the critera is the neck profile MUST be late 50's spec, ie:

One piece maple.

1.75"/44mm at the nut.

7.25"/184mm radius

Vintage sized frets

Vintage C profile

20 frets

Used vinteras/roadworns/50's reissuses are impossible to find in my market and if they do pop up the prices would probably be too cheeky.

Unless anyone knows someone who makes a Squier/Sire type with the above spec, my only solution seems to be sourcing a neck from the aforementioned basses.

2 hours ago, neepheid said:

Also, you mention the Fender Vintera 50's P (well the neck at least) - look at all the details you're missing besides the neck profile at less than half the price - the bridge with threaded saddles and slot screws, the holes in the pickguard for the tug bar, the reverse tuners, truss rod adjustment at the heel.  For £400, all you're going to get is an approximation of the aesthetics.  You should be grateful we appear to be getting tinted lacquer on the neck

 

While that might be important to some, it's not to me. Threaded saddle bridge can be cheaply sourced, I don't use a tug bar, don't care about reverse tuners, and even though I love the neck, body end truss adjustment is a pain (but I'd put up with it for the profile) also I sand my necks, not a fan of the lacquer. 

It's the 2TSB, Gold guard and neck spec that does it for me.

7 minutes ago, neepheid said:

 

You could always swap the neck for one with the dimensions/profile that you want.  I'm guessing it would still end up being the cheapest '57 (original or reissue) ever made.

The roasted maple vintera necks are almost the price of this Squier alone, which put it close to the vintera itself. I doubt I'd recoup much from selling the squier neck.

You make a fair point, but is a full spec sub 500 quid, late 50's P copy too much to ask? 

I'm disappointed that they don't have the late 50's neck specs. That in my opinion is the only reason to buy a late 50's copy. 

I'd be seriously considering the sunburst otherwise.

I have a Track two in my collection and it's my go-to for standard tuned stuff. The stock pickup is a DiMarzio Model P and I loved it so much I put a model P in my MIM Precision. 

If you've got bridge problems I recommend replacing the stock one with a Hipshot Supertone. It's a big hunk of metal, but man does it help.  

I used it recently for this video. The basses you see are the basses that were used to record that portion of the song.