40hz

I say it again. MiM since 2009ish onwards are a vastly superior instrument to the previous years (on the whole). I definitely think in my experience that the Mexican range should actually garner a bit more respect these days. Especially the roadworns.

I think I've said before but both pickups on full, tone wide open and . . . BOOM! that's THE sound. Never had a problem with it sounding weak either. My Jazz sounds feckin' huge! I agree with Conan on the front pickup thing. It's not 'quite' the real thing, but IMO it's pretty darn close and in the context of a full band, even closer. I think I might be in the minority when it comes to the rear pickup however. I absolutely loathe the sound of it by itself, I dislike Jaco's tone intensely (or any other rear bias tone) but that is just my personal thing. I'm sure people hate both pickups on full. When it comes to the best example of the tone, the main man for that sound HAS to be Larry Graham. He for me, IS the Jazz bass tone. The punch and 'pop' to the notes, growl in spades, that is what it's all about!

Maybe not what you want to hear but I played one circa 2005 and it still sticks in my mind as the single worst bass I have ever used.

So so sad, Rest In Peace Louis. You really were one of the greats and a huggggeeeee influence on me.

TRB5PII has always been the flagship model. Possibly run close by the NE2. I had the TRB4II. Such a slept on range of basses, it was phenomenal.

I had the orange ones. I can confirm they are very noticeable when not under UV light! xD

Awesome piece of kit. Congrats!

[quote name='Stylon Pilson' timestamp='1430488560' post='2761959'] I wouldn't have thought it would have much effect on content creators. S.P. [/quote] I second this.

I've had a few insulting offers on gear that I've already priced competitively given the market value. Somebody offered me £250 for my Geddy Lee when I was selling it. Ridiculous. Needless to say I didn't even bother replying to that chancer.

I had a Trb4II and I can't see why you'd want to change the electrics on this! The standard electrics set up is really high quality, a real studio bass IMO.

[quote name='Mattmit' timestamp='1429600199' post='2752924'] I got a 1981 hard puncher and I just can't get rid of it. [/quote] In a good or bad way?!

I'm just praying they don't do a black, maple necked one. For if that was the case, I would be forced to purchase it. Edit - oh sh*t.

Anything remotely coffee table-ish. Except Warwick. Warwick are the only company where I can dig the coffee table vibe!

One word. Ashdown. Whatever people may think of their amps (I like them). Their aftersales and attitude is second to none.

Where can you buy a Tokai these days? I always hankered after a hard puncher.

For whatever reason it may be, to my ears all the Maple boarded basses I've owned have definitely sound 'spankier' and more resonant.

I've just watched this. sh*t the bed! No way on earth would I do it like that. I actually recoiled at the sound! Surely you risk stripping threads?

It has annoyed me for years how bass is/has never been mixed in on this programme. I can't think of many (if any) performances where it's even remotely stood out.

2005 Flea. Bad-assery defined.

Jazz Basses. Simply Faultless and work for everything. Both pickups on full and tone wide open. Boom!! That's THE sound right there!

[quote name='jonnythenotes' timestamp='1428864073' post='2745449'] Sometimes, the almost limitless pallet of sounds an active bass allows you to use works against you, in that you always feel there is a better sound somewhere else in there. It gives you a feeling of not being satisfied, or missing out on that elusive killer tone. With a passive, you are far more limited, and learn to make do, which forces you to create in a much more focused way. I have found after years of various active basses, I was relying on the bass to find me 'that sound', and sometimes I was lucky enough to drop on it...( this with ref to all venues need a different sound, and no setting suits all.) A few weeks ago I blew the cobwebs of a Yamaha BB 2024 after giving up on it as being inferior to my active Mike Lull. After a half hour or so, I began listening to the bass, instead of what was missing compared to the active sound, and I realised I was hearing a much more 'real' and open sound rather than that almost overworked and hyper sensitive sound I was used to from actives. Perhaps my perception has always been (without knowing it) that active basses had to be better because they had 'more' of everything. I have now deliberately painted myself into a corner, and have chosen to limit myself by using my passive again, and the difference is little short of amazing. I feel I am far more responsible for how it sounds, rather than a part owner of it. There is far more to active or passive than just the bass itself... It's far more about what's in your head than in the bass itself. [/quote] Interesting stuff, well said mate.

Played through one of these the other night and wasnt expecting much. All I can say is WOW. Never heard a tweeterless 15" with so much natural snap and top end. Seriously impressive from a Marshall of all things. However it clearly weighed as much as a small planet, so sod that

My first and only was a 1984 Squier Japanese P. Arctic white with white scratch plate, rosewood neck and the mostly gloriously aged orange neck. Thick, chunky punchy tone and weighed the square root of bugger all! Loved it and miss it dearly.

Lotta love for Stingrays here, however if I ever bought another it would have to be a satin or gloss finished SLO neck. Not a fan of the standard unfinished neck profile.

Yeah I managed to sort it out and get it low and buzz-less. I might very well try your suggestion Chiliwailer, always good to get some tips from other Flea owners as I still feel i'm figuring it out 5 months on. But also to be fair, I didn't mean the Modulus specifically, just active basses in general (my Ray34 and Marcus Miller were the same in this respect).