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Nice to meet you everyone. I'm an Italian bassist who lives in Japan.
Love basses since I was 14yo

Reggbass said:

The bass was made in 1990 by New York City luthier Woody Phifer & Phifer Guitars. The body is a light piece of alder, the neck is a hard piece of flamed maple, ukulele fret wire & active EMG & Bartolini pickups. Woody has held the moniker of "The Best Fret job in New York City during the crazy 1980s & 90s. He "experimented" on my 1977 Fender Jazz Bass in 1983. Been loyal to him ever since.

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Awesome. Thanks.

Malak the Mad said:

That works rather well!

Similarly, while I rarely seek out the color scheme, I do like the mint pickguard Squier chose for the James Johnston Jazz. Even if the Late '60s model is a darker blue, mint could also be a consideration.

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jjj is sick
jelly
i forgot who--someone did a recent run of cv jazz bass in candy red with matching candy red head

Well, the neck came in first. She's not been babied, that's for sure. Lots of dings and scratches and gunk. The skunk stripe is separating but apparently that's not a stability concern, according to some googling. It barely registers to the hand but maybe I'll glue and sand it at some point.



The neck had some backbow and when I went to adjust the truss rod it wouldn't move. I grabbed a pipe for leverage and prayed I wouldn't hear a crack. It did loosen though, somebody had just tightened it to an absurd degree. After that, it looks nice and straight.

The frets are probably about 80% still there, with some indents on the low end as you'd expect. What's strange are the string indents on the fretboard itself. I suppose the backbow may have caused this? I've never seen it before, and it occurs randomly as high as the 8th fret.



For some reason, the tuner holes were filled and re-drilled slightly closer to the edge.



Luckily it's covered by the washers.

The Fame logo is turning a bit green, which I was bummed by at first, but it's growing on me as natural aging of a 40 year old guitar.



Overall, I think it will be a good neck once it's all together. Slimmer than I prefer, but I can live with that for such a neat bass. The headstock shape is my favorite pseudo-Fender design, and was unique to the Mastercaster series.

I did an experiment this afternoon. I had a set of Chromes on one of my Ric 4003s for almost 2 years. I decided to take them off in favor of my backup set of NYXLs. Something was telling me that it's time for a change and that the Chromes died.

I put the NYXLs on my bass and they did NOT sound right. My low end, thumpy highs, and smooth mids were gone! I felt like I was playing someone else's bass or a different bass. So I decided to put the old Chromes back on my bass and remind myself of how amazing they are.

I'm a firm believer that the strings pick the bass. My 4003 chose Chromes. They have become a part of my sound and they serve a foil to my other 4003, which has NYXLs. Both 4003s have different pickups, which had a lot to do with this experiment. My 4003 with the Chromes has a pair of custom Nordstrands and my 4003 with the NYXLs is stock.

BaltBass5 said:

Well I mean I’m running an IEM right now so it’s providing the phantom power. If you are using IEM’s it’s a game changer. If you aren’t, I don’t see much use for it.

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Yes I’m running IEMs too.

Look, you can love or hate the headstock, but we can all agree that Tylers are the absolute best…

ProbablyTooLoud said:

Cool files man, great sounds.
Lordy the QP is massive.
But the reversed mfd wins for me, matching all the good and accurate descriptions above.
Personally, when I had a Kiloton, I couldn't get the hang of the mfd.
Im on a yamaha bbp nowadays, which sounds most like the model p in those clips, but has its own thing going, a nice mix across the range.

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Thanks man!

And yeah it was tough between the Model P and the MFD(the Model P almost give a "tube tone" on its' own), and I can see why Reggae guys like the QP bc of what you said. But the MFD had such a pretty top end and no loss of mids like the QP, so I am able to dial it in easy. I can cover Sublime on it with no problems using outboard EQ/amp tone controls.

odarellmc said:

Now with that being the case people making a big deal over the variable ratio of the Cali vs fixed ratio of the empress seems kind of pointless now right.

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Interesting viewpoint.

BobKay said:

... I was amazed at the difference, especially in volume - I only needed to turn it up 50% of what I needed using the 1/4 amp out. ...

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Two years down the road, maybe these questions are not answerable anymore, as both cables and EQ settings tend to change... Sorry I didn't catch this thread way back then .

1) Was the 1/4" phono output, and the 1/4" cable, mono or stereo?

2) Were the EQ settings the same with both cables?

Both of these could have had something to do with the volume increase.

If a stereo 1/4" phono output is cabled to mono either by a mono cable or by feeding into a mono input socket, half of the signal (and volume) will be missing (and on some devices it could potentially overheat some stereo output components due to shorting the right channel to ground). XLR, both output and input, are strictly mono.

From personal experience, I can attest that it's really easy not to know or not to notice if a 1/4" phono cable or a 1/4" phono output or input socket is mono or stereo.

Regarding EQ, with my pre-amp (K&K Dual Channel Pro ST) raising all the EQs in a flat-but-high manor also results in higher volume.

BassicJazzy said:

No shorts? So you want me to play naked? I'm almost 72, I don't think anyone wants to see that.

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I’m in the same boat..lol!! And most Sartorial Advice would probably not look appropriate for our age, and even if it did probably wouldn’t increase our fan base. “Hey hon, let’s go to the MK Ranch tonight and check out that 74 year old bassist. He sure knows how to dress.”

Seriously, you dress for the gig. I worked with a band for 50 some years wearing waiter attire. Black dress shirt, black dress pants, black shoes and a thin pastel tie. For them and those gigs, worked well. The band I currently play in wearing a buttoned down long sleeve shirt, a pair of new Levi’s jeans and some high end boots and I’m over dressed. So, I invested in a ball hat that I wear backwards to be “cool”…lol

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I did not know the Freddy Washington's P vass was actually change to a Bartolini. I am glad mine is going to be used probably for the entirety of my lifetime, Mine was from 1986 not that far from when he changed his.

logdrum said:

Surpassingly the Bartolini seemed like it has the most output and very even -- the Delano Ceramic was darker than expected - the darkest. The MIJ was loud too

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GIBrat51 said:

Can't speak to the Sterling's factory strings, but my '20 MM Stingray Special 4HH came to me straight from the factory with Hybrid Slinkys. Which I do like, even though I generally don't like roundwounds much at all. On that bass, I found them to be waay too bright for my taste - even after they were broken in. And the finger noise was atrocious; much worse than on any passive bass I've ever had them on. It now wears a set of Galli JF4505 Jazz Flats; very nice bottom end; very good midrange; plus, enough highs to be useful, and move them out of the Old School Thump category. Plus, they broke in quick as a bunny; and they're smooth and slick as wet ice. All is now right with my world...

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Update time...
I still have my EBMM 4HH Stingray special, and it still wears Galli Jazz Flats. Still liking them a lot, too. However...
Early this year, I happened upon a left handed '26 Sterling 4H SubRay in the local Guitar Center. I was... shocked and amazed; a new left handed instrument in a Guitar Center?!? AFAIK, it's the only one they've had in... well, a long time; as long as I've lived here. It was damaged (cosmetically), but in fine shape functionally. The cosmetic problems resulted in a Big discount on the price; big enough that, with a nice hardshell case thrown in, it was going to cost me less than the bass would have cost, undamaged. So... Bwahahaha; mine now...
Still can't say what the factory strings are - other than "Rounds that barely made it through the trip home". I had a set of #2813 (45-105) Slinky Cobalt Flats that had been languishing in my "Big Box O' Strings" for a few years; the Sub Ray wears them now. Gotta say; I'm liking those flats on that bass. A whole lot. Not nearly as bright and jangly as I thought they'd be, on an active bass with a hot pickup. I won't be playing any MoTown or R&B with this bass, but that's OK. I have other basses for that. So...
I would have to say that YES; flat wounds will definitely work on a Sterling bass. The thing is this; all flat wound bass strings do NOT sound the same. Pick the ones that work best for the music you want to play, and the bass will work as well as any other bass - with the right flats...

Guiseppe said:

Just received my new Cali76 yesterday, had some chores to take care of and didn't get it onto my board until after midnight. Decided "Well, it won't hurt to play 15 minutes to hear how it sounds". When I looked at the clock for the 1st time it was after 4:00 am...I'd played 3+ hrs w/o blinking! All I can say is that pedal made my playing sound the way my ears hear me...it is a game changer!

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That’s not a bad thing. That’s awesome you dig it so much. I for sure spent hours playing when I first got mine in the mail.

I know a well known educator that has one, He is not on here much.
Charley Sabitino in NYC

Nebadon2000 said:

Boss Katana 500 he likes doesn't seem to fit that

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Maybe you can explain what this 'Cab Resonance' calibration is doing; Here is explanation by Designers at Bass Gear Review; I had powered cab that had Tech claimed to match Amp to that speakers characteristics this claims any Cab review also mentions their proprietary Class D fixes all of Class D Amps problems

From Bass Gear Mag
I had the pleasure of being in contact with the Katana designers directly, and we are lucky in that they gave me some fascinating and exclusive insights into the amp’s design to share with you! Here is some feedback directly from the “BOSS Team:”
“The impedance of a cabinet speaker is frequency-dependent. In other words, impedance changes value with frequency. This is sometimes referred to as the “impedance curve.” Typical class-D amplifiers reduce output power/wattage at frequencies with high electrical impedance.

On the other hand, traditional vacuum tube amplifiers (typically classes A, AB, and B) have been favoured for their ability to maintain a consistent power output (measured in watts/W) despite variations in electrical impedance. Furthermore, depending on the design, sound pressure can be increased at the lowest resonant frequency. However, vacuum tube amps are relatively heavy, not as portable, and often require maintenance. These problems, specifically, and others, have been solved with the Katana-500 Bass Head.

…getting the optimum sound from a head and cabinet setup requires understanding the characteristics of the many different cabinet speakers players freely choose to connect. While building a speaker cabinet fully allows you to understand its characteristics, it is time-consuming. Imagine, therefore, the value of a system that eliminates this barrier; that was the starting point for developing our Cabinet Resonance function…

…Overcoming significant challenges, a power amplifier with special electrical sensing circuitry that analyses connected speakers/cabinets was developed. This unique design allows the power amplifier to sense cabinet characteristics … while the cab is connected. Informed by our analysis results, we determined ideally how to drive the power amplifier for different cabinets. Subsequently, a new class-D power amp circuit design was developed based on feedback from professional bassists.”
TL/DR, In layman’s terms, the Katana-500’s Cabinet Resonance function optimises the interaction between amp and speaker/cabinet through a sophisticated sensing system and reactive class-D circuit. It’s designed to overcome the limitations of typical class-D amplifiers, which tend to reduce output at frequencies with high electrical impedance, causing a loss in sound pressure, particularly in the basement-dwelling frequencies.


The Cabinet Resonance function offers two selectable modes: Green and Orange. Green is tuned for a tight, fat low-end modern bass sound, while Orange produces a thicker, warmer bass tone for that vintage, laid-back feel. These modes were developed with input from professional bassists, ensuring they’re practical for a variety of musical styles and cabinet types.

Further amplifier behaviour “modelling” comes courtesy of the Amp Feel function offering “Vintage” and “Modern” tonal flavours.
“The Katana-500 Bass Head’s reactive drive class-D circuit is unique. It differs significantly from other companies’ typical class-D designs, like popular modeller/FRFR setups or modelling combos. Those designs tend to suffer from an extremely high damping factor, resulting in excessive speaker braking. This translates as an overly harsh, tight feel for the player.”
Some class-D amplifiers can be very low, but seem to lack girth in the sound.

“Using innovative DSP and hardware design, the Katana-500 Bass Head captures a wider range of damping factor characteristics, bridging the gap between the classic feel of tube amps and the modern precision of class-D. The Amp Feel control (Modern, Vintage, or off) comes into play here, working in tandem with the Cab Resonance function to achieve a variety of sounds and responses with connected speakers. With Amp Feel off, you get a flat response, but when Cab Resonance is added (Green setting), you get a great balance between dynamics and tightness. The Modern Amp Feel option provides more pronounced tightness, especially with the Green Cab Resonance setting added. Naturally, Vintage Amp Feel mode gives a warmer response, and with the Green Cab Resonance applied is the best balance between dynamics and low-end clarity.”

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I'm getting TC Electronic RH450 vibes ... .

Which is to say nothing against the amp itself -- I still have an RH450 and dig it out from time to time, but this does sound a bit like special pleading.

I experienced this from pushing a my cabinets at a relatively loud level for three hours on an electric gig. During the last set, it was likely the voice coil heating up.

Been on an organ kick lately. Right now John Patton, “Along Came John.”

Jason from Fret Nation put out a video on the app for the 12-way selector switch. This thing looks dope af!

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Bassamatic said:

PureTone - The rest of their 1/4" product line are the best jacks you can get with much better design and double the contact area. So - I would assume their barrel jack is also very very good.

At Amazon
https://www.amazon.com/Pure-Tone-PTT5-Stereo-Barrel/dp/B07QFRS27C

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Absolutely the best, I've put them in all of my Ibanez SR bases that use barrel jacks and they make excellent contact and firm up the physical connection to the 1/4" plug.

Actually I purchased an Apple brand USB-C to male 3.5 mm cord and it works like a charm! The cord does indeed make a difference. Thanks all!

If anyone is in the Greenfield, WI area, the Music-Go-Round has a Washburn T-35 Taurus bass for $280. This bass was part of test batch of which only, not sure which it is, 35 were made, or, 35 were sent to the USA. They have this label as a T-25 which has a bolt on neck and Washburn import "J" pickups and a Washburn import preamp.

Note that the one mentioned is neck through and the electronics are stock as these were made with a Duncan MM pickup (as shown) and Duncan preamp (which, I am guessing is still in the bass.) The bridge is also stock, with 17mm (think Spector) spacing.

I have one of these babies, and it plays really nice. The neck has never moved. The pickup and preamp sound great.

Someone has attached finger rests (and removed them, leaving screw holes below the G string, and changed out the tuners and tilted them forward, like on Warwick basses. (The original tuners were gold.)

For a neck through 5 string that is quite rare, and at $280, is less than they usually sell for...

See it here... Used Washburn T25 Taurus Bass Guitar Wood 5-String @ 40015-S000345343

FWIW I think the Gen 1 is great. 15 years in and it's being held together with electrical tape and a dream, but I'd buy the same one again in a heartbeat.

Really curious what everyone thinks of the newer models.

NKBassman said:

Curious how you're implementing it for your usage?
I guess I've been a little underwhelmed by it every time I've brought it out.

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It's basically my "room transformer", I play the amp without it, if the room is boomy, I cut the bass, boost it if necessary, mids and treble to taste.

The noises may indeed be normal, especially with the master volume turned up. There is no mute relay on these amps, so when the power supply collapses after turn-off, there can be a low transition voltage where the driver circuit becomes very unbalanced and will flip rail to rail at very low rail voltages.

The hum MAY be due to aging filter caps, but I wouldn't jump to any conclusions here. There are other things that can cause hum, including the layout, the internal ground current management and there's LOTS of circuitry that's always active before the power amp. therefore, because many parts in the amp are no longer available, I recommend that you leave it alone to avoid creating bigger (and maybe non-repairable) new problems.

These were not particularly quiet amps to begin with.