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CrunchyFrog said:

Thanks for your response.

I had hoped to ask you about this some other time, but since we're talking about MOSFETS...

Attached is a photo of the first three MOSFETS in my 2011 Walkabout that I bought used. Q2 is different from the other two and has a fair amount of flux remaining that isn't anywhere else on the board. Would you suppose that this MOSFET had been replaced after leaving Mesa. By the way, Q4-Q6 are all DL821 ALFET components.

The amp still works great but I've been wondering.

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ALFET was one of several intermediate companies that manufactured or packaged lateral devices, they are long gone. There were at least 4 different companies we went through in succession as they appeared then went out of business!

Yours may very well have been repaired. If it’s working, I recommend leaving it alone.

Sorry read this thread at work on my phone earlier. I guess I was more responding to pingvuiini's picture wit the tape wounds, not the OP's wit the flats.

Thanks to Chris Dev for editing this.

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Had to look up the bassist - Saveur Malia?
Sounds great!
Thanks for posting this tune.

I like it and have been playing it with an Ampeg SVPII preamp and SVP Classic.. There's a few other pre's I want to try it with.. I did an emergency fill-in back in February at our local theater.. They had a brand-new SVT amp and cab to use and I loved it..

I love my Corvette and the Warwick sound. However, this being a Rockbass I've been told reliably that any more than a few years old, they were still getting their lower-cost line up to an acceptable quality. But there's been enough interest in them that they've spent the time to make them much better. At this point I wouldn't worry about one of the new ones.

They mention some of this in their discussion with 123bassnation in their interview.

Dr. Cheese said:

This is a joke, right? That’s not a Fodera. It might be a nice bass, but it’s not a Fodera.

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I didn’t know it at the time, but yes.

56Fenix said:

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Got a lot of compliments on the Jazz V from other bassists during our last gig, which is always flattering! I managed to talk one of them into getting a 5-string too!

I still have the stock pickups which lately Ive been running in a series, as they're pretty good at mimicking the punch of a pbass that way, especially when combined with a sansamp. I like to experiment with all kinds of goofy pickup configurations though, so I made an inverse template of the pickguard and routed out the cavity to be a veritable swimming pool. After were finished recording, I'm going to experiment with throwing a pbass pickup at the neck and go full Mark Hoppus.

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These are some cheap-o Wilkinson ceramic pickups I got for like $20 as a proof of concept. I had to angle them because the poles are spaced incredibly wide and wouldn't line up with the strings on the CV. I took it to practice yesterday and I will say the low end sounded great, but I lost pretty much all of my high end. I attribute that mostly to the cheap pickups themselves, but now I'm curious to try a nicer 5-string split pickup.



Although I gotta say, something about running two jazz pickups in series has a really particularly nice tone I've come to enjoy. I highly recommend anyone running the stock pickups to try out a series/parallel switch and see how you like it too!

Jood Gob.
Not a fan of the “rustic” wood thing, but you kept it through, and pulled it off grrat.
Have you thought of going all the way Yakisugi?

Been flirting with the idea of doing a German carve on mine… but before I have a Bronco (Deluxe ) mod to finish.

oren said:

I wonder if Pete Lempe, from Pete’s Upright Bass Shop in Portland might know something about these. You could always give him a call,he’s a good guy.

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Thanks. I will do that

Quatschmacher said:

Would be great with Melbourne Instruments’ Roto Control too.

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That looks nice, the ability to call up a patch and watch the dials automatically rotate to common settings would be a sweet feature. It's easy to get lost with the knob levels when I call up a new patch on my Midi controller (MC6) and the dials change virtually, but not on the faderfox.

gypsyfelon said:

Looks great! Where did you get the gold? I think I have to give it a go on mine!

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Pickguard was Kaish brand from eBay. I had one other from this brand and all the holes lined up. I did have to drill the gold guard for the pickup cover and tug bar holes. Give it a try. I’m getting so good at changing out pickguards on P basses. Only takes a few minutes now so if my taste change I swap it out for a new look!

I'm suprised there's no Source Audio Gemini / Mercury / Lunar representation. I use a SA Lunar as my primary modulation pedal, along with a bit from my Eventide H90.

bass player 53 said:

Rubber or stiff foam strip under the strings at the saddles? If you already found something, go with it…
BTW, the Ampeg BB has the strings sitting at the bridge in a hard plastic. That helps mute them and helps with thump.

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sounds interesting about those strings. i use copper white tape wounds. great tone--at least i think so-- no thump.

mapleglo said:

I picked up this vintage Telecaster Bass a couple of weeks ago.

View attachment 7453889

1969 model, all original, plays like a dream, came with the original case.

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Stunning

TeeSee said:

As far as I remember it was like a standard P-bass config, albeit, the pickups were more toward the neck than your standard centralised position there is a route from the pickup cavity to the control cavity and that's about it, very simple P layout. In order to get the lipstick in a slanted position I had to open the pickup routing more with a wood chisel (don't have a router) but bear in mind it's basswood and might be prone to splitting or breaking up if you machine it. covered the cavities in copper then used better pots and of course the varitone, Unfortunately, given my skill working wood, the pickguard covers a multitude of sins - she aint pretty with the lid off but does everything well.
I'll get some pics when I have chance, but youll have to promise not to laugh

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I promise
I absolutely love the shape of the body but just can't abide the surfboard guard shape so am hoping to create something leaning into the tele shape body

Yeah, getting a fully hollow bass really is less work, though perhaps making a fully hollow bass of your own after going through several iterations is even more work than pedals...

And owning chambered and hollow basses (plus a solidbody EUB and a DB), and also having owned a semihollow bass, I can confirm that unless it's fully hollow, it really sounds just like a solidbody to me. Even the Gibsony-looking arch-bodied Washburn AB95 did, with the single exception that when distorted, it went into controlled feedback much more easily than solidbodies - the thin plywood "wings" vibrating makes sense. But it did not sound "acoustic" to me at all. Wasn't even any lighter, either, at over 11 pounds, but it sure did look cooler.

Also an on-topic thought... if Bruce's hypothesis is correct that a flexible frame is the key to the hollowbody sound, then a shallow fully hollow body will sound more hollow than a deep one, as it is more flexible because the back is closer to the strings - like an I-beam with a taller cross-section being stiffer than a similar but shorter one, for reasons I still remember from having studied architecture.

I'm gonna try the synthesized warble thing with some recordings, though, just out of curiosity.

GrapeBass said:

One of my favorite bands, Kenny Gradney is a groove-master (I miss Ritchie Haywood).

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Lowell George was an incredible talent too...

agedhorse said:

I saw a bunch being finished up when I was at the factory last week, don’t know where they were going though.

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Well, that's reassuring news and I really appreciate the update.

I went to GC today to find out they sadly pushed ETA back another 2 weeks. Did anyone get an order fulfilled from the 8/14 shipment?

Not sure anyone has this either. A Suhr bass customised in green as a homage to Geddy's number 1.

PiquetBass said:

I have the Rumble 500c. Works very well in an 8-piece combo (drums, 2 brass, 1guitar, 1 keys, 2 singers.... and me!). Indoor events don't need any help, some outdoor events benefit from an extension cabinet.

Here it is at a local outdoor event, with a TC Electronics 250w extension speaker attached. Plenty of headroom left - gain and master on the amp were well below 12 o'clock on the dials.

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Your gig is exactly what I've been doing for the past 5 yrs. 6 to 8 pc group, Rumble 500 alone indoors, add a BFM Simplexx 1x15 out doors.

Jason Hollar said:

I would absolutely love a 4x10 but they’re just no longer practical for me to try and move around.

Still very happy with my single 12 combo plus 1x12 extension.

I use the single 12 on nine out of ten gigs because it’s plenty loud on its own. That said I have an event in a pretty big space this weekend and I’m definitely bringing the extra 12.

So, I’d vote 2x12 - but if logistics isn’t a concern l’d have to give the 4x10 serious consideration.

I tried one of the single 15 cans this summer and it was fantastic. I may have to keep an eye out for one even though I definitely don’t NEED it!

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I have an Ampeg VB88 that is awesome and big, but I want a matched head/cab for the GK. If I want big I got the Ampeg. Thinking 212 for the smaller rig big sound win.

They look good in the sun

104

Best wishes on your upcoming surgeries.