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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.

While a 6 string is way more than I can handle those grooves and fills are what makes contemporary gospel music so exciting .

Bass Jones said:

Thanks for all the replies folks!



Yeah, I need to decide which way to go with it. For the preamp I could add another 12ax7 and tone circuit which would be pretty minimal work. Or go with 2 6SL7s following one of the B-15 versions which would be not much more work and maybe sound better.

On the 5AR4 swap, wouldn't the current power transformer work? The chassis I have is the complete power supply and power amplifier together. But it only has a single 12ax7 preamp/phase inverter and no tone control.

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The 5AR4 heater draws 1.9A@5V, the 5u4GB draws 3A@5V so you should be fine. But check the data sheets. The early B15 used a 5U4GB but switched to a 5AR4 for less distortion and more headroom.

My choice would be using the 6SL7’s if you have the space. The B-15 is a proven design but note what power supply voltages the transformer delivers. One concern is the health of an old power transformer. Can it deliver to spec under sustained conditions. There’s not easy way to tell till you try it in the amp.

Some schematics. The vintage-blue ones are excellent. The TB wiki has useful information on building the tone circuit.

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.

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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.

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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.

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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.

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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.

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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.

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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

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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.”

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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.

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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.

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