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egroeg said:

looks like a pretty good quality

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Oh it's no slouch.

Sung IL are a major player when it comes to supplying bridges to the industry and the aftermarket. Trev Wilkinson has his bridges produced by them, as does Babicz. Not a betting man but I'd take a wager that the Leo Quan Badass and the Fender Hi-Mass come out the Sung IL factory.

Yep, my older GT-2 is fantastic. So many great tones from one pedal.

I'm responding to an ancient thread! I have gigged a TC electronic rh450 into a 4 ohm EX112 and happily filled a decent sized room in a 5 piece band

I meant to say “mids are unleashed” but the playing is so good it unleashed my mind too haha

CigiBass said:

Looks AI generated?

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It is. I updated the original photoshop image.

calimariguy said:

A year later, my verdict on this post is I was a moron and not having a passive mode is indeed a non-issue. I've since installed EMGs in all three of my basses and active is the way to go, especially if it's extended range. To myself last July: shut up, dumbass!

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Nah, we all want what we want and that can change at any time for any reason. I never ever use bypass mode playing out but it's quite handy for testing pedals meant for passive players, for instance.

Thread resurrection. I'm fairly obsessed with George Murray and it's good to see other fans of his. On the two released recordings from the isolar II tour (1978) he just never puts a foot wrong. The best.

SteveCS said:

By way of contrast and compare, this is a couple of lines* from Book 1
View attachment 7542577
... book 2
View attachment 7542580
... and Feuillard
View attachment 7542581

* hopefully not enough to breach 'fair use' policies. The Rainey stuff is long out of print and the Feuillard has to be PD by now.

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I know, that makes these conversations difficult. I have some stuff from Jay Friedman put out by Ernie Ball that is very neat in how it presents things (no tab but rather numbered dots on the fretboard, accompanied by straight notation). But I don’t know how much is too much—I really only need to show one example, I think, to get a conversation going.

Tony has made quite a few pickguards for me, too, going back over 20 years, now.

Beej said:

There were no changes from 1957's overall design in 1962 - if you like that 57 template, it will work for you.

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It's nit picking and not visible but the control cavity did change in '59 when they switched from the anodized guards to the tort guards in order to accommodate the 13 hole pickguard pattern.

smeet said:

I was thinking, my DAW (Logic Pro) has EQ plugins that also allows dragging points around to affect a curve, and it reacts as I would expect, without the strange interactions. Is the Logic curve display inaccurate? Or if not, is their method something that could be incorporated into the EQ2 editor?



Thanks, I’ll definitely check out your suggestions.

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They may have taken a shortcut on doing the math. We did not.

Hurricane Jimmie said:

I was in a Zydeco band in the St. Louis Metro area at the time. I took a couple of trips to the Lafayette LA area (South of 10 as they say) to attend some Zydeco/Cajun music festivals and listen to the real thing.
A lot of the bass players were using Squires and other lower cost brands that had been around the block a few times. And they were tearing it up!
But by then I'd already bought a Rickenbacker.

Still have the Ric, but my main gigging basses now are G&L Tributes. The MFD pickups they use are pretty good.
I guess I'm making progress with my security issues.

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Most budget basses these days are more than good enough to gig. I got a Squier Paranormal Rascal a while back, and I wouldn’t hesitate to gig with it. The same goes for my Sire v3p jazz. A bonus is that if something should happen to them, it wouldn’t be a huge financial loss.

cynelli said:

It was 900. Excellent value for how it plays.

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Killer deal I love that bass!

Well, it certainly sounds like an Acoutic 220!

Hello fellow bass lovers.

I'm needing to make a decision on an Embassy Pro for a recording project. Anyone have any recordings of the Embassy, in a mix, that they can share? Or do you know of any songs recorded using the Embassy Pro? I know some of you may say why the Embassy and why not a Fender Jazz or P, etc. Basically it's a weight and size thing. I've got Hobbit genes. I should also add that what attracts me to the Embassy is its vintage aesthetics and not only do I like vintage looks, but I also like a vintage sound. Not into aggressive music. I prefer clean, melodic, articulate bass grooves. So no fuzz or over-drive.

Thanks!

I met two of my favorite bassists in Seattle, maybe thats why they are 2 of my favorites
I met Jon Gagan at the Triple door after a gig with Ottmar Liebert. I love his fretless playing, melodic, rhythmic, and always in support of the song
I went to a clinic that Michael Manring put on in Seattle, all of 12 people attended! I sat about 10 feet from him and he turned the clinic into a semi private lesson for all of us. Phenomenal technique but I like his playing best when he is in an ensemble setting supporting the music

Salem6127 said:

Anyone got an ID on these babies?

View attachment 7542417



My first thought was maybe Smith Burner's, but these are more of a yellowish hue and don't have silk on the ball ends.

View attachment 7542419

Edit: Not my bass, it's on a japanese marketplace so very low chance of the shop responding to questions.

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Those look like Harley Benton strings. One of their distinct features is how the start of the silk is staggered according to the positioning of tuner posts.

Is anybody using the loops to send the clean/drive signals to FOH via separate channels?

The purpleheart is really, really, really gorgeous. I mean really.

rollin$tone said:

Warwick: The Sound of Wood.

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This.

6thplanet said:

Well if those are both out and you still want something new and shiny, I still have a few of my amps left.
It does grindy tones quite well and will play clean too.
View attachment 7542506

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I think you're outside of my ballpark... Looks cool though.
I'm deciding to be happy with what I have to be happy with, I appreciate the offer.

I’d grab some sort of flat silicone pad from Amazon, cut it to shape, and affix it with plenty of painters tape.

el murdoque said:

Here's a thing that has bothered me for a while.
I do own a Fender Vintera 50's P bass. Single piece maple neck, the extra fat baseball bat profile.
For this bass, I bought a set of the Rotosound Steve Harris SH77 Flatwound strings (.050, .075, .095, .110).
I had Chromes on there, but a band project required me to tune down a full step to D standard and I did not like how floppy the Chromes got, so I went to look for something with more tension - and the SH strings, along with the Jamerson Bridge Cables LaBella offers should be the highest tension strings around.

When I put them on my P bass, I had to max out the truss rod completely and still got a tiny little bit more forward bow than I would have liked.
Remember: I tuned the bass to D standard.
Steve Harris also plays P basses and he tunes these strings to E standard.
Jamerson also played E standard AFAIK.

Is there a thing you can do once the truss rod is maxed out, yet the bow is too much?
Is it normal for a P bass to struggle with these strings? How did Jamerson / does Harris do this?

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This is another "it just depends" situation. There are pictures of Fender bass necks propped between 2 chairs or boxes, with a... let's just say "very well fed"... guy standing on that neck. And it was apparently not bending much at all. But, that was back in the day, when there was a lot of well seasoned wood to make necks out of. Today? Well, not so much... I bought my '78 Fender P-Bass in 1988. It has the optional-at-the-time "A" contour neck, which is basically a Jazz Bass neck, with dot inlays and a "Precision Bass" headstock decal. I had a set of Rotosound RS77LD Monel Flats - the "bridge cable' ones - on it, before I went to bed that night. It wore them for several years, with no problem at all. The only reason I took them off, was that I wanted a different tone from it. It's had several different flats on it since. I settled on GHS Precision Flats a couple of years ago. Still pretty high tension flats - and still, no neck problems. So...
Bottom line? It just depends on that particular bass's neck. I have a lot of basses - and they're all different makes/types/scales. The only one I've ever had neck problems with, is my '73 Rick 4001. It has the beginnings of the problem that lots of 4001's with the neck pickup right up at the end of the fretboard, have. The one where the neck starts to fold up, like a drawbridge opening. It's caused by a combination of high tension strings, and RIC's stupidity. They cut most of the wood out of the spot where the neck transitions into the center body block, to make a ridiculously huge pickup cavity. So, to keep from making it worse? It wears flats with really, really low tension. But, with that one exception? I've never had a problem with my basses wearing high tension strings...

Bridge pickup, grindy overdrive, like the Tech 21 Oxford or other Orange amp based drive, blended with clean signal, via for example of Boss LS-2, really thin pick, like thinner than you think, try the .50mm Dunlop Tortex, has to be realtively hard material, no Nylon pick, or cut your nails to a very specific length, ver inportant that they are neihter too short or too long, too long and you get a click instead of clank, and too short and you get thud instead of clank, just so that when you hit the strings, lightly!, no extreme force or you get a thud instaed of clank, in a slight inward slapping motion, with the absolute tip of your fingers it touched the edge of your nails too.

And also relatively thin gauge strings helps too.

Staninless steel, hex core, strings too.

Not too low action or you will get buzz instead of clank!

That's what I do.

Ah, and also boost some narrow spectrum around 800-1.2kHz or so, mids in general is your freind, espcially upper mids spectrum!

For growl, snap and clank!

I bought some "star" inlays from Depaule for my Lemmy build, and each one was unique, obviously hand-made in Vietnam. That meant hand cuting each inlay pocket to fit (which was painful), CNC wouldn't be much use. I bought a piece of the Masecraft faux MOP, still haven't used it for what I intended, a set of Jazz Bass block inlays, but it doesn't look much like genuine MOP in person, more like the old "pearloid" pen blanks.It seems vary hard and consistent through it's full depth (about 1/8"), so I'm sure it would machine well.