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agedhorse said:

See post #76.

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Aloe said:

my point was the mb58r range also has same depth and width across the range (if you place smaller 112 and 210 horizontally that’s also width).

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Ah ah, LOL. We agree, it's just a misunderstanding.
MB58R and Warwick Stage Series both allow to combine any cab, one by using either a square shape or a half-square that you can rotate as I noted in post #3, and the other by making a "staggered" 410.
Different solutions for the same result, each with its own advantages and drawbacks.
Peace

Noll sells a few with solid shafts, for starters.

And then there are at least a couple available at Mouser, like so: https://www.mouser.com/en/ProductDetail/Bourns/PDB183-GTR02-504A2?qs=U/acTlguYxaijsCh4q/JCw==

i'm building an active jazz with delano big pole piece pickups
both of my master luthier advisors said you can't go wrong with the trickfish preamps

Matt was such a good guy! I wonder what he is doing these days …

Try lowering the pickups, sometimes I get weird resonance on high pickups.

seems to mostly be only E, and more so around the 12th fret

I have also had a bad string act “chorusy” if that makes sense

2groggy said:

I have a relative in Kamloops BC. She wrote that the town is in no immediate danger but they have the worst air quality in the world.

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That sucks. From experience. Godspeed.

Yeah, I’ve been following him for a while. Another Cuban pianist with prodigious chops, and Latin ‘ritmo’ (rhythm) in his inventive improv’s.

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I used a 2011 CMD121 combo for 14 years with no issues before moving it for a Little Mark Vintage 58R, and I much preferred the VLE and VPF controls over the old school-scoop-flat options only. I'm using the Vintage 58R with a 102 Energy 4-ohm cab (which I like a lot) and find that only the flat setting works for me at gigs. I used the VLE and VPF quite a bit and found them useful. The newer amps' old school and scoop settings, on the other hand, are not subtle and have far too much of a baked-in tone which doesn't work for me live; even at home at low volumes, I rarely find any use for them.

That said, the limiter on the Vintage 58R does make up somewhat for the loss of those two knobs, and I can get the sounds I like out of the rig. While I didn't go with the Vintage for the opportunity to push the tube, at decent volumes the Vintage does have a bit more "tube-like" warmth and if I want something woollier, I have an Orange Terror Bass for that. I'd never argue that Markbass makes the best bass amplification available but I've always been satisfied enough with it and at my age, portability is more significant. With a 24 lbs cabinet and a 4 lbs amp making for a pro-sounding rig loud enough for any stage that I'll ever play at this point, it's all good.

Craig Orndorff said:

Wait, so there’s a relatively “right” position for them? I thought the whole motive was to just turn them until things lined up on the tuner (whole note, fretted note at the 12th, and harmonic, in that order) and wherever it landed you’re good.

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Take a look at all the pictures on this site of people's basses. You are going to see that in 99% of them the saddles will line up in a diagonal pattern. sometimes five string basses are an exception, and you might have the B saddles slightly ahead of the E, but for 4 strings it rarely varies. If you see something radically different, like in your bass, there is probably something not quite right. Yes, you do want the strings loosened before you make adjustments. Many have stripped screws by trying to raise or move saddles without taking the tension off first. You only need to do that once and you'll never do it again. Another thing that isn't always discussed is setting witness points, after you have moved a saddle. You have to make sure the string runs straight to and from the saddle, with no bend in it. you do that by putting your fingers on both sides and rocking with pressure until the string is straight. If you don't reset the witness points the intonation is not going to stay true.

Iridescentone said:

I've read good things re adding an EMG BTC circuit to the stock JB-2 pickups. Never tried it myself, but the OEM JB-2 singles were different sounding animals than most s/c jazz pickups. They were hot, and they heard all extraneous noises, good and bad. Some called it "gakk". I call it "nuance". YMMV.

On that note, I happen to have a pair of NOS never-used, original JB-2 single coils that I might be willing to sell. Got 'em through Buffalo Bros in CA back in 2003.

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Dm sent

I love this aspect of bass playing and it happens commonly in jam session, open mics and improve environments. First thing I’d say is get as much information as possible- I.e. key and if possible scale type… major, minor, pentatonic, blues etc. once you know this use the scale to move. Many songs only use a few chords from the key. The most common in a major key are I, IV, V & VI. Use the melody to anticipate chord changes and hit them on the first beat. If you hit the wrong note use the scale to move to the right one and make it part of the ‘walking’ bass part. Listen for the song structure, what are the verse chords , what are the chorus chords and watch the guitarist. Most important of all these settings are about having fun together so relax and enjoy it. It’s a great learning environment

Pino at his best!
John Mayer - Good Love Is On The Way (Live)

Well, I've tweaked a few patches to where I (or really, the Youlean program thinks they should be tweaked) and heading off to play this morning in a little while. It will be interesting to hear how it works out. I'm tempted to bring the laptop along but there really isn't room for it at my playing position and if changes do need to be made, I can probably do it blind without the computer showing changes being made.

I'll check back in upon my return...

JIO said:

Thanks for the tip - I'll see if I can find it.

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I dunno whether they are imported to the US, possibly, but I'd bet there's a few ex-pats over there so it's probably likely - just found some - but they're an eyewatering price! may be cheaper elsewhere in US
Failing that you can get ceramic teapots (and join Gong!) single size possibly better unless you doing a cuppa for more than one, 1 or 1.5 heaped tsp of loose tea for a single depending on taste, 3 tsp for a family pot
before you add your tea pour a little boiling water into the pot, swill round to warm the pot for a few seconds, then discard (important as it will warm the teapot so there is no thermal shock to cool the boiling water, add your loose tea and pour freshly boiled water over upto the lid.Replace lid and leave for 4 - 5 minutes to steep then pour into your cup over a tea strainer. Add your milk or sugar as desired, stir, then enjoy. You can probably get loose tea in every town in the US excepting possibly Boston?
Weirdly for us Brits we seem to add more milk in tea rather than lemon - as is usually drunk in the rest of the world. I cannot tell you why but it is actually very nice with milk, and that's what you'll get in any UK tearoom or caff excepting the most high brow.
You don't have to strain your tea but you need to be very practised in leaving a little tea in your cup and that was done a lot in times gone by, probably because the leaves still added a little more flavour as the tea was drunk, if you get it wrong though you will get a mouthful of tea leaves when drinking the whole cup - not very pleasant, and you soon learn not to do it again!
this practice spurned a whole generation of fortune tellers in Victorian times who claimed they could tell your fortune by the pattern of tea leaves in the leftovers in your cup.
I remember my old grandad bless him, he used to take his tea with no milk at all, but 3 spoons of sugar!, that man had a sweet tooth alright. When we kids me and my sister used to call it "dirty tea", it was actually quite pleasant without the milk though I could never countenance such a high level of sugar, but the higher amount of tannins that the milk usually offsets gave his brew a completely different and surprisingly pleasant taste.
Up until about 10 years ago, I had to have a cup of tea as soon as I got out of bed each morning, now, I'm a coffee guy, and first thing I do every morning is get the bean to cup machine on the go, very rarely I drink tea during the day, only in the evening.
A final note, if you are going to use a teapot and this is probably merely psychological, but your tea tastes so much better out of a china cup and saucer rather than the crude mug if you use the teabag method - dunno why but my missis swears it's true and who am I to argue?

Next time.. lessons in pouring your tea out of your cup into your saucer and drinking it out of your saucer like every working class bloke from before the 1930's used to do.

Beware of the new CAPTCHA scam. I didn't responded to it. (reloaded page)

dcgriggs79 said:

I'm a Fender guy. Always have been. Current weapon of choice is a Fender American Professional II Jazz V with 4th gen. Noiseless pickups.

Something caught my eye with the Yamaha BB235 but I resisted it for months. My thinking was, what would some entry level import do that my 5x more expensive JB can't do. Finally pulled the trigger in a moment of weakness.

I AM BLOWN AWAY BY THIS YAMAHA.

• Incredibly resonant (maybe because it's the natural finish with no clear coat?), so much so that the woody, sonic subtleties actually come through the amp.
• Articulation is fantastic. Maybe that's related to the resonance, but it seems to respond much more to nuanced differences in playing. I'm no slapper but the slap tone is fantastic, even on the neck pickup.
• The most comfortable neck I've every played. I didn't realize it was narrower than the JB through the entire length of the neck, but it is..by like 4mm. Also flatter and thinner (thin D) shape compared to my JB's C-to-D taper. They both have satin finishes, so that's a wash. But overall it feels fast and comfortable and precise.
• The tuners, bridge, and knob all seem to be of great quality.
• Great fit and finish overall
• I detected no 60 hum in the bridge pickup
• Only telltale sign that this isn't a more expensive bass are the pickup covers look and feel cheap up close. They seem a little loose in their cavities. Doesn't seem to affect tone.

For the first time in my life I'm going to be gigging tonight with a non-Fender.

View attachment 4634542

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Broad? Wonder if Yamaha mean the body or the neck/ string spacing.
I like more narrow spacing, 17 ish is the way to go. So much more playable, easier to mute strings and so. Had to file new grooves on the saddles of my Yam Trbx 305. Now it is a super bass. Growly and punchy. Has ceramic pickups. It should have cost at least the double price, according to the quality.

dcgriggs79 said:

I'm a Fender guy. Always have been. Current weapon of choice is a Fender American Professional II Jazz V with 4th gen. Noiseless pickups.

Something caught my eye with the Yamaha BB235 but I resisted it for months. My thinking was, what would some entry level import do that my 5x more expensive JB can't do. Finally pulled the trigger in a moment of weakness.

I AM BLOWN AWAY BY THIS YAMAHA.

• Incredibly resonant (maybe because it's the natural finish with no clear coat?), so much so that the woody, sonic subtleties actually come through the amp.
• Articulation is fantastic. Maybe that's related to the resonance, but it seems to respond much more to nuanced differences in playing. I'm no slapper but the slap tone is fantastic, even on the neck pickup.
• The most comfortable neck I've every played. I didn't realize it was narrower than the JB through the entire length of the neck, but it is..by like 4mm. Also flatter and thinner (thin D) shape compared to my JB's C-to-D taper. They both have satin finishes, so that's a wash. But overall it feels fast and comfortable and precise.
• The tuners, bridge, and knob all seem to be of great quality.
• Great fit and finish overall
• I detected no 60 hum in the bridge pickup
• Only telltale sign that this isn't a more expensive bass are the pickup covers look and feel cheap up close. They seem a little loose in their cavities. Doesn't seem to affect tone.

For the first time in my life I'm going to be gigging tonight with a non-Fender.

View attachment 4634542

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Technique
Ear training
Repertotire

TeaTime said:

So, on my phone I can't see where the strap pins are. But to address neck dive they've added a 1.3 pound counterweight? For me that's simply poor design.

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I can't see the strap pins either and with upper horn hovering around the 12th fret I am curious why neck dive would be an issue. I also a agree on the 1.3 lbs counterweight as a design flaw. Especially with a bass where it's price point starts at 2k.

If anyone in the PNW is looking for a Walkabout 112 Scout and/or a 115 Scout Extension cab, the GC in Tukwila (GC Used might call it South Seattle), got in a drop-dead mint set last weekend. I was in the store and spotted it in the corner. The WA head is a blackface with solid lid, both cabs had 8ohm labels, both cabs also had their slip covers...everything looked brand new, not a scratch anywhere not even on the leather corner caps. So yes, the tolex is the later smoother style. I know the 115 Ext cab is super rare.

I wouldn't have mind buying another WA, but would have only been interested if both cabs were 15's.

oren said:

I have used the boost function on the Felix for balancing arco and pizz, and that works pretty well. You could also set up the Felix to have one channel set up for arco and one for pizz with different eq settings. Definitely not an inexpensive solution.

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So do I...in addition I try to use an (good) mic whenever it's possible because of volume...

The 61 jazzbas he talks about is that the green one?

I’m closing this until a Basses mod can weigh in, but let’s be clear… Unless your feelings on how someone is getting their information is somehow relevant to the thread, derailing the thread to berate that source makes you just as responsible for the fall out.

My best advice to give? If you don’t like something, move on.

bass player 53 said:

Yes, yes, very nice meeting. Our people go to AGS and Goldschmidt, typically. Florida to Japan is a long trip. Sometimes, we go to Europe or Canada for meeting too.

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Your colleagues are true geochemists. I hope I can also visit USA someday.

sissy kathy said:

That must be the length of the grommet. If it's the width, that is 3/4"; a string ball will slip right through. Find the diameter you need and whether it is ID or OD. You probably need a 4 or 5 mm grommet (a 0.140 B string is ~3.6 mm in diameter.)
You can order them here:

https://www.ebay.com/itm/356981937332

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The upper lip has an outside diameter of 18.90mm which is about 3/4inch, but this is the top lip that holds the ferrules from sinking deeper into the body. The hole/orifice inside is ferrules is small enough to hold the string ball from passing thru. These size ferrules are what came on 1951-57 Precision and the CS reissue.