BigBassBob

Make sure your soldering technique is acceptable before taking on a project. Practice wiring some pots or something first. It's not fun having to go back over loads of sloppy (but working) solder joints to find the bad one.

I don't even need/use a Whammy and I'm interested even if it's just for messing around with at home. Borrowed a friend's Whammy IV years ago and had a blast but with this being polyphonic I'm sure there's plenty more fun to be had.

It very much depends on what style of music you play and how much you rely on your technique for timbre. You can make most basses suit most genres depending on your approach to the instrument and some EQing. That said, the Stingray does have its own sound but it CAN be dialled back a bit by turning down the on board preamp a touch and relying on your amp's EQ. If you love it now despite how you feel about its versatility you will probably regret letting it go down the line. I've been there before. I say keep it and save up for a PJ

The issue was being reported on American Deluxe basses from the new line as the older ones had shielding-paint inside the cavities (I THINK from 2010 onwards?) Quickest way to tell if you have a new one is if the bridge pickup is a J (the older line had humbuckers at the bridge). Other differences include the preamp, active/passive switching and the newer HMV bridge.

I stand thoroughly corrected Enjoy your bass dude! I've only taken to Stingrays over the past two years after I picked up a used one on here (which is my favourite bass to play in the flock!)

The reason you have to trade in RIC truss rod covers is because they're afraid people will buy them just to put on Rickenfakers. I like my 4003 but it literally took several years of a love/hate relationship before I settled with it. Setup is absolutely crucial with these things. I mean, I know every bass requires a decent setup but getting it right on a Rickenbacker takes time and patience. Once everything is set perfectly then you're gold but they can be extremely frustrating instruments to work on. Taking the pickup cover off makes playing them a lot easier in my experience. Setting the neck practically dead-flat was necessary too; with a touch of relief the intonation along the neck suffers badly. From my understanding of bass construction and the physics involved it doesn't make that much sense but I was seriously having terrible intonation with even a little bit of relief. Always remember when playing a RIC: it's not a Fender. This can be good or bad for you. For me, it's just another flavour to mix up my arsenal

[quote name='Sibob' timestamp='1386848021' post='2305241'] Pretty sure he's a Scientologist, which is pretty disappointing lol [/quote] I like to think that a lot of famous people who are involved are merely in it for networking purposes. At least I hope so.

I agree whole heartedly with what you've said Si. [quote name='Sibob' timestamp='1386848021' post='2305241'] Sure Jaco had a sound, but he sounded like Jaco on a fretted bass too. [/quote] This. A million times this. Initially I included an extra paragraph about theory, choice of notes, phrasing and playing behind/ahead of the beat all contributing to your musical identity but I though it was going a bit too far off track

Oh, and going back to the documentary, I didn't realise how eccentric JMJ was... and [color=#282828][font=helvetica, arial, sans-serif]Bjorn Juhl is absolutely psychotic LOL[/font][/color]

[quote name='Kev' timestamp='1386538154' post='2301287'] Did anyone find that rather creepy? Enjoying the film though, nothing better to do on a Sunday evening. [/quote] [quote name='1976fenderhead' timestamp='1386678343' post='2302913'] Was I the only one bothered by the whole of the female South-american population working in the EHX factory? Funny sometimes in forums there will be someone criticising those who buy pedals or basses made in China because yes they're cheap but at the expense of low wages and poor working conditions so I prefer to buy made in the US of A. I too had this naive idea of EHX pedals being made in New York by New Yorkers being paid fair wages (similar to what you see in Warwick's german factory videos for example). Sadly, the fact they're all South-American women makes me doubt that. I suppose Tech 21 will be no different. [/quote] I wasn't quite sure how to take all that in the video; I thought perhaps it's because he's a fella from another time. Then I wondered how much he pays his employees. [quote name='GazWills' timestamp='1386770153' post='2304248'] Also, and I can't remember who said this either, but the guy who said something like [i]"all those records you like, they were all made using worse pedals and gear than what you have available to you now"[/i]... in other words, turn off the computer and get out there playing,no magic pedal is going to make you play better [/quote] As cynical as the dude in the shop was I think he was brutally honest at times which was kind of refreshing. I think there's lots of great information and advice to be had on forums but there is also a lot of misinformation. I think if you're level-headed it's easy to discern who is a gigging musician and who's a bedroom player (the kind I find that tend to regurgitate popular opinion). Not having a pop at non-gigging guys at all but 90% of the time what you hear out of a 30-watt combo in your bedroom isn't going to be the same coming out of a 500 watt rig in a crowded room (not taking into account other instruments and the mix as a whole). There's definitely a tendency for a certain product to be lauded with praise and hype for a month before the next thing comes along. Sometimes the praise is warranted. Sometimes it's not. I've been burned a few times by listening to others instead of my own ears and gut. I think a lot of guys have the realisation with GAS that their latest acquisitions may not really be that beneficial to them other than impressing a bunch of forumites and getting some short-term validation. I'm starting to sound like a miserable sod BUT there is plenty of hope. For example, I'd never heard of Darkglass before. I picked up a Finnish B3K and fell in love. Then I got a US B7K and it was like "this... is it... there is never going to be anything that will replace this." And I do feel that statement is true. Sometimes a little gamble or impulse buy may be the very thing that leads to a something-something that will become an essential part of your rig as a whole. With the amount of colouring fuzz does I can understand the fear some may have of losing their identity but (talking about effects in general now) when you take into account technique, plectrum gauge/right hand attack, string type/material/gauge, the instrument itself (including all the wood, hardware, pickups, wiring and setup), amplifier (and potentially individual valves), speakers (size, brand, material) cabinet (material, ported/unported, tweeters etc) then an overdrive, compressor and a few patch leads seem like very little in the whole equation How many guys have B7Ks now? A lot. How many of them sound exactly like me? None. Always remember that even if you play with no pedals or have a Pedaltrain Pro filled with the crème of boutique stuff you are still going to play and sound like you I could gig without any pedals quite happily but it's nice to have a little spice for those guitar solos, lead breaks and those rare moments when the bass gets to shine. And back into the cupboard goes my soapbox for another month

If you're on about a cupboard with about 20 muffs in it then yes

Hey guys, I saw this over at Talkbass recently and after watching thought you guys may appreciate it. It's a pretty well-done documentary chronicling fuzz boxes over the years with interviews with some big boutique names along with a look at the players vs. pedal hoarders/noise makers debate (and how online forums create hype and increase the value of certain pedals). [media]http://www.youtube.com/watch?v=ibu4x3ae87M[/media] A great way to kill 90 minutes

[quote name='woodyratm' timestamp='1386341801' post='2299032'] Also the Mooer units aren't generally worth your time I've found. I think the shimmerVerb might be alright, but the rest of the stuff ive tried has been dire. [/quote] A local guitarist who hasn't used effects for years bought a handful of Mooers recently and has been using them regularly. The reverb seems to be the one he favours the most. It sounds good enough on guitar for live use IMO.

As far as I'm aware all Stingrays are ash.

In terms in feel I've always found GHS Boomers to be very pleasant under the fingers. That said, my favourite strings are DR Sunbeams for feel, tone and lifespan.

To reiterate what others have said: I'm a big fan of Ed's videos. Even if the piece of gear isn't to my taste he is always able to provide musical, honest demonstrations in realistic contexts that are always a joy to listen to.

I'd help if I could but I've never attempted using software-based effects I'm afraid.

Welcome!

Of all the muff circuits I've tried the TFR is my favourite. It's not on my board at the moment but I am tempted by the You're Doom for lower gain fuzz. Muffs aren't for everyone. Even though the TFR has some strong low mids there's definitely still a mid scoop going on that my or may not work in a band situation.

Depends on the rock band in question. AC/DC? No, of course not. Weezer? Yes.

Some excellent boards being posted, as per usual I've been waiting on a Subterranea for a few months now. I'm getting tempted by the You're Doom fuzz while I wait though!