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Thanks, everyone. I’ve decided to go with a suggestion someone made earlier: trying different strings with the stock AVRI pickups—which I don't think are bad at all. I’m familiar with La Bella 760 FLs but haven't tried them on this bass, so they’re an option, as are Olintos or low-tension strings, which have less low-end and a less dense sound. I also have a set of Chromes that I’ll give a shot. I’ve never tried Ernie Ball, GHS, Dunlop, etc., but I’m sure I’ll find the right strings for my bass without having to swap out the pickups or electronics—though that remains an option if I exhaust the simpler solutions first. Cheers.

Has anyone the posts of a white XT25 modded with white EMG35s?
I thought I'd bookmarked it but I hadn't and want to check it out again, and my search-fu is failing miserably today.
TIA.

Cool.. I have a stack of 3 1x10's running from an Aguilar AG amp (500w) ... So 165w to each cab... More than I will ever need..!!
I also have a 2x8 cab running from an Elf, which is different sounding again...

anightintunisia said:

What kind of bass is it?

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It’s a JET JPB305.
Very nice playing instrument. The company is based and designed in Slovenia but as many instruments nowadays constructed in Indonesia.

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I think he's overstating the poor tone of the import Bart electronics, but he is a major EMG fan (as am I). Still use my stock basses with the MK1s and no one has ever run out of the audience to berate my tone. FTR I have an A6 FMMH and agree the build quality is awesome. As mentioned, I'm an EMG fan, and for the stunning bargain price of these basses, I have no issue modding the electronics, even routing to fit the 45DCs.
I don't think there is a licensed version of the Transtone bridge and the licensed tuners are fine on all of my basses, so I don't get the sneering about them.

As for the SS, I'd like the pink one but have no need for it. I feel they would have done better with a cast bridge (aesthetics mainly) and a 2+2 or smaller 4IL headstock with modern sealed tuners. Either would counter the neck dive I've seen in some other reviews and differentiate it form the sea of FSOs out there.

Prodigus Filius said:

That was really good of him to flick you a freebie like that.

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He's a genuinely wonderful person.
I felt a bit sheepish taking him up on his offer as he'd already been quite generous with the discounts he gave me.
George runs a top notch company and is always a pleasure to deal with.

I want one..

bass player 53 said:

Just for clarity’s sake, there’s a difference between a Vincenzo Panormo double bass and a Hawks Panormo double bass, and I’m not digressing…

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Both are great, but there is definitely a difference

I didn’t want to start a new thread about this, but I have a question…and I just realized this seems rather long-winded…

After selling my Jazz V bases a year ago (or more) I picked up another Squier Affinity Jazz V for a steal.
When I had these Affinity’s before, I immediately swapped the pickups out with AlNiCo’s, and I’m getting ready to do that with this one.

However, after going down a rabbit hole with HC pickups on the last basses, I kind of settled on having staggered pole pieces as the best thing for a Jazz V with a 9.5” radius.

But are staggered poles necessary? Lindy Fralin recommends them below 10” radius, but I see really the only SC manufacturer other than Fralin who uses them is Lollar. Every other SC out there has flat pole pieces.

BUT…just about every HC pickup (Aguilar, SD, Nordstrand) has staggered pole pieces.

What gives?

And after going down that rabbit hole, I almost decided that all I want are traditional SC’s…

What else would you carry this with but a white strap with gold strap locks?

Anybody have one they'd consider selling?

Learning this tonight, what a killer tune!

walterw said:

man, i think you're going about this in the most difficult way possible!

buying and swapping around nuts to try and adjust a setup is essentially impossible. the nut bottom needs to exactly fit the slot curve to be stable, and it needs the slots individually filed down to the correct height for each string to actually play right

if the nut you have is too low and you don't want to properly fit one made from a scratch bone blank, just put a thin shim of wood veneer under the one you have. then you'll do the final step of filing the individual slots to put the strings the right heights over the first fret

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I guess I was over explaining. I bought a 9.5 radiused curved bottom to match the slot of the neck that is Fender branded micarta. I removed the superglue build up inside the slot with isopropyl alcohol until it was cleaned up completely. I smoothed out the corners to match the other Japanese Fender basses I have that had a more rounded curvature on the corners. Then added some graphite once glued in. It set up fantastically with the jumbo frets I was trying to accommodate; escape the buzz, etc.
The bass is playing wonderfully. That being said my take away from this is that the Fender branded material was much more readymade to the application.

The RW Jazz I had was one of the nicest Fender basses I've played (once I re-leveled the fretboard and refretted it. It had been butchered before I got it). The phrase is probably overused, but it felt like an old friend. If I was going to look for a Jazz bass, that's what I'd look for too. My old hands are happier with short scale basses now, so I'm playing an upgraded JMJ Mustang now. It's got a similar comfortable feel.

So I have had the mighty plug pro for a little now. At the time I wanted the Boss Katana go but it stopped production. Want to try a new one and trying to decide between Boss Katana go or Tonex plug. These plugs tend to be the main way I practice so worth the getting.

Also want to check if I am understanding things right, The Katana go has more effects that are editable while the Tonex offers a ton of captures that are really as editable, but also lots of growing choices?

Also if anyone has experience with both.

Marcus is highly appreciated in France and regularly performs at the Marciac Jazz Festival.

plester102 said:

Hi;

Did Juzek have model numbers such as 401?

This is decribed as: A double Bass Hand Crafted with SOLID CARVED SPRUCE TOP, Maple Back with some flame, Hand Inlaid Purfling, and EBONY fittings.

I asked for a pic of the interior label and the rear of the bass near the heel. I've not received pics or any other info as yet.

I'm wondering if this is a china knockoff?

Any info appreciated.

Thanks,

Paul

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I have a Juzek 401 and it is made in China under the Juzek supervision. It is a pretty good Bass and can compare to the Shen's of the same model quality.

Mike Caldwell said:

The Cinemag's would

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oh wow, yep!

(this is the place i got the jensen from)

Knuckleduster43 said:

Hi, This one is quoted as an "NJ" Series (Nagoya Japan) yet has the USA Stamped Neckplate, Was this common for MIJ BC Rich basses?...or is this a USA Build?.

Also, that headstock Shape, Was that exclusively a Japanese Nagoya design?.

I can't seem to find another similar BC Rich with that Headstock shape AND stamped Neckplate.
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Definitely a japanese domestic market model. I own one exactly like this and it is a GREAT bass. That being said they are very inconsistent so take what I say with a grain of salt. I put a dimarzio dp122s in and a Kickass bass bridge on it and the tone in a mix is so close to an early 80s BC rich that I dont mind paying 1/8th of the price. I would eventually like to get a Moser Preamp in there though!

As of just today I've finally jumped on the La Bella coach, throwing a set of the standard Deep Talkin' Flats on my Mustang PJ.

I had DR Black Beauties and was enjoying them thoroughly, but evolving taste and musical goals led me to realize I want to use this bass for a flats-with-pick kind of sound, and in particular wanted to get a decent amount of stiffness.

So far so good! I thought about the slightly heavier medium set they offer, but chickened out since it'd involve some nut filing (silly since I just got nut files!), and if I hated them and wanted to change, I'd have to reverse course. But early on in playing these, the stiffness is my kind of perfect for easy playability, and the tension has spared me from needing to make any setup adjustments so far.

I'm playing thru a pretty well-developed studio signal chain, and the bass sounds awesome. Strong chance I'll bring this puppy out for a gig this coming Thursday.

Thanks!

As far as the headstock is concerned, it will be a 5+5 version of the current 4+4.

I think I never showed my Cutlass in this group.
Great bass, currently strung with Cobalt flats.

Wasnex said:

It's not cheap.

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So, there is SOME good news!

lomo said:

I also have (and love) a ULV 212. I never played a BF Super Twin, but my ULV did replace a BF 210. Although certainly not an apples to apples comparison, at the same weight it is thicker sounding, louder and overall more satisfying to my ear. For me it's the perfect single cab solution.

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I've been gigging with either a pair of ULV 112s, a ULV 112/210 combo, or a single ULV 210, driven by the MG800+. I've been choosing the single ULV 210 lately since it sounds great, is light weight, covers my needs, and is a single cab solution. I'm curious about the ULV 212 but I'm pretty sure I have everything I need. Still, we'll see...