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P J P/J Oh my!

#61
Nev375 said:
Your ears > Talkbass.

If it were the other way round, we'd all be playing P basses with flats, Nordys, a tort guard and arguing about which metal is the best to play with it.
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GreenWithEnvy said:
Congrats man. The hot rods are awesome. I heard that some hot rods had a bad batch of something or other in them, one of the electronic components was defective, I forget what it was now. But mine didn't have the problem, so everything was good. You are not mad, do a google search for the bass and there are plenty of owners who say it's one of the best basses Fender ever made. Did you get stuck with one of those hideous transparent orange ones?
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Thanks guys!

I was able to snag a classic. It has the most wonderful neck! Thinking about a black pickguard.

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...and GWE, I did find that my google searches were positive. We just had to get the TB P/J players motivated to come forward! :D
 
#63
jbassbob said:
...and GWE, I did find that my google searches were positive. We just had to get the TB P/J players motivated to come forward! :D
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First of all, she's a beauty. Congratulations again. Secondly, we might have to start up a club and show our defiance. A support group where if you claim to like passive p/j's you don't get crucified. Or if you do, we're there to help you through it. We need to unite and fight the tyranny of our oppressors!!!!!

We can share our innermost feeling about our P/Js. We need a place where we can share poetry about our P/Js. I'll start us off.

When the Jazz man was testifying
He brought me to my knees
He bound my neck and growled and slapped
And played in the right keys

But then I met the P man
Who knew just how to rock it
He thumped me hard, all night long
And got deep down in my pocket

I said "Hey, Neil what should I do?"
(Diamond not Sedaka)
He said you need a P/J man
And now it's Slap Boom Shaka Laka!

-- Carole King (from the album Slapestry)

Are you in??? Are you with me???
 
#64
StuartV said:
Yep. You're a Fender snob. And, thus, everything else you said is, umm, suspect.

MIA Fender has absolutely NOTHING (that you can generalize) on MIA Peavey. MIA Fenders are not, as a general rule, superior at all to MIA Peaveys. Much less "far" superior. I would put any average example of a Peavey Millennium, Cirrus, or B Quad up against any Fender you can find and bet money the Peavey will be (objectively) judged at least equal on quality.
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HI Stu,

Arghhhhh! This sucks! I never wanted to be a Fender snob!!

Thanks for setting me straight. I am not a pro nor have I been playing for very long. It is obvious that I must expand my horizons. I will certainly check out your bass references.
 
#65
Great idea, I think I'm gonna cry, I'm with ya man :D

GreenWithEnvy said:
First of all, she's a beauty. Congratulations again. Secondly, we might have to start up a club and show our defiance. A support group where if you claim to like passive p/j's you don't get crucified. Or if you do, we're there to help you through it. We need to unite and fight the tyranny of our oppressors!!!!!

We can share our innermost feeling about our P/Js. We need a place where we can share poetry about our P/Js. I'll start us off.

When the Jazz man was testifying
He brought me to my knees
He bound my neck and growled and slapped
And played in the right keys

But then I met the P man
Who knew just how to rock it
He thumped me hard, all night long
And got deep down in my pocket

I said "Hey, Neil what should I do?"
(Diamond not Sedaka)
He said you need a P/J man
And now it's Slap Boom Shaka Laka!

-- Carole King (from the album Slapestry)

Are you in??? Are you with me???
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#69
Most of the production P/J's I've played have had Jazz necks, that may be worth mentioning. It's pointless to debate how much this does or doesn't effect tone, but it certainly effects the feel.

I have an old JV Squier P/J(passive VVT). After swapping pickups around I've settled on a combination that really works: An old '74 P with a Nordy '62 J. Dialing-in the pickup height really was key, the J is adjusted up just a hair from where I would normally have it and the P pickup is just a little bit deeper than my "strait" P basses.
 
#70
jweber76 said:
When you do count me in!
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Hmmmmm....I'm not sure if we were joking or not. I think we were joking? But just in case:

jweber76 - Passive P/J Club #3

You know, if we were to start a club, we'd have to set rules on what basses qualify and people will test the rules with progressively crazier configurations. I've even seen a Mustang wired with a P and J.

I'd be tempted to say that your bass must suffer from VVT or it doesn't qualify, but what if someone claims to have solved the physics issue, gets rid of the syndrome, and wants to join. We'd wouldn't be able to exclude him/her because we wouldn't be able to verify the claim since we wouldn't be able to hear the difference. "Sounds like VVT to me Bob, what do you think?" "Yep, Green, classic VVT, despite his claims. Gotta let 'em in."

I wonder if I'm over thinking this.
 
#75
SurferJoe46 said:
Well - in that case I think Bongo's gonna start a VVT-Syndrome Owner's Club soon. Keep waiting for it.
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Nah, you'll just get the "Me Vs. Deaf People in Denial Club."

It'll cover most TB threads. More efficient. ;)

Just to check that I wasn't losing my mind or that somehow physics and electronic engineering principles hadn't miraculously changed overnight, I dragged out ALL the passive V/V/T basses here yesterday and went through them. ALL exhibited the problem, some more hideously than others. Indeed, some straight Jazzes were extreme.
 
#79
Ran across this elsewhere. Might be a little help:
=====================================

Bezmotivnik said:
Why, in technical terms, does this common and traditional passive circuit work so horribly? The intent is to be able to smoothly mix the volume levels of the two pickups. The actual result is that you can't -- and instead produce shelf-like attenuation and weird artifacts that sound like an envelope filter:

[Invalid or Expired Link Removed] or [Invalid or Expired Link Removed].

The short answer is that you are mixing dissimilar pickups in a common circuit and they don't like it, but what is the engineering rundown?

Many thanks for a good answer!
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doojum said:
I can offer another short answer with a shade more technical detail but I'm afraid my ee qualification is extremely rusty. The filtering/attenuation effect is caused by the pickups loading each other differently at different volume pots levels and different frequencies.

Ideally you would want the pickups to appear to the volume circuit as a pure signal source, ie. it doesn't care what you attach to it, it will always present the same signal. In reality as you move the volume pots this interacts with the real characteristics of the pickup, (effectively one of these ideal sources combined with resistance and inductance). The non ideal characteristics of the pickups cause them to transfer portions of the signal to each other instead of the output.

The frequency dependant part is caused by the inductance of the pickup, ie. the load isn't purely resistive and therefore varies with frequency.

I struggled with this passive pickup mixing problem recently trying to get a circuit to work nicely with two dissimilar HBs in a guitar. I failed to find a really good solution. In the supposedly classic combination of Seymour Duncan jazz + JB, middle switch position sounds the same as neck only until I turn down the neck volume. This is the effect of dissimilar pickups, turning down the volume of the neck pup balances the loading effect of one pick up on the other allowing more of the bridge pup signal to appear at the ouput.

Hope this makes some sense.
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