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Let's See some Double P Basses

#161
Here's mine- a Fernandes BO-60 with an ETS bridge.
20240802_073557.jpg
 
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#163
I have had a Blacktop Jazz for about a decade now. Scored it for $280 Canadian.

Currently planning a reverse double P, similar to an FGN Mighty Power.

I'm thinking of a way to have the neck pickup still remain a proper P when needed, so I'm likely looking at a pickup selector switch to keep the second volume pot out of the loop of the neck pickup, as to not change the load.

Is there a wiring diagram around for Volume/Volume/Selector/Tone or Volume/Blend/Selector/Tone? Bonus points if it would work with series/parallel between the two pickups (4 way selector switch being Neck, Bridge, Series, Parallel) or maybe having the second volume or blend pot be a push/pull for series/parallel and using a 3 way switch.
 
#164
slowjam98 said:
When I was thinking about a custom build, I was thinking about two in reverse with a five-way: neck, bridge, middle (half of each), series, parallel. The idea was to stack them right on top of each other with the “middle” in the normal position. But I have no idea if that would work well.

Something like this:

View attachment 4078939
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im planning something similar in a custom build, did you get one made in the end?
 
#168
BlueTalon said:
I actually had Warmoth do a body with custom P routes. There's a $45 charge per custom route. I knew exactly what I wanted, but it still took some back-and-forth with the sales team, because there were certain restrictions the shop was facing because of where I wanted the pickups located, and therefore certain adjustments had to be made, but it all worked out smoothly in the end.

So bottom line: Yes, they can do it; yes, they will charge extra; and make your decision about what you want before you call them. I like the normal configuration, not the reverse P, so I'd recommend sticking with that. (People comment about the D & G sounding thinner, as if the E & A wouldn't also sound thinner, and the E & A sound much worse when they're thinner. Also, when you're playing up the neck, you're more likely to be playing on the D & G, which means that part of the pickup relative to the length of string being played is actually similar to the other part relative to the E & A when you're playing down the neck.)
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I disagree.

Yes, the lower pitched strings will sound thinner than if they were farther from the bridge, the difference is the lower pitched strings are thicker guage strings which means they will inherently sound thicker.

So the thicker gauge strings closer to the bridge will tonally balance better with the thinner gauge strings farther from the bridge.

That was Lee Sklar's logic when (I'm assuming) he came up with his (in)famous double reverse-P bass back in the '60's.

What I do in attempting to balance the tone across the strings, is to slightly move the position of where my fingers pluck the strings farther away from the bridge as I move to the thinner strings - this works really well and doesn't take much movement to accomplish balancing the tone.
 
#169
I know it's ugly and way over the top, and I guess this is officially a triple-P, but there are a multitude of useable double-p configurations here. Each p-pickup has its own volume control, the individual coils of each pickup can be combined in series or parallel, each pickup can be combined with any of the other pickups in series or parallel, and the bottom coils on the front 2 pickups can be switched to be paired with either of the top coils. It's incredibly versatile, and has become my favorite 4-string of late. I often play it in the double reverse-p setting a la Lee Sklar. But, there are actually 8 different reverse-P configs with all the different series-parallel combinations. (And many, many more non reverse-P combos.)
IMG_20240303_143616811.jpg
 
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#174
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#175
JIO said:
Old post (6 yrs ago!) - love everything you did on this bass, but what's going on with two stacked high-mass bridges?
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The back one acts as a quick-release tailpiece, just so that medium scale bass can use "any long scale string" (not as many medium scale string sets available).
An actual medium scale set could terminate in the front one, if I had a set handy. That bass was done right at the end of my medium scale fling, which lasted about 2013 thru 2019...
 
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#176
mikewalker said:
The back one acts as a quick-release tailpiece, just so that medium scale bass can use "any long scale string" (not as many medium scale string sets available).
An actual medium scale set could terminate in the front one, if I had a set handy. That bass was done right at the end of my medium scale fling, which lasted about 2013 thru 2019...
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This is awesome, do you notice an increase in string tension?
 
#178
mikewalker said:
No change in tension but I noticed a very subtle tiny hint of extra 'chime' in the harmonic signature when using long scale strings. Maybe from the two inches of string behind the saddles sympathetically vibrating?
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Basses with a tail-piece/string-stop separate from the bridge incorporate that same technology. I have a few basses like that and I've not noticed any increase of 'chime'... but you know, anythings possible.
 
#179
urkel3000 said:
This is awesome, do you notice an increase in string tension?
Click to expand...
I've never understood why people think making the inactive portion of the string longer affects the string tension. It does not. If it did, the pitch would change.

Physics, people!
 
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