LawrenceH

[quote name='AttitudeCastle' post='781091' date='Mar 20 2010, 07:41 PM']Thanks! thats as much as i thought...[/quote] My old Electric Blue 12-150 is UK made. For a cheap amp it's IMO as good as you can get and has taken serious abuse without once complaining. The newer ones are Far East-made and I believe reliability has been more of a problem.

[quote name='BarnacleBob' post='780645' date='Mar 20 2010, 11:38 AM']It is USA and 22 frets(99% sure) BB[/quote] With blocks and binding it's going to be a Deluxe QMT, similar to this: [url="http://www.guitarguitar.co.uk/preowned_guitars_detail.asp?stock=px-NE15RS37"]http://www.guitarguitar.co.uk/preowned_gui...ock=px-NE15RS37[/url] Lovely basses, my friend has one.

On what basis are people saying 400 series rather than SB315? Looks like an SB315 to me, at the basic end of the range - but still good instruments. Sadly for sellers they have not kept their value well these

[quote name='bass5' post='761689' date='Mar 2 2010, 11:59 AM']My PRS bass was signed by Paul Reed Smith (see pic attached) and... if you follow my train of thoughts... [/quote] ..you're going to murder Paul Reed Smith..?

[quote name='bh2' post='759047' date='Feb 27 2010, 01:03 PM']You need to look at the first post. Moo![/quote] I have, and I see a black-blotch-on-white pickguard, not a white-blotch-on-black...am I missing something?

[quote name='bass5' post='759002' date='Feb 27 2010, 12:04 PM']Well I realized that when I finished it looked a bit too busy, so I peeled off the blotches again and reapplied them (this time, less of them and more widely spread so not too busy) I think I am happy with this second version. [/quote] That is certainly eye-catching...I know it's too late now but I think a white-blotch-on-black pickguard to match the strap would have been cool!

I've wondered how close you can get to a P tone in a j-pup form factor. I would be interested to hear how this Nordstrand pickup performed: 'nj4se humbucking split coil 4 string jazz-type bass pickups These are a split coil hum cancelling design. They use the same hand wound pattern found on our NJ4's but with a finer wire called 43 gauge enamel. The natural character of this design is to have a more pronounced lower midrange, and a slightly muted high end' They suggest using it at the bridge but it sounds like it could do a job in the neck position assuming they make one that size too.

[quote name='Buzz' post='751551' date='Feb 20 2010, 03:40 AM']However, as we know in the real world for instruments, percieved value really does rely on QC, hence why no-one on here to my knowledge has picked up an actual bad Squier VM bass (maybe that extends to the CV as well), yet occasionally you hear of bad MIA Fenders (granted, not as much since early last year when the '09 models came out). With the high QC you find that while the instrument make lack the nicities and extras of the higher specced models, the important parts like parts fit, fret finishes etc... are of a good quality and so allow the instrument to perform to the best it can based on it's design.[/quote] 2 out of 2 VMJs that I tried, one in Manson's in Exeter and the other in Scayles in Edinburgh, were what I would consider 'bad'. Poor finishing on the neck and frets in particular. I've never seen that on an equivalent-priced Yamaha or Ibanez whose QC seems MUCH tighter. The Fender basses are incredibly simple designs, the Japanese have proved how cheaply consistently good clones can be knocked out. Having said that, the designs just sound 'right' and are incredibly versatile. Despite my being unimpressed with the finishing and playability of the Squiers I tried, I think that if a good one could be found it would be a great starting point if you didn't have the cash to get the 'ultimate' j-bass straight off as the acoustic tone was very lively and satisfyingly warm. My tastes have evolved with my playing, and upgrading allows one to tweak to match these changes without the one-off expense and uncertainty that getting a whole instrument involves. It's nice to have an instrument that has been put together with lots of thought to match your own style and goals. Carefully selected VMJ with pickup upgrades would still be my choice for a budget killer jazz at under £300. I've never tried bridge upgrades but frankly since the main contribution people talk about is more sustain I don't see the point, I mean I hardly ever let notes ring for more than half a second anyway! I fancy the VMJ over the Classic Vibes because of the maple.

[quote name='The Burpster' post='747970' date='Feb 17 2010, 07:00 AM']+ another 1 Dont give up on 'ray, just 'mellow him out' a bit![/quote] + another other 1 - I was about to suggest this if no-one else had.

This is awful news. I'm so sorry. I remember commenting on Jimmy's thread regarding my experiences of my wife's dyslexia, and being very struck by the frustration he felt. It is very sad if something like that overshadows the other more fundamental aspects of an individual. So with that in mind, a sad goodbye to our fellow musician and basschat community member, and heartfelt condolences to Jimmy's family.

[quote name='Clarky' post='743561' date='Feb 12 2010, 10:31 PM']I have managed to track down the original pickups for my 73 Jazz. Just arrived and they are covered in gunk from the old owner, including white adhesive from sticking plasters that had been placed at one end of each of the pickups (maybe to help him with thumb placement, can't think why else?) Any tips on how can I clean the black pickup covers? I don't know how robust they are - ie, if I used something like white spirit would it clean the covers but also damage them? All help gratefully received, ta.[/quote] Have you tried just soaking them in warm soapy water? I wouldn't think an alcohol-based solvent would do anything to them but water's always the safest option to start with. EDIT: Naturally, I mean the covers only without the pickups in!

One man's meat is another man's poison. For a while in the 2000s 'Trace Elliot' were dirty words that you felt ashamed to say. But I've always felt they offered a good punchy tone, if a little 'rock' (ie not totally clean)...reconfirmed for me the other day when auditioning a BFM Jack 10 cabinet using a Trace AH300 (it sounded awesome btw). Never liked the Crates, or the smaller GK stuff. And I had a 1000w HH head which was the worst, nastiest-sounding amp I ever heard! But I started out with an Ashdown Electric Blue 12" 150, which has a very useable tone not a million miles away from a good Trace Elliot. Apparently the more modern 180w versions are made in China and suffer reliability problems. Mine is an earlier version made in the UK and has survived some brutal abuse at pub jams. I've seen these go for around £120, maybe less, and I haven't heard an amp which offers a better balance between tone, portability and price. Other modern models at this end of the market seem to lack the depth/punch although they may have a more sparkling top-end (though the Ashdown does well enough for me, and I like a well-defined funk sound with a bit of 'zing'). More information about the music/bass sounds you like would probably help people make more targeted recommendations...different combos sound very different indeed. And what bass you have as well.

[quote name='noisedude' post='742416' date='Feb 11 2010, 07:23 PM']Mine is great. Like, really great.[/quote] I have an SR500 from 2004-ish. Very similar to the current model but I [i]think[/i] the pickups are slightly closer to the bridge than more recent versions. Personally I think the MK1s sound muddy and lacking in genuine punch. But fitting a pair of Nordstrand Big Singles and ditching the pre has transformed it into a passive uberbass. I don't know of anyone else who has tried this particular combination, I assume no-one thinks it's worth it on a bass this cheap...you are all wrong.

[quote name='robzooso' post='732983' date='Feb 2 2010, 02:30 PM']Thanks a lot for this info on bass collection guitars - like you I have just rebought (sort of) one of these. I had one of the copies - a fretless white passive 4 string Maison bass, made in Korea I think, but still a really good guitar. I replaced it with a 2004 fender jazz fretless which has a much superior sound (better even than my 1977 fretted jazz). But - still missed the bass collection type so after some hunting just bought a 1991 5 string fretted active sgc nanyo bass collection. After some setting up it plays and sounds great. A couple of questions though if you have time? If its a 5 string does that mean its an SB325? Also - the controls work differently from my old one - a strange mixture of volume and tone. The top one seems to be an overall volume, the bottom three have a notch around mid-throw - one on the right also volume, the others tone. Any more to add to this? Cheers rob[/quote] If the hardware is gold then the likelihood seems to be that it's a 325, especially if it has a translucent finish. Knobs are normally overall volume, then pickup blend (with centre detent) then treble and bass.

[quote name='Musky' post='730579' date='Jan 31 2010, 01:46 PM']Good stuff. I wouldn't really expect it to sound like a tone monster without a preamp in the circuit, but at least you know the power amp works now. You might get away with just using switch cleaner if you've got any lying around, but after 15 years in the garage something a bit more substantial might be required. [/quote] It will sound very dead going into the FX return on a MIM jazz because the passive pickup impedence is much higher than the line level return is designed for. So the amp would likely improve in tone quite a bit if you can get the pre working again.

[quote name='karlthebassist' post='730910' date='Jan 31 2010, 06:22 PM']So it's worth the £2 its going to cost me for the switch when I build the bass? [/quote] Exactly. Worst case scenario you never use it and you've wasted all of £2. But I find it quite handy if I want a less 'upfront' sound that carries some weight. It's doesn't sound like a P but it fits in similar situations.

[quote name='BassBunny' post='730474' date='Jan 31 2010, 12:33 PM']Hi Pete, I got mine from Axes R Us. Tis on this page. Artec SE3-A. It comes with the concentric pot knobs, but you need to order 2 matching knobs for Vol and Blend [url="http://www.axesrus.com/axeknobs.htm"]http://www.axesrus.com/axeknobs.htm[/url] There are some cheaper alternatives, but for £36 posted I reckon it is a good buy. I have used the 2 band version before and it was really good. One thing to try first is to meter the pick-ups in case that is where the problem lies. If you have access to a multimeter, the harness that goes into the blend control is a plug in harness. Just remove it and meter each pick-up and check they are the same reistance. mine were spot on and it was at that point i decided on replacing the electronics.[/quote] Is my SB330 the only one of these to have an adjustable pot on the pre-amp circuitboard? I just had to twiddle that all the way in one direction with a screwdriver and the bridge pickup volume issue was solved. I keep mentioning it but haven't noticed any replies about it!

[quote name='Vibrating G String' post='730250' date='Jan 31 2010, 01:41 AM']I do think wood is part of the equation, however were I tend to differ with most is that I don't think we can make any more than the most gross predictions based on woods. The infinitely slim promises we get from some builders strikes me as quite dishonest or at best severely delusional.[/quote] I don't differ on this much. Two different issues seem to have been confused. One is whether wood contributes significantly to tone. It does. The second is whether that contribution correlates with wood species. Several people seem to be arguing that it doesn't, because you can't reliably identify the species by sound, using this as a gold standard test. This is missing the point that there could be a correlation, but significant variability within species may exist and consequently lots of tonal 'overlap' between. I.e. it may be possible to make a bass of ash and a bass of alder that sounded pretty much the same. But the 'average' tone of alder versus ash basses of the same type would differ. This is what I think is going on. Further complicating things is that ash is probably pretty similar in tone to alder anyway. I think mahogany versus maple is a better example as they are more extremely different and therefore there's less overlap. And I agree entirely that exotic woods aren't going to give you much you couldn't get from the standard materials. One final thing I find interesting is that changing pickup position makes a big difference to tone, but within certain parameters (ie my bass sounds like my bass wherever the pickup is despite the fact there is a big difference between neck and bridge). Similarly pickup type makes a big difference within different varying parameters. Ditto strings. Each varied component has a drastic difference but the difference is confined to a particular element of the sound. I think someone who is pretty experienced with this sort of thing would be able to listen to an instrument and work out what component needed to change to best give a desired tone, or if it's even possible.

I added S1 switching to an Ibanez SR500 fitted with Nordstrand Big Singles. It is a cheap, easy, reversible mod that gives a very different tone, losing some of the mid-range grind but adding in a hefty bass/low mid thump, a very authoritative tone! I can't see a reason not to do it if you're building a bass. I'll be adding it to my Jazz once I get round to it.

[quote name='leftybassman392' post='729646' date='Jan 30 2010, 01:32 PM']Don't think that's quite right. First of all, pickups don't just amplify what's there. In fact standard guitar pickups are inherently non-linear, and definitely add their own character to the mix. Secondly, the strings are vibrating in a magnetic field, which affects how they vibrate. The electromagnetics is a little above my pay grade - any electronics engineers out there? - but it definitely happens. [url="http://online.physics.uiuc.edu/courses/phys199pom/Labs/Electric_Guitar_Pickup_Measurements.pdf"]Measuring pickup characteristics[/url] [url="http://online.physics.uiuc.edu/courses/phys498pom/498emi_guitar_pickup_results.html"]Results of the above analysis[/url][/quote] I didn't say it was linear amplification. But the string produces the harmonics - if it didn't then moving up and down the fret board wouldn't do much! I'm not arguing that pickups don't contribute to tone, they clearly do. But If you imagine a hypothetical 'flat' pickup, then could you not get a fairly reasonable rough approximation of a particular pickup's tone with EQ alone? What I was trying to say was that the way the string output across the different harmonics decays over time will be dominated by its interaction with the body/neck/bridge etc. Point taken regarding being in a magnetic field. But I would imagine (correct me if I'm wrong) that this doesn't have nearly as significant affect on the note decay as the mechanical factors in the body unless the pickup is too close to the string (when you get that 'sucking' effect. Also this factor would be a constant whether the bass is played plugged in or otherwise.

[quote name='leftybassman392' post='728095' date='Jan 28 2010, 08:47 PM']I'm sure VGS can speak for himself, but I've got a feeling that's not really what he means. The various components used in preamp circuits are made within certain tolerences, which means that different examples of the same circuit can vary slightly in their 'sound'. This makes it hard to call them identical to the point that you can eliminate them as a factor. Not saying you're wrong about the sound of your basses - just that it isn't quite as simple as it looks. And with great respect, I'm still not so sure about the 'acoustic tone translating to amplified sound' argument.[/quote] It strikes me as a bit weird to imagine that an obvious difference acoustically in one particular case is not largely responsible for the obvious difference plugged in - especially if there is a good correlation between the character of the different acoustic and electric tones. Like I said before, pickups can only amplify what's there. The string dictates the initial harmonics of a note but their relative volume and how they decay is very much affected by how the thing it's anchored to resonates.

[quote name='merello' post='729566' date='Jan 30 2010, 12:10 PM'][url="http://cgi.ebay.co.uk/FENDER-JAZZ-BASS-GEDDY-LEE-BLUE-CUSTOM-NEW-UNPLAYED_W0QQitemZ120523901893QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item1c0fc8cbc5#ht_500wt_1182"]http://cgi.ebay.co.uk/FENDER-JAZZ-BASS-GED...5#ht_500wt_1182[/url] Not sure. Does it count as a Geddy Lee Custom if it's a Mexican Body and GL neck?[/quote] Looks like it doesn't have the 70s pickup spacing. On the other hand, I've never liked the black blocks on maple before, but it looks sweet as with the agave blue!

I actually thought this was going to be a rant about sexism from a disgruntled lady basser...my ability to spot a seaside-style double entendre has evidently seriously atrophied in the last year spent living in the Middle East! I frowningly disapprove of such misogyny...still, buckle rash isn't going to be a problem eh?

[quote name='Vibrating G String' post='721918' date='Jan 23 2010, 08:27 AM']Hi Lawrence, I've heard the decent wood, select wood offered many times as an explanation for certain tones. I've never gotten anyone to define how you select decent wood and what luthiers actually do that. What do you mean by decent and do you think if wood doesn't meet those standards it will sound bad? Any one else who wants to give that a shot jump in. I've seen too many great sounding instruments made out of plywood, old doors and workbenches and other things to think the wood is important at all. Of course it's hard to charge $4000 for a Jazz bass copy made from MDF.[/quote] Well, for ME I find a correlation between a nice resonant unplugged tone with lots of prominent string overtones when you put your ear against the upper horn of the bass, and a good plugged-in sound. But I imagine there is a trade-off with sustain so that might be the complete opposite of what you want. And I know relatively cheap woods like alder or ash are perfectly capable of giving that tone, just for some reason not all of them do. I don't know what contribution size of the body makes either, I guess a bigger fender-type body will contribute more to the sound than a small jap-type. As for selecting the wood, I've no idea but I suppose giving it a few sturdy taps and listening might be a good way!

[quote name='leftybassman392' post='719708' date='Jan 21 2010, 12:22 AM']Well there's another problem right there - pickups aren't linear. In fact it's the nonlinearity of electromagnetic pickups that gives them their different characteristics - at least in part. There is no such thing as a 'flat' guitar pickup - at least not traditional types that work on the principle of electromagnetic induction. Without getting too far into another 'black art' topic, pickup designers make great play of the difference between their design and all the others - in fact it's probably not going too far to say that there's as many opinions about pickups as there are about wood.[/quote] Sorry I didn't mean to imply pickup outputs were flat, that is indeed misleading. A more accurate way of saying what I meant is that the frequency response curve of a pickup is going to make a big difference to the tonal balance, which is going to be altered by the impedence of the preamp input as well making things even more complicated! But while a pickup with a very restricted bandwidth with extreme differences in sensitivity versus frequency is always going to impart a particular character to a bass no matter what it's made of, there are others which are less extreme and with these the tonal contribution of the wood is more obvious. The other point I was trying to make is that wood can contribute a lot to the tone of a bass, and that just because individual species variability may be very high (as in 4000's example) doesn't mean you can't spot certain trends if the sample size is large enough. Make sense? Probably what matters more than focusing on species of tonewood is just getting a decent bit of wood, regardless of species. FWIW I am not a fan of the Status or Steinberger sound at all. Wood is good for me! Though I'm all for an alternative material if it sounds how I like yet is nice and light and eco friendly. I'm guessing alder is not an environmental disaster...