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1) figure out which pickup is your favorite.
2) remove the other one(s) and the knob.

As usual, Leo got it right the first time.

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gdp024 said:

Whoa! Def nailed his tone for that one. I've lurked the talkbass threads on Gordo for a decade now but missed this one. Pleasantly surprised to see this.

You're definitely close to his 2.0 chewing gum tone. I admit I'm one of those people who still feels kinda bummed with him having left modulus. His presence is just not the same anymore.

I loved all his bass tones thru the years but really loved when he first started using modulus full time the most in ~97. Slip stitch and pass is a good reference. Super growly low mids. Definitely the era w the bolt on neck.

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Thanks man! Welcome to the fold. Yeah sometimes I wonder if he was using roundwounds at certain points because of how poppy the slap tone is. Could be alot going on there like different eq for slap and such. Ive dialed it in quite a bit further in the last few weeks so sometime soon here ill post an update of where we're at. Cheers!

Is very simple.

If my knob has a dot, centred is pointing 'up'
Then moving dot in neck direction must favour neck.
Moving dot in bridge direction must favour bridge.
Easy.

I believe that means I too favour clockwise.

Avengers, shmavengers...I'll take "The Mighty Heroes" every time!
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I have mentioned this before and I know Andy did not seem to like the idea, but I would like to see devices like this be powered by way of USB-C.

I get that it requires an internal DC to DC converter to be built into the pedal to get the 9 ti 18 volts pedals run on.

I have a power supply from Amazon with ten USB-C outputs on my desk that could supply all the power needed for any size pedal board.

A common USB-C power bank could make a USB-C powered pedal board very portable. (Bring a spare power bank to the gig).

There are good reasons (regulatory and others) why the USB-C is so often used in modern devices outside of the guitar pedal-preamp-pro audio world.

(Edited to add, that it also provides a data port which can be useful for some designs).

Since Andy is smart enough to listen to what people here think I am throwing this out for other people to see if there is any interest USB-C power.

kevk said:

Spencer and Ian covered the specs last night (IG post)…basically 5 string, 18mm, 9+ lbs, J control plate and pickguard, reverse headstock…I've not heard them though.

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I should have clarified, what about the specs do you not prefer?

5StringBlues said:

Don't sell your member.

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Doing that kind of thing is illegal where I live.

Beej said:

Freestone is active on eBay, I might try reaching out there. There's a 32" conversion neck up on their store right now, though it has a 1.5" nut. If you could get used to that, it could be your fastest cheapest option.

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Yes, I saw that one as I was looking and researching. Wish it had the specs I’d like.

This is my latest acquisition, a JPJ-66.

Trevorus said:

I just found a SDG Series 3 soapbar in my parts bin. It'll be interesting to see what it sounds like. Woe to me if I like it, because finding a match to it might be near impossible judging by the mess that was made of the brand in the years since it was made...

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Bet you would have no problem selling it

There’s tension and then there’s stiffness.

La Bella LTFs and TI jazz flats have pretty much the same gauges and both have round cores. LTFs by the numbers actually have less tension than the TIs, but because they are stiffer, they feel more taut and you can play a bit harder on them.

I think one reason Dunlops 45-105 are a more comfortable set than other flats of the same gauge is because, even tho they are hex core, they use a smaller core wire. Which I believe is also the reason they have a more articulate speaking voice than other flats of roughly the same design.

Well, I was wrong. I took off the C and G bridge monorails and it is one teensie weensie wire but under all of the individual bridges. Makes more sense, but The wire is so small and the continuity on the bottom of the monorails by checking in several spots on the bottom, you're lucky to get a contact resistance under a couple of hundred ohms, and as I said above, a couple were in the low Kohms.

Solution is still the same. Take them all out, put in some copper tape, put a new wire to the control cavity in, but before re-installing the monorails, take a bit of sandpaper to the bottom of each to expose a bit of bare metal (looks like they are anodized).

Dirk Diggler said:

Good luck fellow touch stylist, stick at it, pun intended!

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Yeah, speaking of which, I'm getting my Grand Stick out too! Also like matrix algebra, but with different rules!

I'm seriously considering pulling the trigger on one of these. What pickup shape are they using and what is the string spacing at the bridge? Thanks!

Malak the Mad said:

Only as far as never saying "Fender" in my original reply…but close enough for me to understand the leap of logic. More importantly, I have now learned yet another "thing".

So, what fills your sails, O Ancient Mariner?

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I like my custom Dean Custom Zone that I named Steve for my Heavy Metal P Bass duties. Just replaced the pickup with a hot alnico and wired it up with a tone switch and kill switch for maximum brightness.

Aaron David said:

My 64 reissue

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Sweet!

I've worked on my kit and my Dingwall sound. It really wants more gain than other basses I have but sounds *terrific* even in isolation when you give it that. I get spoiled by the humbucker basses in terms of output from the instrument, I guess. So now this bass - with a bit of massaging of the amp EQ (actually very minor, just added some low mids which were scooped a bit for the humbucker bass) it sounds at least on par with any of my other instruments in isolation. As I have said before, it always sounded great in a mix.

So moral of the story? If you're not happy with your Dingwall's sound, try adding some low mids and pinning gain to just below overload/clip, which is recommended by most amp manufacturers anyway.

Now tomorrow I drive to Toronto to buy what's probably the only AccuGroove El Whappo cabinet in Ontario. Time to bring some more thump.

agedhorse said:

IMO, doing all of this in analog is way simpler AND considerably less expensive... but I'm a long time analog engineer.

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That's true, but it's just to try something different and take advantage of the available versatility—being able to adjust frequencies, Q, and gain, as well as the number of parametric bands or the graphic EQ.

Like you, I'm an old-school electronics guy, more at home in the analog world than the digital one, but I can't sit still.

I always enjoy building analog circuits because any component has its own character. In the amp that I'm doing right now I mixed a lot of technoligies and circuits just for that for enjoy and experiment differents textures.

I have two Kala solid body uke basses, one with EMG split P Geezers and the other with Seymour Duncan split P Quarter Pounders. The QPs definitely have more signal strength than the Geezers, to the point where it's hard to control the overdrive/distortion when playing even a little bit aggressively. I also have a Flight Jazz uke bass with DiMarzio Relentless pickups which I got more to match the chrome hardware. They sound great, but not having a split P I can't really compare them to the others. These basses are all passive.

Braunzo said:

Yeah, I'm with you on this. I like literally everything else about these basses aesthetically. But Marcus's name so prominent versus the actual name of the brand is a massive turn off.

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Well, then the new F10dc/dx or the headless M6 might do the trick for you...

whatever you like.

if you think of the blend knob of like a bridge pickup knob, it's the Sadowsky option. by rotating it clockwise you're adding more bridge pickup. by rotating it totally CCW you're silencing the bridge pickup.

if you think of the blend knob like a mixer (and assume zero is on top), probably the standard option is easier. if it points more to the neck -- it's more neck pickup, that's intuitive.

I think the onboard drive is quite useful; I almost use it always on. Sounds really great with a ray, too, and also sounds nice with bright on when the horn is off.

But sure, if you want a different drive flavor, use a pedal. I must have 20+ drive pedals...

What Would You Say - Dave Matthews Band

57pbass said:

That's really beautiful… congratulations.

John McVie was a big influence on my playing..especially the pre super stardom blues days…

Enjoy !

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Same here. I still spin the Bare Trees album occasionally.

KevInDaBassment said:

You could also buy nearly any bass OD pedal over $50 and have far superior results IMO.

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IF you aren't looking for Fender's particular flavor. There's also some compression algorithms that are part of this Fender O/D model.