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ectoflanger said:

Here is the email address for Fender Consumer Relations - [email protected]

I got an automated response stating that the question will be addressed and I should hear from them within five business days-

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I never got a response after the automated email but having contacted a tech on the phone regarding a used Charvel guitar, and subsequent email exchange a few weeks ago, I decided to hit the same tech about my Mod Shop Jazz. Two days letter he sent me this-



Here's a pic of my bass for a refresher-



Anyhow I love the neck, plays like butter. There was a noticeable difference between it and the one on my 2007 American Standard Jazz.

Never played one with the Slim C before. From now on, that's what I will look for, and will specify if I ever order a new Mod Shop Jazz.

I did send a thank you email and a query on the best way other members could get theirs specs based on the serial number.

Cheers!!

Kerem Koseoglu said:

Currently, I'm back to a simple system. All my basses are passive 5-stringers, running through Empress Compressor into Aguilar Tone Hammer.

• My all-around middle-ground main is a Fender P with NYXL strings.
• For an upright-ish vibe, I play another Fender P with TI or Dunlop Flats.
• For improved articulation in smaller ensembles, I play a Fender J with NYXL strings.

In your shoes, I would subjectively see two alternative orientations.

Case 1) "I already have a P with flats (old-school world) at one extreme end and an active JJ (modern world) at the other extreme end, I should throw in a bass where I want to be in-between those extremes." In that case:

• Your passive J or G&L L-1000 seems to occupy this gap already; assuming you install round wound strings.
• If you are a P fan you could get a P / PJ with round-wound strings to sit in-between those extremes.

Case 2) "I already have a P with flats (fat neck sound) at one extreme end and a JJ (scooped sound) as the middle ground; I should throw in a bass with a fat bridge sound for the other extreme end." In that case:

• Sadowsky Modern is a strong contender if you are going for a sterile, versatile, Hi-Fi sound.
• StingRay or G&L L-2500 comes to mind in case you want a more aggressive sound.

Since I don't need anything beyond the J bridge pickup at this time, I sat in Case 1. But, I have friends who would sit in Case 2.

All of that is my subjective opinion, not universal facts applicable to all players, but I hope I could help you get inspired.

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This is so helpful, thank you. The Precision sound is historically what I want to hear on stage. About 6 months ago I started a set with my passive Jazz bass and immediately felt myself wanting to switch back to the Precision. It could be familiarity of tone, feel, response, etc.

Your 3 bass system sounds great for what you need. Intentional and well thought out, no unnecessary duplication.

I am leaning towards Case #1, as with Case #2 I am not drawn to the fat bridge tone. Thank you for the food for thought!

Fender “Penny” finish, waiting for the clear coats. Have a maple/maple neck and black pickguard and hardware. (except for the control plate….)

Oh yesssssss.........

Good troubleshooting eliminated most wild ass guesses! It also eliminates a lot of unproductive effort.

The Mohini is (underdressed/overplaying/AI-promoting/kitten-torturing) has been done. And redone. And redone.
We're done here.

ZozeTrig said:

can you change the schematic so the series/parallel switch will be applied in every pickup selection? Question: is it worth applying the series/parallel config in any pickup selection case or the best case scenario is to be applied only in the p pickup? Thank you in advance.

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The J pickup, being a single coil, can't be configured in series or parallel.
Unless the J pickup is a hum cancelling version that has stacked or side by side coils, which the two coils could be wired series or parallel. However, these designs usually work best in the factory configuration.

The P pickup is not in every setting. Whether or not the P pickup is in series or parallel has no influence on the pickup selection for the soloed J pickup, as the P pickup is not in the mix at that setting.

There are schemes for having the neck and bridge pickups, as a unit, wired series or parallel, but I don't find a series wound P pickup to sound very good in series with a J pickup. Too muddy.
A jazz bass with brighter, medium-ish wound single coil pickups sound great in series, however.

Thanks!

I cut low end at 50Hz. Me and the sound engineer I work with love it.

heafdogg said:

Update Update: Back home safely, same deal out of JFK, no extra charge to check, bass arrived unharmed, but no TSA inspection this time. By the way, I flew Alaska Airlines. Thanks for all the input.

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Great to hear the good news! Thanks for the update.

Breeze portable guitar stand is the lonly guitar stand that unfolds to a full sizes stand. Only one in the world! www.breezeinventions.com

paul said:

Hi Tim, thanks for the report. Should be fixed now.

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Thanks!!

sorry to revive my own thread here but seems the best place to ask...
is there anyway at all to add another switch or similar to allow the 2 jazz pickups to be put into series???
just noticed that the jazz copy I am playing at the moment, although I am using a fair bit of the different
tonal options we have noticed that I am using the series mode on this 2 pickup jazz copy at least 50% of
the time....
so I guess this means I do need to have series mode available...
if that isn't possible maybe I could get a more common jazz but with series switch diagram, and add a p
pickup by pretty much copy and pasting a single pickup from your diagram above "next to" the jazz circuit...
oh and I would need a way of on-off switching the jazz portion if I did the copy and paste the switch and p
from the above diagram into the "uber jazz" [so a jazz with a series switch.]. I'm surprised there isn't an article
explaining how to add a switch to put the 2 jazzers into series ... even if it bypassed the others , so wed just
have a series jazz pair with the master volume and tone when hitting the series switch I could live with that.

in an ideal world I would have a jazz setup with blend and master tone and volume,
a 3 way switch to do off-parallel [blend works] -series [I would assume youd want the blend bypassed here.
and then an on-off switch as shown in the above diagram, to switch the p pickup in and out
I think I can do that by just finding a good jazz diagram with the series switch etc and then copy and paste in
one of the 3 "legs" in your above diagram kinda splice those 2 elements together?

Starting to think I am going to have to pay one of those companies that make custom wiring looms [harness,
whichever terminology you prefer lol] and just get a nice pre made one as described above
thats probably the real answer to this find out if this approach would work and pay a pro to make it to spec
from the wisdom contained in this thread lol

Hey everyone,

Ross here, from just outside Atlanta, GA.

I've been playing bass for about 22 years, studied at Santa Fe University of Art & Design, and along the way got to sit in with Les Claypool (Primus) and do some session work with +Ultra out of Denver. These days my musical identity is really centered on teaching and composing rather than performing. I teach bass and 6-string guitar, and also produce/make beats in Ableton.

I came up through rock and jam bands, but discovering Robert Glasper and J Dilla completely changed how I think about harmony and rhythm. This unexpected shift is basically what's driven most of my playing and teaching focus since. Lately I've been deep into how technique and articulation shape groove, which led me down a rabbit hole of adapting guitar-world techniques (selective picking, two-hand tapping) into bass-specific applications.

Found my way here after a thread on the Abasi Concepts Micro-Aggressor and ended up jumping in since I'd used it on bass for a recent project and had thoughts to add.

Looking forward to learning from everyone here — this place clearly has decades of knowledge I'm just starting to tap into.

Adding to this because I had a really similar reaction. Picked one up recently and used it on an original composition, a hip hop-leaning groove, built around Tosin's selective picking technique adapted to bass (plus some Victor Wooten-style tapping for contrast).

What got me was exactly what you're describing, being able to dial in compression on specific frequencies rather than the whole signal. On the percussive/hammer-on sections it kept everything tight without squashing the low end, which is usually the tradeoff I run into with compressors that aren't built with bass in mind.

If anyone wants to hear it in a bass-specific context (rather than the guitar demos most of the coverage on this pedal focuses on), here's the piece: Login to view embedded media
Curious if anyone else here has tried it on more straightforward groove-based playing vs. the more technical stuff — wondering how it holds up outside of a showcase-y context.

Just to clarify this is a very unique case, bcz the original split coils are hold together on a single plate below the coils, so it is easier to bend compare to single coils with continuous top and bottom plate.

10emmanuel said:

I love watching reviews on youtube, but I hate the fact that they ALWAYS say things like " oh this pick ups are so good, they really sound like a P or like a J".... or worst " lets see if they geet close to a P bass souns " and they are maybe reviewing a TOTALLY DIFFERENT BASS.

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After digesting the rest of this thread, I think this is what's really going on:

They aren't talking about an actual Precision Bass or Jazz Bass (both of which could be many things as we've seen in the discussion here).

They are comparing the instrument being reviewed to received notions of what each kind of bass sounds like. The terms "P Bass" and "J Bass" are just shorthand for two opposing classes of tone color. We could also call them "tubby" and "barky" but that wouldn't be nice. If you're auditioning a new instrument, it's good to know whether it has flexibility to get a range of tones that include something like these two.

I know there are a lot of players on this forum who have owned and auditioned many basses over their careers, including multiple vintages of the same product. There are others who have tried many pickups and changed the pickups in their instruments many times. The description in the review videos is not for them. They don't need help perceiving differences in tone color on their own terms.

The descriptions are for people who vaguely know the differences and like having a label to apply.

fhm555 said:

My favorite crane story was a plant being installed in an existing building that had been a dempsy dumpster plant. It had several large cranes but they didn't have any really heavy duty stuff. We installed a plasma cutter and a decoiler in line to drop a coil of hot rolled 14 ga steel on and roll it out nice and flat to be cut up by the plasma cutter. before the decoiler came we had our coils precut and delivered as sheets. Once the decoiler came in we were going to be loading and unloading coils from flatbeds then on to the decoiler as needed. Only problem was we were using 55,000 coils and we had a well work 30,000 overhead crane to handle those coils. I tried to warn the plant manager that he was playing with fire to trust that crane but he was determined to avoid any further delay so when the first coils arrived, we backed them into the bay and rigged the coil for pickup. As the slack came out of the cable the gantry started to sag rather than the coil coming up. I stopped lifting and set it back on the truck and went looking for my boss. He decided we would get the coil up just enough for the truck to pull out, then set it down and use a forklift to push it out of the aisle. I tried my best to talk him out of it but he was sure it would hold and he was the boss. When the slack left the cable, again the overhead started to sag, he kept at it until the coil cleared the truck bed enough for it to pull out. About the time the truck got clear, there were multiple reports that sounded like gunshots, but it was just a bunch of rivets in the gantry popping, quickly followed by a folding gantry as the coil crashed to the floor, we got a crane repair crew in ASAP, but they deemed the thing a worn out relic not worth reviving.

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I was a partner in company that owned a 56,000 s.f. industrial warehouse in Pittsburgh, with 5 overhead cranes. They have to be inspected monthly and certified to meet OSHA requirements. Insurance companies do not want to handle these buildings, due to the high number of accidents involved. Our largest crane was a 100' bridge span with a 25 ton and 5 ton lift on the trolly. It was almost impossible to get parts, we usually had to have them fabricated. The crane had originally been at a shipyard, used to build ships for WWII. The part of the warehouse it was in was built around it when it was moved in.

A welder was killed by a 10 tom crane in the fabricating area, due to mismanagement by our lessee. They used the crane to lift a sheet of heavy steel plate to flip over and the chains came loose, fell on the guy. Like in your situation, that is not how you use a crane.

I still have nightmares about that warehouse.

Butcher Brown's latest with Nicholas Payton, A Supreme Blue, is fantastic.

P. Aaron said:

Playing the music is almost always the easy part.

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Funny timing, as Jim and I decided to kick out a band member last night!

Matt Power said:

I did my Master's thesis in 1993 on Jaco, WAAAAY before the book (chock full of inaccuracies) came out. I spent thousands flying my broke college a** back and forth to Florida and NY talking to family members, band members and folks who knew him. This was when I was at Ohio University.

The Hiroshima Bay incident was with the natural 4 string on the back of the Invitation disc. It wasn't his #1 or #2. Unless of course, early onset of mental decline (aka...I'm old) has betrayed me I have my Master's thesis in a box somewhere. I gotta go digging.

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I Would love to read the thesis if you decide to dig it up and post it. I feel like many of us bass geeks would enjoy that read !


EDIT : just read further into the thread.
Well…if you go crazy, find it, and decide to get web hosting for that 100 page beast of a story/book/thesis, I’d love to read it. Maybe it could be scanned and done as an e-book and you could make a little $$$ on it…. I think a lot of us bass geeks would pay $10-20 to read it.

Just a thought.

Ed S said:

If I heard correctly, one amazing guitar player at that jam just so happens to be 2d chair bassist in the CSO! Yeah - I'm eager to embarrass myself there!

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Yeah, the rumor proved true. One of the several phenomenal guitarists at that jam plays bass w/ the CSO. I made a mistake of having my bow in my quiver, and he kept goading me to use it. I wish I had resisted the temptation. Incredibly nice guy, tho.

Shouldn't there be some sort of rule that someone who is amazingly good at one instrument, ought not be allowed to also excel at another?

The highest level jam I've played at in some time. So many excellent pickers, they may split into 2 groups - the venue has plenty of space. Now that I've got my initial intimidation outta the way, I can have some fun! Have to get my BG chops back to speed... Gives me something to focus my practice on.

Congrats!

96tbird said:

I would cut it closer to the screw holes like this, but that’s a nice him bro! View attachment 7527354

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Looks WAY too thick to me. A partial shim like this should be about the thickness of a matchbook cover And I agree about where to cut it.

Ritter667 said:

Mine is a 3 band drive, with crossovers to define respectively upper and lower band, and thereby mid band as well.

Eventual with a master HPF and LPF as well.

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Add a 3 way clipping option switch to each of the 3 band's drive sections respectively as well, now that we are at it.