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Braunzo said:

Well, it's in motion. I've bought a used Genzler Nu Classic 112. I think next I'll order a head when I move some things/save up some more money. Then I'll add another 112. Thanks for the suggestions, y'all.

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Good start! I recently bought a Genzler ULV210 which I love. I tried a few heads with it but it pairs best with a Shuttle 6.2 (duh!), not that the others don't sound great but there is a responsiveness that I'm getting with them sharing the same dna. I'm sure a Quilter would rock with that cab.

Ricky Rioli said:

When I was a little boy, my mummy taught me that anything pre Reform Act of 1832 was an antique. Anything after that was merely Victorian. (Bet you wish you'd had my childhood, huh?)

As for "vintage", the current usage misunderstands its actual meaning. Vintage wine is vintage from the moment of its creation — wine is either vintage, ie all the grapes picked in the same harvest, or non-vintage, ie a blend of different years. From the point of view of constructed objects, the word vintage is useful for indicating that the example is expressive of a period that is now past. So for basses, something like an Ibanez Musician is easily called vintage because they simply don't make them like that any more. For something that's still being made exactly the same way as it always was .... tricky to decide.

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When I met my future wife, we were both in our late 20’s, and she had an authentic Eastlake parlor set, like the one in this photo. Well, I thought it was the epitome of hideous design, and sitting on it felt like a crime against humanity. My parents had authentic French 18th century antique furniture and looked down their noses at the Eastlake stuff. Yeah, what a mess…

Bonjour

Does any one have a feedback / opinion of this product from Jam pedals ?


The difference between the two old version is the toggle and the headroom if I read correctly

I play a pb’62 with TI flats jf 344 on mesa d800+barefaced

Thanks in advance

Something I often do: I stick on Rockabilly Radio on the computer - linked to my sound system - and grab my double bass. I then do my level best to find the key and play along with every track in real time. It's fantastic ear training, great at keeping you in tune and great for being able to come up with stuff 'on the fly'. Oh it's huge fun too.

I’d recommend the NDSP Discord if you don’t get answers here - Discord - Group Chat That’s All Fun & Games

@xush is the fountain of knowledge for all things NDSP though.

Just wanted to clarify--I am not looking to buy this at all, I just thought it looked funky when I was scoping through stuff.

I will say that in my existential Bass crisis, I did return to a ultra five today for a little while and loved the way it felt and sounded. It is a Bass that I don't have in my personal arsenal anymore, and it is one that I think I may have to re-buy unfortunately. I also had a Yamaha BBP 35 in my cart as well--hard to pick between the two, especially since I don't have money for either....

I realized in the OP I had posted the worst photo of my pedalboard and said nothing about it.

It's a B15ish preamp, set as a squishy, dynamic overdrive; tuner and an always on hpf/lpf. I ad a passive DI if necesary, but most of the time I just plug into the loop of an amp.

I love this old thread. It seems many many bassists here think that D type amplification is as good or better than A, A/B and they seem to take it personal if someone disagrees. I completely disagree. Side by side my cheap TC 500 mosfet and my expensive MB 500 pale driving the same cabinet when I use my A.M.P. CX260 at half the watts. I'm perfectly willing to say that I've been blown away with MB driving 2-12s outdoors. It's potent, earthy and loud but...the quality of sound is so pure coming out of this A.M.P. the notes feel like 5 lb ball bearings. The sound isn't just deep, it's round. I don't just hear the difference, I feel the difference. So is it the preamp? Probably not. It's 46 year old technology. I'll gladly hump this bad boy just because I enjoy playing thru it so much. I recently picked up it's older brother, the BH 420 and it's the same thing but with the built in limiter it's the cat's meow. They run hot, they are 30% efficient compared to 90 % for type D and literally at least 10 times heavier but...oh well. Convenience isn't in the formula. You want distortion....pedal up. That being said, these things are going to be hard to find in the future as micro heads seem to be on everybody's playlist and I love the lite D's. . They make for convenient backups, lol.

@gln1955 Jack Gibson re NRL - “This is not life and death – it’s far more important!”

I've borrowed one a few times when hunting old water pipes and gas lines, but never had the bug to go dig stuff up.

Glad all was sorted. You should be satisfied with your purchase and Fender should hopefully still understand that.

My 1952 Precision has a dead spot in the same area and Tadeo Gomez made the neck. And I won’t tell you how much I paid lol.

Hello Friends! I just started a Facebook group for May Custom Basses owners, players, fans, and friends. I'd really like to get some of the original May community together in one place. If you're still playing/collecting one of Shawn’s amazing basses, or a fan of his work, I'd love to have you join!

Facebook

Thanks,

JT

Hello Friends! I just started a Facebook group for May Custom Basses owners, players, fans, and friends. I'd really like to get some of the original May community together in one place. If you're still playing/collecting one of Shawn’s amazing basses, or a fan of his work, I'd love to have you join the May Custom Bass Collective:

Facebook

Warmly,

JT

I interpret that diagram to mean that the Red and Green wires are for the Neck side coil — and the Black and White wires are for the Bridge side pickup. FWIW, that is consistent with what I’ve seen from Nordstrand.

So I’ll say that you want the red and green side singled on the neck pickup and the black and white side singled on the bridge pickup — the outer coils singled. Which makes P1 the neck pickup and P2 the bridge pickup.

It’s easy to test which is which while putting it together — so’s there’s a very small penalty for getting it wrong the first time. It would only take a few minutes to put it right.

The dashed lines I’ve added are probably optional. They ground any unused wires coils on both wires. I can’t see the harm in leaving them floating but there is no downside to grounding them.

To be sure, each row is a “pole”. The common terminal in each row is connected to exactly one other terminal in its row. For each position, when selected (Series, Parallel, Single or Off), the terminals in the column under that position are connected to the common terminals to their left.

None of the rotary switches I find online include pinouts — which I find odd — but determining the pinout in order to match the diagram is a simple matter with a multimeter.

Hello Friends! I just started a Facebook group for May Custom Basses owners, players, fans, and friends. I'd really like to get some of the original May community together in one place. If you're still playing/collecting one of Shawn’s amazing basses, or a fan of his work, I'd love to have you join the May Custom Bass Collective:

Facebook

Warmly,

JT

Amazing!
Great work, and you ended up with the bass you wanted.

I use TI JF324s on mine, top-loaded. Works fine. Have had these strings on since 2019 or 2020!

You can see the fat part of the E string and G string wrap around the post. Never had any issues on any short scale bass either these strings, even though there’s always a bit of fat string on the post.

@jam.majors I got a pretty killer stomp preset I used from Tim Kirschke


I used the guts of it and threw it in an SVT preset from Alex Strabala.


Tim’s SVT is really great too btw.

Back to the MicroSynth it’s not quite the real thing but in a live setting it IS and I was always VERY pleased and so was FOH.

I love you guys!! Now tell me waht to do gospel-metal possibly

silky smoove said:

I suspect that human physiology and perception vary far more than anything acoustically or electrically in the space, especially if the recordings remain mostly consistent.

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Totally agree, there's some day that my rig is sounding fantastic and other days where it's totally s..t.

No truck nuts needed when you're rolling on 44" Super Swampers.

Kenan said:

I have had Danelectro long scale somewhere down on my GAS list for a while and today one popped up on my local Craig's at a deal of a price. It's the '63 Long Scale Bass in a cool seafoam green color. It seems to be in pretty good condition except for one flaw I'll discuss later. The electronics work and it sounds pretty good. The bridge pickup is quite weak, but it sounds good with the neck pickup or with both. For others who own one, let me know if you find this to be true as well. The truss rod needs a bit of a tightening--and will probably need more after I put flats on-- which I guess means taking off the neck, which is a pain.

The cosmetic flaw I mentioned is that the tape along the sides of the body is separating near the neck pocket. See pic. It's not as simple as gluing it down because there is not enough slack to push it down to the body. I guess the tape material has shrunk. Does that sound right? I guess I would have to add some kind of patch to it, or perhaps remove it entirely. From the little I can see under the tape, it doesn't appear to be hiding anything ugly, except sticky residue. Let me know what you think--patch, remove, or other?

Thanks.

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Hi, did you ever find a fix for this? So many people have the same issue but I never see a solution. I was thinking of using the hair dryer to soften the vinyl and use tandy leather ecoweld but I want to research more.

The only pedal I use on stage is a Markbass Compressore which I always mount on top of the cab behind the head.