Latest Posts

What's the reason for mid and trebble pot not functioning, and the bass pot is working only on its last turns

Did anyone compare the BB vs the RC V2 with the second gain stage activated?

Did anyone compare the BB vs the RC2 with the second stage activated?

Ronbeast said:

Hey guys and gals,

I was flicking through eBay and looking at some 5 strings when I came across an Australian seller that had a few "Haze" basses for sale. Link:
[Invalid or Expired Link Removed]

I know they're probably just a re-branded instrument from a wholesaler, but the price doesn't seem too bad, the looks are nice and it's definitely my style of instrument.

Has anyone played one though? There are a few things that are off-putting; there appears to be a gap in the neck pickup route and something doesn't look quite right with the bridge. Just curious if anyone knows about them.

Click to expand...

i own a haze! i own the chameleon haze bass (349$ aud free shipping) it is a little heavier than my other basses, and its quite a bit taller. it plays well, and is nice to play icl. i actually prefer it to my other basses! only issue i have is string buzz after ive been using it for 4+ hours

66 Fender Jazz said:

Would NEVER sell mine.

Click to expand...

I replaced it with a Mesa M3 that had the same form factor with more power. It lacked the versatility and bright, warm tone of the B1 so I didn't keep it.

The B1 speaker doesn't handle B strings very well. It's the only real critic I can formulate. The preamp is magical.

Minger said:

I've got one on my Ibanez RB800, as the one that I got with it was pretty much broken when I got it (I just never messed with the intonation, so it was fine until I tried...or was I changing strings?) Nonetheless, its a solid bridge, altho in my opinion a pain to set the intonation because you have to unscrew the screw holding down the saddle (although it keeps the saddle from moving) and then turn the screw for the saddle to move.

Overall, its good.

Click to expand...

Good bridge, but if someone over-loosens the hold down screws while adjusting intonation, the threaded half moons at the end of the intonation screw can rotate out of their position from being flat with the bridge plate, and sometimes crack the saddle carrier by being tightened down onto.

This decent bridge is over complicated, and many people crack the saddle carrier back end by over tightening the hold down screw while the intonation screw thread pivot half-moons rotate so they are not flat on the bridge plate and thusly push up on the hollow underneath the saddle slide. Quite fiddly, but the time it takes to set up is often worthwhile, as there is zero play or rattle.

elmer fudd said:

I'm looking for answers for the neck, because I want to sell it. Tough to sell a bass with truss rods that don't work.

Click to expand...

Can you share a picture of the guitar? I'd be interested.

ElectricBass72 said:

Back when I played guitar in the late 90's... the Boss MT-2 Metal Zone got many bad reviews. I absolutely loved it. 1,000 screaming mosquitos in a jar, solid-state metal distortion tone in a pedal. Heavenly bliss.

Click to expand...

Good enough for Sonny T!

I use the Fig Leaf for my shorter parts.

2saddleslab said:

Same volume difference between the SVT & B15 on mine.

I think this is correct.

I've previously stated I prefer the SVT but both settings are viable depending on the bass, stage, and/ or desired tone.

Click to expand...

I leave it selected to B-15 and everything flat, adjusting slightly if neccessary.

MrAB4003 said:

Given the D'Addario AI scandal, is anyone here switching string brands? If so, what are you switching to?

I'm thinking about switching from the D'Addario NYXLs to the Stringjoy Rangers (both sets are 55-110 / heavy gauge).

https://www.talkbass.com/threads/daddario-drama.1689599/#post-29699105

Click to expand...

Nah, I don't buy or boycott for such things. I have quite a few different sets of strings, and I think only one is D'Addario anyway.

I have been liking Stringjoy for most of my basses, and I have a set of GHS balanced nickel strings for one of my short scales.

The "Pewter Grey with Matching Headstock" finish specific to older Squire Affinity runs (1999–2012) actively looking for years and only purchase the specific models and styles I’m looking for. Let me know! Probably USA because overseas shipping very expensive.

The two things I never bother with, unless they are causing problems, are bridges & tuners. I never hear a difference in sound.

Exception 1: crappy three point bridge on Epi Jack Casady that kept pulling out-replaced with Hipshot.

That’s all.

The things that make a difference that I can hear are, in order:
1. Strings
2. Pickups
3. Control configuration
4. Setup

That’s all.

bass player 53 said:

Unfortunately for you, “I don’t really want to sell this bass.”

Click to expand...

Don't sell the bass..............?

Nice to meet you everyone. I'm an Italian bassist who lives in Japan.
Love basses since I was 14yo

Reggbass said:

The bass was made in 1990 by New York City luthier Woody Phifer & Phifer Guitars. The body is a light piece of alder, the neck is a hard piece of flamed maple, ukulele fret wire & active EMG & Bartolini pickups. Woody has held the moniker of "The Best Fret job in New York City during the crazy 1980s & 90s. He "experimented" on my 1977 Fender Jazz Bass in 1983. Been loyal to him ever since.

Click to expand...

Awesome. Thanks.

Malak the Mad said:

That works rather well!

Similarly, while I rarely seek out the color scheme, I do like the mint pickguard Squier chose for the James Johnston Jazz. Even if the Late '60s model is a darker blue, mint could also be a consideration.

Click to expand...

jjj is sick
jelly
i forgot who--someone did a recent run of cv jazz bass in candy red with matching candy red head

Well, the neck came in first. She's not been babied, that's for sure. Lots of dings and scratches and gunk. The skunk stripe is separating but apparently that's not a stability concern, according to some googling. It barely registers to the hand but maybe I'll glue and sand it at some point.



The neck had some backbow and when I went to adjust the truss rod it wouldn't move. I grabbed a pipe for leverage and prayed I wouldn't hear a crack. It did loosen though, somebody had just tightened it to an absurd degree. After that, it looks nice and straight.

The frets are probably about 80% still there, with some indents on the low end as you'd expect. What's strange are the string indents on the fretboard itself. I suppose the backbow may have caused this? I've never seen it before, and it occurs randomly as high as the 8th fret.



For some reason, the tuner holes were filled and re-drilled slightly closer to the edge.



Luckily it's covered by the washers.

The Fame logo is turning a bit green, which I was bummed by at first, but it's growing on me as natural aging of a 40 year old guitar.



Overall, I think it will be a good neck once it's all together. Slimmer than I prefer, but I can live with that for such a neat bass. The headstock shape is my favorite pseudo-Fender design, and was unique to the Mastercaster series.

I did an experiment this afternoon. I had a set of Chromes on one of my Ric 4003s for almost 2 years. I decided to take them off in favor of my backup set of NYXLs. Something was telling me that it's time for a change and that the Chromes died.

I put the NYXLs on my bass and they did NOT sound right. My low end, thumpy highs, and smooth mids were gone! I felt like I was playing someone else's bass or a different bass. So I decided to put the old Chromes back on my bass and remind myself of how amazing they are.

I'm a firm believer that the strings pick the bass. My 4003 chose Chromes. They have become a part of my sound and they serve a foil to my other 4003, which has NYXLs. Both 4003s have different pickups, which had a lot to do with this experiment. My 4003 with the Chromes has a pair of custom Nordstrands and my 4003 with the NYXLs is stock.

BaltBass5 said:

Well I mean I’m running an IEM right now so it’s providing the phantom power. If you are using IEM’s it’s a game changer. If you aren’t, I don’t see much use for it.

Click to expand...

Yes I’m running IEMs too.

Look, you can love or hate the headstock, but we can all agree that Tylers are the absolute best…

ProbablyTooLoud said:

Cool files man, great sounds.
Lordy the QP is massive.
But the reversed mfd wins for me, matching all the good and accurate descriptions above.
Personally, when I had a Kiloton, I couldn't get the hang of the mfd.
Im on a yamaha bbp nowadays, which sounds most like the model p in those clips, but has its own thing going, a nice mix across the range.

Click to expand...

Thanks man!

And yeah it was tough between the Model P and the MFD(the Model P almost give a "tube tone" on its' own), and I can see why Reggae guys like the QP bc of what you said. But the MFD had such a pretty top end and no loss of mids like the QP, so I am able to dial it in easy. I can cover Sublime on it with no problems using outboard EQ/amp tone controls.

odarellmc said:

Now with that being the case people making a big deal over the variable ratio of the Cali vs fixed ratio of the empress seems kind of pointless now right.

Click to expand...

Interesting viewpoint.

BobKay said:

... I was amazed at the difference, especially in volume - I only needed to turn it up 50% of what I needed using the 1/4 amp out. ...

Click to expand...

Two years down the road, maybe these questions are not answerable anymore, as both cables and EQ settings tend to change... Sorry I didn't catch this thread way back then .

1) Was the 1/4" phono output, and the 1/4" cable, mono or stereo?

2) Were the EQ settings the same with both cables?

Both of these could have had something to do with the volume increase.

If a stereo 1/4" phono output is cabled to mono either by a mono cable or by feeding into a mono input socket, half of the signal (and volume) will be missing (and on some devices it could potentially overheat some stereo output components due to shorting the right channel to ground). XLR, both output and input, are strictly mono.

From personal experience, I can attest that it's really easy not to know or not to notice if a 1/4" phono cable or a 1/4" phono output or input socket is mono or stereo.

Regarding EQ, with my pre-amp (K&K Dual Channel Pro ST) raising all the EQs in a flat-but-high manor also results in higher volume.