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Billyzoom · Jul 1, 2026

A Peavey Fury is a ridiculously good PBass, and you can get them easily for 300 bucks.

Made in the USA. One locally as I write this is listed for 300 with a hardshell case, no less.

If I hadn’t already ordered my Suhr P I would have picked it up. GREAT basses.

BassicJazzy · Jul 1, 2026

VicDiesel said:
I was very annoyed when I discovered that. I opened up the control cavity and put a number of rings on the thing-where-the-plug-goes but that's not ideal.

They use the crappiest barrel jacks too. Some plugs are slightly undersized and might not even contact the outer ring properly, which can cause preamp to cut in and out. If you get that, it sounds like popping. And you can split the wood if you over tighten the retainer nut.

Best locations for jack are on front face of bass, like P-basses, or on bottom, on a flat area, like J's. That Strat-style location is for the birds!

bass player 53 · Jul 1, 2026

This:

Please click on each attached photo to get the entire view.

Al Kraft · Jul 1, 2026

tombowlus said:
Which goes to show that YMMV, so I guess take my prior post as only one take.

As I posted earlier I like the PH212 a lot and own 2. I also have a PH410 and at first considered it a standalone option to using the 212(s).

Based on a post of yours Tom (many years ago) I gave the 410 and 212 combo a shot and it was actually quite good to my ears. The smooth, broad mids of the 212 blended well with the 410's deep low punch and more present top to create for a very full voiced rig that was especially useful (for me) on outdoor gigs.

We all have a different tone goal in our heads that we are chasing, but as you often point out, if it sounds good to you, it is good.

agedhorse · Jul 1, 2026

My experience is that it’s not nearly as easy as you suggest. Maybe you have just had incredibly bad luck?

MarkA · Jul 1, 2026

agedhorse said:
If the amp has a bridged output (like most class D amps), running the speaker output into an aux input (which is ground referenced) will short 1/2 of the amp to ground and probably damaged the power amp.

I may be remembering incorrectly, but I thought those models were class D?

The F1/F500 were class D, yep! The early Little Marks were class AB with an SMPS (before they switched to class D, later on).

Nodak Savage · Jul 1, 2026

I've owned this pedal for about a year now. Gig with it regularly and like multiple sounds I've gotten out of it between my industrial band and my doom/stoner band. With that said theres one thing that always seems to boggle my mind with some of the presets in the manual. For example, on the Geddy settings, on the clean channel, why boost the mids right above 450hz but then have the LPF set at around 300ish? Doesnt the LPF cut out anything above that? How does the boosted 450 come through when it's notched out with the LPF? Multiple other manual examples do this which throws me off a bit.

SharpCat · Jul 1, 2026

Didn't I see that in an old Animusic video?
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crazycloud · Jul 1, 2026

BassicJazzy said:
Not sure I understand? Are you saying they were out of favor?

Yes, and substantially undervalued in the market and I had no difficulty buying them for those sort of prices - on ebay, I seldom had anyone else bidding against me on them. They weren't 'trendy' then.

Grapevine921 · Jul 1, 2026

I'm not sure what I would pick to play but based on those clips the jazz bass seemed to really suit your playing.

Gilmourisgod · Jul 1, 2026

Recent YT review of a Contemporary Hofner. Honestly, I don't see much difference in fit and finish between this and my Son's Jay Turser, or the Rogue version. At this price point, you should expect to have to do a little setup. I would expect the full-blown Hofner to BE immaculate, damn well better be at that price!
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Swamp_Ronin · Jul 1, 2026

This moved me. I wish I knew more about AJ. The few stories I hear are very fascinating. He seemed like a man who dedicated his life to the bass, and found a lot of meaning in that. Some people are wired up that way.

DrBnz · Jul 1, 2026

True....true.... I'm so particular about my setups.... tuning.... always with the finite adjustments to get it perfect. When I seen 12 it was a bit of a head rush. Can I play it? Or will the setup alone drive me insane?

logdrum · Jul 1, 2026

DownRound said:
I didn't see anyone posting something on this.
It's Stanley's birthday.

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It's usually a @Dr. Cheese thing. He's slacking

5StringBlues · Jul 1, 2026

FRoss6788 said:
Welcome back!

Opinions vary.

:cautious:

MarkA · Jul 1, 2026

tothemax said:
@MarkA

All correct... our PA is a passive FOH and stage monitor system. My BA210 combo will hold it's own for a stage monitor with the Leslie, but can get a little muddy when the keys hit the low end at volume. With the "stack" I can always hear myself without any problem, probably because the combo (on top) is just about chest height (and not purely volume). Unless it's a small inside gig, with our PA I always use the stacked rig (4x10) to be sure I'm getting a good FOH sound. I run wireless, so it's easy to wander out front and check.

I also agree there is nothing better than setting up and the venue having a good sound system with a skilled sound tech... The video below is from an annual gig we play, great sound guy. You can see my "stack" behind me. This is before I added the MXR M80 DI, this is using the built in Ampeg DI on the BA210. A friend sat in on flute... fun day. This day the Leslie was all the way stage right... I was in the clear....

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Okay, this gives me a better idea of your rig "in the wild." Fun tune! I like some of the lines you're playing. Your drummer and conga player look to be having fun, too.

tothemax said:
I'm in agreement on the lifting part... that was the whole consideration for the Micro SVT option. But, one needs to be practical. I've always had a sweet spot for the old Porta Flex flip top look, one must consider the coolness factor with practicality I'm leaning in that direction, no reason to obsess or GAS on the gear, but it never hurts to keep an eye open for those components.

Thanks for all the good feedback, Cheers

Have fun and don't let gear (weight or obsession-with -- def. need to take my own advice, here!) get in the way!

H Nighttrain · Jul 1, 2026

Call RevSound, 603-651-9800. Ultra-light carry, superb sound.

JGR · Jul 1, 2026

EncoremMP said:
I got this pedal not long ago and am really digging it. I’m finding lots of bass friendly tones and am really impressed with how every function interacts together so musically.

Agree!

almal · Jul 1, 2026

Thanks for this! @Malak the Mad . I think I will likely ditch the preamp. Thanks for expressing interest. I'll let you know when I get there and we can come up with a fair price.

ghiggin1079 · Jul 1, 2026

DJmtd said:
I recently started using the command center to swap between presets instead of trying to jam everything I could possibly need into one. So if I need my normal clean tone for the majority of a set, but I need some crazy synth tone for a couple parts, I'll just set up my buttons in the command center to just bop back and forth between those presets.

I'm sure the Stadium would be sweet, but if you like your Stomp there's probably a way to make it work.

Here's how I got into this mess. I needed a modern metal tone so the 2nd or third guy that came up on YouTube walked through his and it uses one less than max and last I put a capo bc we're using c standard and drop b.

konaaayukeeenee · Jul 1, 2026

credolucy1 said:
My Combat Jazz bass. Sounds absolutely amazing. Single coil jazz pickups sound powerful and quiet although not hum-cancelling. Perfectly balanced.

Nice - can't go wrong with that color scheme! What are the specs on yours and how was your experience?

samcav · Jul 1, 2026

walterw said:
my usual response to that is “we don’t plug basses into our ear”

with typical guitars running through compressed and distorted amps, you do want audio taper volumes to have an even response going from clean to crunchy on the volume knob

with basses (and clean jazz guitars) and their typical clean signal chains, linear volumes do a better job of smoothly raising and lowering the actual loudness over the full sweep of the knob

(tone pots needs to be audio taper either way or the entire sound change gets squished into the low numbers)

Ah! Thank you for the explanation. This is actually much clearer than what I was reading. That being said, I play with a moderate amount of compression and my volume backed off (roughly: 75% neck/50%bridge/35%tone). The only time I change my settings is when I roll my tone all the way down for certain songs.

With the linear volume pot, it does sound like I would end up experiencing too much output at the beginning of the rotation.

Billyzoom · Jul 1, 2026

That’s Ralph.

frankie5string · Jul 1, 2026

After having mine replaced, I still have the replacement. I still use it, but it isn't yet my first choice. I still start with the Sansamp BDDIv2, then the EBS Valve Drive, and then if the inspiration isn't happening I'll try the NE-Digbeth Pre... It's a good sounding preamp, with lots of tone shaping. I don't use any of the speaker emulations.

It's a bit meatier sounding than the original Digbeth-Pre because of that Range control on the "Tube" mode.
I need to spend more time with it. I have a few more recording sessions coming up where I'm doing bass tracks on my own DAW and sending them to the producer/writer - that's usually when I can devote time to fiddling with these because I'm working alone.

nixdad · Jul 1, 2026

GretschWretch said:
Pretty much *all* the 1960s Gretsch 6070s and 6072s have the 2x4/telephone pole neck with the oar/pizza shovel headstock. The 6071/6073 "Monkees" Gretsches have the four-on-a-side headstock and the much slimmer neck (and short scale). Toward the end of the decade Baldwin somehow gained control of Gretsch and moved operations to Arkansas. I have a defretted 1971(?) 6070 whose neck, although by no means slender, is very much slimmer than the earlier necks and displays more taper than they do. The headstock also changed to what we see now on basses like the 5440LSB.

Comparing the necks of my 5440s to my 607x, visually they look quite similar: broad/wide without much taper. But the 5440s play much "faster" than the vintage basses, which I attribute to the necks being thinner/flatter.

IMO one of the great tragedies of modern bass making is that Gretsch did not take the platform of the contemporary G6072 and stuff the electronics and pickups of the vintage 6072s into it. With that slim, "speed" neck and that sound . . . OMG! what an instrument.

Thanks for the education!
Yeah, it's too bad they didn't see your last suggestion through. Another example of "shoulda, coulda, woulda!"

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