Turned out really nice George. Congrats on a great build.
Thx, it’s been a fun journey so far.
So how does it sound? (or did I miss the memo...)
No audio clips yet but plenty of time behind the wheel with it now. I eventually will record and post some clips.
The three different tone stacks really make this a wonderfully flexible bass. I’m usually a neck nearly full on tone rolled down and a hint of bridge added only as needed for definition kind of guy. Not the ticket with this bass.
I’m finding with 1meg pots and .047 caps the neck soloed at nearly full on is plenty deep with the tone rolled off but plenty of highs can be dialed in without resorting to another pup. The neck pup is definitely low mid focused.
The middle pup sounds great soloed as well but has a more scooped sound with the tone rolled off and a full rich sound with the tone all the way up.
The bridge pup is quite interesting and not something I’ve ever had much use for on other basses. But on this bass the bridge pup is solidly upper mid focused but not thin or harsh, very much like a compressed version of the other pups.
For a real treat though, turn all three pups up to about 80% volume with the neck tone full on, the middle tone full off and the bridge tone full off - you get this wonderfully thick rich warm tone with punch and biting mids and a perfectly detailed but smooth top end.
I fully expected to get some level of phase cancellation between the pups but so far I’m just not detecting it. It’s very much as though three separate basses were being played through three different amps simultaneously on stage. Very unique, very useable and very flexible. With the volumes set correctly, no one pup walks all over the others, it just sounds like three basses all playing the exact same note at the exact same time (nothing like a chorus effect though) you can distinctly pick out each pup in the mix. Very odd, very cool. I suspect you might find something similar with the lipstick/humbucker build you’re doing.
Now for the two gripes…
1) I’ve been spoiled by Gibson knobs that have reference numbers on them, you always know what your volume or tone settings are and you can quickly find your favorite setting. Good luck with that when using polished metal knurled stacked knobs. There is no easy to see reference point, not a clue what the volume or tone is set on until you mess with it to find out. Annoying to say the least. I’ll eventually etch an easily seen reference mark on each knob or find different knobs.
2) The Alpha stacked pots I’m using are audio taper (I assume both pots in the stack are audio). That works beautifully for the tone knob. Easy to dial in exactly the level of treble you want. Not so good for the volume knob which doesn’t do much of anything until you’re at least half way up. You get about 80% of your volume control from about three quarters on up. I suspect what would work best is to have the tone half of the stack (bottom knob top pot) in audio and the volume half (top knob bottom pot) in linear taper. I have yet to see a stacked pot like that, so I might be forced to try make my own. Alternatively, if I had a two pup bass I’d seriously look at stacked vol/vol linear pots and stacked tone/tone audio pots, that might be the best of both worlds.