ghostwheel

In my humble opinion, it depends on a couple of things. First one, which strings you're playing. For example, I liked The Duke with Chromes 40-90, but it's nothing special with well broken in Sunbeams. And it's of some importance too, which Split-P you call "standard". Some people who know Fender Pure Vintage '63, say that The Duke sounds very similar to PV63, but not exactly the same. They say, it's got a little bit more mids. I'd say, it's jolly well worth a try as those don't cost an arm and a leg.

Well, on fretless, it jolly well does. 🍿🍿

A wonder that that lovely (Classic White?) Stingray hasn't left you for someone guitarless yet.

It's a blessing for fretless. I actually thought it would be rosewood (like it's supposed to be according to the database of Ernie Ball) until I got another one of which I knew for sure that it's got a Pau Ferro fingerboard. Plays nice, feels warm and looks good.

I'd really like to know what do you think about these two, @Stub Mandrel https://www.youtube.com/watch?v=aU0P4DjnK8w https://www.youtube.com/watch?v=4Q_PUIp2XbE

I think it depends on who's playing. Guy Pratt playing his Jazz bass made me longing for Stingray Would you say it sounds like a JB here? Guy Pratt right hand Playing his own disco Bassline

That's interesting. My impression was that they were very similar to La Bella 760xx.

his approach to music, deep harmony knowledge, his technique? speaking of thing, I'd rather ask what has been made famous by him (fretless Stingray, OC-2, CE-2?)

https://support.fender.com/en-us/knowledgebase/article/KA-01903

FWIW, it's quite the same I thought about the stock pickup of a Vintera II '60s P. I got one of those '62 Original, and had been quite happy with it for a while. One day, I was keen to give the stock one another try, and put the stock pickup back into the bass and strung her with TI JF344 (I must admit, I don't like TIs, but they were exactly what gave this bass the sound I am after). There have been no changes since. It may be worth to set the stock pickup a little bit lower, just like Fender recommends for "vintage" pickups.

It is the phrase "clean only (no gain)" I was talking about. I haven't read the edited post of @Quatschmacher when I wrote about marketing bollocks. Mea culpa. If the pedal is built after B-15N like Nathan states on his web-site, there should be a gain control. I can't imagine him not knowing that B-15N has got a potentiometer between the two gain stages in its preamp, which is a gain control also known as volume control (not to confuse with master volume control). If the guess of @Quatschmacher (and partially of mine) is correct, there will only be some kind of master volume control labeled Volume. It would mean that there is some voltage divider between the gain stages, which doesn't allow the second gain stage being overdriven, provided that the input signal is sort of average. But it wouldn't make that much sense, in my humble opinion. I have no experience with this pedal as I haven't got any. I simulated those circuits quite a lot to make one based on 12AX7 which would have frequency responses similar to original ones of Ampeg Heritage B-15 (there are two preamps: one from 1964 and another from 1968 (B-15N)). I'm sorry if my posting were annoying and/or confusing.

This is what I was speaking about: "He does state that it’s clean only (no gain)." Your quote is no non-sense.

Gain control is not necessarily supposed to overdrive the following gain stage (even in a guitar amp). It only controls the amplitude of the signal arriving at the input of the following gain stage. As there is no schematic of this pedal available, I can only guess about the meaning of "clean only". It may be a voltage divider between the gain stages instead of the volume control potentiometer, the latter being the volume control of the output buffer. But even if is the case, nobody can guarantee that it cannot be overdriven with the help of some booster. So the statement is more likely to be some marketing bollocks If you've got an oscilloscope, you might like to open the pedal and find out which gain stage is being overdriven when you play your P-bass.

FWIW, on the web, Nathan says the pedal is built after B-15N, so the Volume control placed between the first and the second gain stage actually is the gain control.

They've also bled you white, the bastards.