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I have used most of these at one time or another. I believe the first one that was especially for bass was the FRAP in the late 60s. It was a contact pickup and preamp that was ridiculously expensive and didn't work very well. When I use the Ehrlund, which I do on occasion, it reminds me of the old FRAP with much better sound. I also recall using the Brush contact mike that I put against the top between the bridge feet. That actually wasn't too bad as I recall.

thefaceofbass said:

I believe they started the Biamp company a bit later as well.

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Yes, and Bi-Amp is still doing the permanent installation equipment out in Beaverton, a few miles north.

just oh by the way ... i think the emg selects are awesome pickups 8)

_Obra_ said:

Hi all,
Can You advise me what is considering to be a good price in EU for a 1996 natural/rosewood USA Sterling with non original hardcase?

Thanks

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About 3 years ago I bought a excellent condition 1994 USA sterling fretless with original case for about [1900 Euro] in Australia

Hmm - gonna have to think about the strap mount setup... makes sense. J

RE rail bridges, I guess you could argue the body wood would damp the cross talk to some degree. But than again I don't think I've ever found myself worried about crosstalk at a gig.

Oh, this is my favorite thread.

More later.

Mike

woodyng2 said:

Awesome two-fer!
And thanks for the side-by-side front and rear photos. It really helps to get a better idea of of the size of the 3030.

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Here is another side by side with my Warwick thumb for comparison.



I also switched out my original knobs on the 3030 with the Rickenbacker oven knobs. They were very pricy, but I dig them.

-ScottM

Been using forScore for years on my iPad and have not had any problems with google drive…
My 2 cents.

PaulAtSoCalBass said:

Generally, when you start making "upgrades" they negatively impact resale value.

Spending $200 on new pickups doesn't add $200 in value, more likely it's a $500 hit. Carlos parts might be legit higher quality with better clarity, punch, or whatever, doesn't matter. Put back in the originals if you sell it. And including the originals doesn't help, buyers want a new bass, not a new project.

Also doesn't matter if the parts failed. A 55-94 buyer is craving that 55-94 sound, not a 55-94 fixed with that Carlos sound.

Don't get me wrong, I'm all for having fun and experimenting! I've certainly done it many times, but only on ones I don't plan on selling, at least not in their "improved" state.

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Interesting take, Paul. Sometimes I agree, other times I don't. I know that the guy that was buying my 55-94 actually wanted the barts that were in my Carlo, so I am going to start with the Carlo, and if I love it, offer to put the Barts in for him. And Carl Pedigo(Carlo) changes the pickups/electronics per order, so there isn't actually any factory spec, so I doubt that will matter to the buyer. I can tell you the guy who sold it to me wanted the system that I am about to put in it(traditional Lakland), but didn't want to dick with it.

But I 100% agree that the price you spend never gets the money back.I spent a ton of money modded basses and lost my ass many times. This would definitely be for me rather than for anyone else. Changing out the Super J setup definitely will only appeal to some Dingwall fans, for sure. Some will hate losing the rotary, some will love the flexibility of a traditional blend (which I did when I got my nashville!). I just want to have basses that I love to play, both in feel, looks, and sound

Looking over my shoulder, "Concerts on the Pier" Pt. Angeles, WA 7/29/26, last song.

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logdrum said:

Those are not Twins - Deluxe Reverbs. If you ever book him, his rider always specifies AC30 Although he says he now uses a Mark I re-issue in addition but not on his rider. This is Newport in the East Coast, where backline AC-30s are not hard to get plus sometimes he brings his own. If we can get them here in backward New Mexico, hard to imagine why not in the East Coast. He might have change his preference. That AC-30 is a part of his sound that I am familiar with, He is not picky though as long as it is an AC-30. I am sure it is not an impediment . AC-30s do respond different

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We must have posted at the same time.

UntitledProject said:

I just meant from my own perspective. If you have a hifi bass already and want more of a vintage vibe, then going with 3 completely makes sense. Honestly, my perspective on 5 (not saying my assumptions are correct in any way) would probably give you the least "character" and just be more of a flat palette for other tone shaping. Why make a flat/bland bass? I dunno. I'm just talking out my bum.

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thanks for the clarification

I have such a random assortment of lights i really need someone to help me program them haha, So often i just grab my Yorkville bars and set them to slow fade.

erratick said:

"Essential rock anthems include "Seven Nation Army" by The White Stripes, "Crazy Train" by Ozzy Osbourne, and "Thunderstruck" by AC/DC. "

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No "We Will Rock You" by Queen? They play that at almost everything stateside....even a junior polo league gets a few bars of it in

Reminds me of a topic that my friend and I discussed at his Nephew's little league game. They had "walk-on" music for each of the kids going up to bat, so we had fun figuring out comical walk-on songs that you could probably get away with. I landed on "She Bop" by Cyndi Lauper

I deleted the video (had to edit the sound). I've re-uploaded it here.

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Cheers! Successful sub gigs are so satisfying.

I’ve never seen the PJ before. That’s cool.

Bass1447 said:

Sounds amazing. Plays like a dream.

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Yes, at one time I was into Epifani. Those days have passed.



M. M.

Zooberwerx said:

Shouldn’t be a problem…just follow the instructions to a “T”. I’ve always considered plug-ends to be sacrificial which is why they sell UL-listed replacements.

Riis

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This just happened to my shop vac and it was a pretty simple fix replacing just the plug end. I just realized yesterday that my old Fender bass amp, which I use to power our drummer, also is missing the prong. So I have 2 little projects.....

Looks like my SA has found its forever home paired with the Tonedexter 2. Between the flexibility of this preamp and the no frills one knob setup of this power amp, it’s a perfect match.

Anytime! Happy to help!

Wait...What?

Basvarken said:

Exactly. Therefor it is not a true polepiece. There is no north or south on the screws themselves.

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You are so wrong about this.

Basvarken said:

The screws in the middle don't have a real function.

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You keep equating pole pieces not being magnetic with "not having real function". But then you say...

Basvarken said:

They merely function as an extension of the magnetic flux.

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Yes correct and therefore they VERY MUCH HAVE A LARGE IMPACT ON THE FUNCTION.

My dude, EVERY SINGLE PAF HUMBUCKER or pickup derived from it put in a guitar since the beginning of time has non-mag screw as well as non-mag slug polepieces that completely work to adjust the mag field and strength of the per-string signal despite being non-magnetic and having a separate bar magnet in the assembly.

Basvarken said:

Therefor it is not a true polepiece. There is no north or south on the screws themselves.

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Absolutely nobody in guitarland uses this criteria. All the non-mag (slug or screw) elements in a PAF or similar construction are always called "pole pieces" and the screws virtually always (excepting maybe some crazy mega-magnet probably-not-very-good designs) have a significant and provable impact on the output and balance of the pickup. Its the default for pickup designs, with Leo Fender style magnetic polepieces while also being common, are less so.

Although I never met him or attended any of the dances where he called and played fiddle, I owe Dudley Laufman a huge debt.

I was introduced to contradancing in 1981 one Monday night at the Scout House in Concord, MA and quickly my wife and I began attending dances regularly. As a bassist I got involved in playing the music by joining Roaring Jelly, a large cooperative ensemble which still exists today, decades after I took three fellow members with me to form a quartet named Monkey Island and for a number of years we traveled all over New England to perform at dances. It was during the life of that band that my wife and I got involved with taking over the Worcester, MA contradance series from caller Walter Lenk.

I met a few contradance musicians who were interested in Cajun dancing and that led to me joining a few bands playing Cajun and Zydeco music of Louisiana around New England and later began playing other kinds of dance music, including swing dancing and folk dancing from Brittany.

All of this would never have happened if Dudley Laufman together with a few other people had not revived the New England contradance tradition. So, thank you Dudley!!!

Matt Liebenau said:

That sounds like it could be a pickup issue. Ideally, it would be nice to get an ohm reading across each coil individually while it’s acting up but unsoldering the leads could cause it to work again.

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I think you could make an in-circuit resistance check, as long as you remember that the meter measures the entire connected circuit and not only the pickup.

In a standard passive Jazz Bass circuit, turn the pickup being tested to full volume and turn the other pickup to zero. Measure resistance between terminals 1 and 2 of the fully-up volume pot, where terminal 1 is the grounded outer lug and terminal 2 is the centre wiper connected to the pickup.

If the selected pickup or its wiring is completely open, it behaves as infinite resistance and contributes no DC path. The reading would then be approximately:

∞ (broken coil) 250kΩ || 250kΩ = 125kΩ

With a functioning 8 kΩ pickup, the expected in-circuit resistance would be approximately:

8kΩ || 250kΩ || 250kΩ = 7.52 kΩ

Rolling the tone control fully down may help the meter reading settle more quickly while the tone capacitor charges, although the final steady DC reading should be essentially independent of the tone setting.

Applying the same general idea to the Roscoe Beck.

Select only the pickup being tested. Set the master volume fully up, and measure resistance between terminals 1 and 2 of the volume pot. First measure in single-coil mode, then switch to series-humbucking mode and check whether the resistance increases.

In series mode, both coil resistances should approximately add:

R series = R coil 1 + R coil 2

Therefore, if single-coil mode measures about 8 kΩ, series mode might measure roughly 16 kΩ (assuming same resistance) before accounting for loading from the rest of the circuit. If series mode becomes open circuit, one coil, a wire, or part of the switching circuit may be open.

You measure this from terminals 1 and 2 of the volume pot.

I am not presenting this as a definitive diagnosis only as a way to compare the switch positions and check whether both coils appear to contribute resistance.