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Parallel and Series wiring on Area J. Not really hearing it!

So there one has the technical noise advantage at the pick up. He mentions assuming there is a decent low noise preamp, but my Jazz is passive. I'm really referring to the noise that is picked up after the pickup, such as the instrument cable noise, if the signal is louder from Series or Parallel plus preamp, then it has a good signal to noise ratio.
Yeah that's valid for sure. Many active pickups like EMGs actually use parallel coils specifically for the wider frequency-response and for the lower noise level, but of course they are directly paired with a preamp in that case.
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Lesser known companies/luthiers

I feel like Conklin basses belongs here too. Yes he did manage to get large enough to start a production line overseas with cortek but I barely realized these basses were a thing until recently. His designs were really cool and he built some crazy basses. As many strings as you could think of he built.
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Which year represents you in terms of the highest number of album releases that you love?

I have to cheat a little here and go with 1977-78.

Among many others - and I'm just sticking with R&B/funk - and in no particular order:

"Funkentelechy vs. the Placebo Syndrome" - Parliament
"All 'n All" - Earth, Wind & Fire
"Go For Your Guns" and "Showdown" - The Isley Brothers
"Bootsy? Player of the Year" - Bootsy's Rubber Band
"Get to the Feeling" - Pleasure

For a multi-year window, 1975-1979 would cover it.

Double Bass Health Related Issues To Playing

These are all good suggestions. I went to more flexible strings and a much lighter touch on purpose about four years ago and this has really helped. That last hour on a four-hour gig does seem to be when most problems occur. In that case, I try to play even more relaxed and as lightly as I can. The impulse for me is to dig in more, but if I really let up and relax, it helps to get me through. Let the amp, if used, do the work. Even if playing ampless, you project a decent amount if you don't force it. It takes an adjustment in thinking, but it does work IMO.
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If you dabble with blues guitar….

Hubert Sumlin's funeral expenses were paid by Mick & Keef.
The Stones were longtime Wolf fans. In 1965, they refused to appear on the TV show "Shindig" unless Wolf was also brought on. 18-year-old Billy Preston and Tele-master James Burton were members of the lineup who backed him on the show:

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The Stones instrumental "2120 South Michigan Avenue" was named after the 1964 location of the Chess Records Studio, where their album "12X5" (which featured the track) was partly recorded.

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They covered Wolf on a track for their 1965 album, "Rolling Stones, Now!"

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1961:

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Ernie Ball Bass Noodle: Gig Report

I did try it from about an inch from the bridge, slowly moving it towards the bridge. For my sound, I like it right up against the bridge saddles. When it was an inch away, I heard more attack than tone. There is a sweet spot just a little away from the bridge that could be a good fit for the upright sound (playing on top if the fingerboard and mixing your eq just right). I like it when I sound close to an upright in articulation, but a more pure, amplified tone.

I did try the reverse install that Obra suggested. Definitely a different sound profile. It suppresses the G string a little more. I will be trying it the next time I gig with it.

Dingwall Combustion Nashville OMG Mod

I just did a thing.

I have a Dingwall Combustion that I love. I customized it a little while ago by putting in the Fret Nation 6-way switch that gave me the solo middle pickup. That was good, but then I heard the Dingwall Nashville Combustion "all pickup combinations" video and I wanted to try it out. So I figured out how to rewire my Combustion as a Nashville Combustion. I pulled out the 6-way switch, installed a blend, put in a push/pull volume pot for active/passive switching, and installed a DPDT on/on/on mini switch for the special sauce Nashville middle-pickup switching. A key difference that I picked up in the Dingwall Facebook group is that the middle pickup on a Nashville is wired in series with itself, where on a regular Combustion it's in parallel with itself. So I made sure to make that change.

I love the solo middle pickup in series, and I like the blend knob, but I wasn't super happy with the mix of middle pickup and blend, it just sort of seemed thin and not super differentiated.

So.

I had wired the blend and middle pickup on/on/on switch so those two outputs were in parallel. I thought, "what if I could wire those in series?" It took me forever to figure out how to wire up the DPDT on/on/on switch to make that happen, but I did. So now, the middle switch position has blend in series with the middle pickup.

Holy moly, it sounds AMAZING. When the blend is set to the bridge or neck position, it sounds terrific with the middle pickup. Ballsy, nasty, super powerful. But when the blend is in the middle, it is just a MASSIVE sound. Unbelievable. I love this thing. All I have to do is be careful I don't blow the windows out.

Please post a video or an audio file.
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Pedalboard noise

Here's what I'd do in your case:

Build the signal chain on a less cramped space to rule out the power supplies creating noise for being in close proximity to the audio signal carrying devices - especially the LED stuff.
Take off the pedals from the board. Start with the DI and the last pedal in chain before that. Check for noise, and if there is none, add one pedal and check again. Space them out a bit, as far as your cables allow. If the whole signal chain minus the LEDs operates without noise, then the culprit has to be either LEDs or the proximity to the power supplies.
A good start, I would also want to rule out the power supply as they can cause issues if the internal boost/buck converters are noise or there is a defect present.
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Crazy cool Kauer Draken #19

I ended up putting on a set of La Bella low tension flats medium scale. They fit perfectly and I love them. The factory rounds sounded great but I just love the smoothness of flats.
Hey Good to know for future. I was going to buy a set before I went with the Dunlop long scales. Which work very well just a slight overwrap on the "G". I love the LTFs Ive had them on other basses, one of my favs.
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Player Plus Active Precision issues.

I recently purchased one of these 2 years old. It's a good feeling guitar, though a little on the heavy side, with very comfortable neck. On plugging it in however, I immediately discovered the pots were scratchy and noisy - to the extent that an active tone control would cause scratchy nose even when the bass was in passive mode. More problematic than this though, is that the pickups are so hummy, that him is even produced by touching the plastic sides, and touching pieces causes MASSIVE hum. I expect a little bit not too this extent.
Opening the bass I discovered clear signs that the pickups had been changed, but I do not know how to tell whether they have been changed back to original, or whether they are inferior pickups contributing to the problem. The J pickup has the "Noiseless" logo on the cover, but that is just the cover. Is there a way of identifying whether that really is the original Fender noiseless pickup?

Official Barefaced Bass Cab Club

In a similar vein, I still hold that an Acme B1 on the floor coupled with a BF One10T on a stand is near sonic perfection. Decoupling the one10 like that gets it totally out of the inefficient B1’s massive low-end turf while the 10CR fills the space with those warm tube-like mids. I know Alex used to play/study Acme cabs, so it wouldn’t surprise me if they’re “accidentally/not-accidentally” designed to play so nicely together.

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