Bushmaster

[quote name='Aussiephoenix' post='14094' date='Jun 8 2007, 12:38 PM']I was surprised to see that people here actually like Warwick strings...[/quote] Actually, now it's my turn to be surprised. Oh well, the reciprocity principle [quote]the only good thing about them for me is their cost (usually, I see... lol)[/quote] Hmm... well, AFAIK many folks play Red or Yellow Label just b/c they're cheap. Black Label or EMP Coasted, however, probably are not quite as inespensive. [quote]Usually I find them to be really rough on the fingers, they go dead really fast, and they have no flexibility whatsoever.[/quote] Indeed many do complain about the finish, even with the coated variety. I for one can live with it. Black Label besides Thomastik-Infeld Powerbass probably ranges amongst the non-coated roundwounds that lasted longest IIRC. It is hard to nonsensical to make generalizing statements about that, though, b/c there's probably nothing that could effectively be of help to people w/ really agressive hand sweat a/o people who play very hard, thereby excercising heavy mechanic stress. I'm not sure about flexibility. On many basses they probably will sound too aggressive. They're great for basses that need brillant strings, though. That even is including Warwick fretless basses!! [quote]I usually use Ernieballs, Rotosounds or D'Addario Prosteels depending on the bass.[/quote] I've been using the former 2 a lot in the 70s to early 80s as they were amongst the brightest strings available back then. What I didn't like was that EB sets weren't balanced, and they sounded a bit bass-shy. RS had a miserable quality control, so I regularly pulled factory-fresh dead strings right out of newly opened packages. Also as great as they sounded the first few days, they started dying way too soon. RS in extremely light gauges also produced annoyingly inorganic harmonics. BTW, their finish is quite rough, too... The latter is the continuation of DA's XLS/Prism lineage which along with the discontinued Reds were the most brillant and technically best strings that became available in the early 80s. I'm still using these a lot. They also indeed have a very much more pleasurable finish.

[quote name='bassboy115' post='6265' date='May 25 2007, 09:04 AM']everybody is saying about baseball bat necks on em...is it the newer warwicks with the horrible neck or the older ones??[/quote] Warwick within 1½ decades just went from one extreme to the other. In the mid 80s they came up with problematically thin necks, since 1999 IIRC they make chunky necks, and also switched from wengé to ovangkol. I for one found the really broad neck of a Streamer Stage I 6-string very comfortable to play, but took issues with the sound. It's too large a chunk of too soft woods like flame maple, and that doesn't contribute to a really defined sound (I know I'm a spoiled brat taking Rics and Smiths as reference). A smaller bass of harder woods such as a Thumb NT 6-String was ok, though. At first I also was impressed by the decent mids the ovangkol neck produced. On a second thought, however, I found that older Thumbs w/ wengé/bubinga neck had more of a character, even more "wood" in the midrange (but that also may be due to better quality woods used back then). Well, that's how come I don't play a Warwick these days... Actually, Warwick and Marleaux, which also was mentioned herein, were amongst the manufacturers about which I thought for some 500 bucks more they might have come up with a better bass I would have bought. But so...

Not really GAS as in buying another bass just for the sake of buying another bass. What I probably [i]need[/i] most is another bass mostly used for slapping/tapping, and I've been on the verge of buying a Status last time anyway. Most likely a S-2 Classic Through-Neck Headless 6-String. Though also the Yamaha TRP 6 P II I had liked very much. Nice to have would be a Rickenbacker 4003FL (fretless), as well as a 4004-series 5-string.

[quote name='paul, the' post='6198' date='May 25 2007, 01:46 AM']Why do I feel somewhat proud? [/quote] Actually, I very much like that sort of toying around with ideas. You can always still give things a second thought. But if you just put up with things as they allegedly are, and always have been that way, blah..., you're helplessly stuck with it. I can't post sound samples but if I may just mention a few recommendable alternatives not yet discussed so far: [list] [*]Dean Markley Ground Round Wound™ Bass (2626 MED .049 - .062 - .084 - .108) [overall powerful sound, mild highs, yet good pick click] [*]Ken Smith Slick Round Medium (.044 - .062 - .084 - .106) [smooth bass, live mids, semi-bright, cuts through played pizz or with a pick] [*]Rickenbacker 95577 Round Ground (.048 - .062 - .077 - .098) [just as expected: a mellower version of their classy pure nickel rounds] [/list] Maybe bass_ferret would be the one to comment on the sound and feel etc. of Status halfrounds -? <expectantly>

[quote name='paul, the' post='6048' date='May 24 2007, 10:15 PM']Couldn't you just turn the string around?[/quote] No, that would be be awful sounding b/c you'd had a maximum dampening effect on string vibration. And not very much else. If it was for a decent pick attack there'd probably be quite some alternatives with "conservative" sounding roundwounds. The most decisive parameter being a smooth finish (e.g. the type of D'Addario XL will do). More of a coarse finish will result in a "grindy" pick attack (think Rotosound Swing Bass etc. etc.). A decent flatwound type of throb, however, also requires a certain mass (and construction type). I think of "non-flatwounds" GHS Brite Flats are worth mentioning in this department. Even in a lighter gauge such as .045 - .056 - .077 - .098" (no need to go up to .049 - .062 - .084 - .108" if not desired otherwise). They also don't sound nasal ("twangy") as most (though not all) flats do (esp. in lighter gauges).

[quote name='Bidd' post='5614' date='May 24 2007, 12:13 PM']I've realised that I have yet to change the strings on my bass even though I've had it for 18 months and have been playing with stock strings since.[/quote] Yeah, by that time most strings will be dead sounding and also feel awful b/c of corrosion. [quote]because I plan to play slap and 12 bar blues type stuff, I want to treat myself to some new strings that may improve the sound.[/quote] Not really much of a problem. Slapping requires a string that can vibrate freely. This means you will have to use (a) roundwounds, i.e. a string using some round wire for the outer windings, ( it shouldn't have too much mass, which mostly means diameters shouldn't be too large. Additionally, depending on your taste, the string should be able to produce some to outspoken pronounced brightness. As for gauges, most multipurpose sets are somewhere in the .045 - .100" range. Though for slapping (as well as tapping) gauges like .040 - .095" or lighter often not only play more comfortably but also sound better. As for brightness, there usually is an increase from pure nickel via nickel-plated steel to stainless steel strings (but, as so often in life, there's exceptions confirming the rule). For the most part, either relatively bright nickel-plated strings (SIT Rock Brights, Elites, Alembic etc.), strings of special alloys (Thomastik-Infeld Powerbass) or stainless steel strings will do the job quite well. Alas, whether a string produces more of an elegant or an aggressive slap sound can't be predicted from the parameters usually made available to the public. A typical example of the former would be D'Addario ProSteels, of the latter Warwick Black Label. Well, the thing then is that "phat", brightness and aggressiveness can be controlled by playing technique. Your attack should be controlled though determined, in no way speaking of nervousness and inattentiveness. It helps using not just the bony part of the very fingertip but also the fleshy part behind it for variation of harder vs. softer attack. The more you get near the bridge the narrower the sound will get. Actually the more the harder you pluck. If you play in a middle position the sound will be able to develop and get richer. Further, as money probably will be an issue, too. It pays to buy long-lasting strings even if they're expensive (but often they also sound better). It's just that in case you also should be using a pick you should avoid coated strings (Elixir and such) b/c you will scrap off the coating all too soon.

[quote name='john_the_bass' post='5288' date='May 23 2007, 07:16 PM']but how much variation is there between strings and string tension?[/quote] Quite some, I'd say. <flurry of understatement> [quote]Not just in variance of the wind (ie flat vs round), but across brands so how much difference in tension is there between two sets of nickel wounds of the same guage, made by different companies - or even nickel vs stainless?[/quote] Actually the most decisive parameter for objectively measurable tension is the ratio of masses of core vs. windings. [quote]What other affect does the tension have other than stress on the neck and how flexible the string feels to play?[/quote] Obviously two different things. Subjective feel/flexibility for the most part is determined by the core. It makes little sense to go with too smallish diameters, though, as it renders strings unduly prone to breakage. Of course, the stiffness of flatwounds is brought about by the flatwire (which also comes in most diverse qualities) obstructing string vibration to a more or lesser degree. [quote name='john_the_bass' post='5644' date='May 24 2007, 01:15 PM']That makes a lot of sense, however i have heard once or twice that flats and even pressurewound strings have more tension and have more tension in them than roundwound strings.[/quote] Well, they have more mass out there. But this isn't a hard and fixed rule. E.g. Thomastik-Infeld Jazz Bass Flat Wound is a most delicate string. If you want to have actual numbers, specifications can be found e.g. on their website as well as D'Addario's. [quote]or if i use a hex core normally and switch to a set with a round core?[/quote] Actually the round core renders the overall mass a little bit higher as there are no pockets under the windings as w/ hexcores. As in all, I wouldn't let myself be influenced by such merely technical considerations. I'd choose strings primarily for their sound, though they should be comfortably playable, too.

[quote name='jase00' post='5515' date='May 24 2007, 01:27 AM']I have two Fender Jazz, Geddy and USA (defretted) If I could have one then I'd love a fretless Geddy.[/quote] Did you ever think of trying exchanging the necks just to see how that would sound? <curious>

[quote name='The Funk' post='5900' date='May 24 2007, 06:11 PM']I don't understand why people don't use Walnut more. I want to get a custom Jazz with a Walnut body. Mmm... Walnut...[/quote] Absolutely! Walnut is [i]such[/i] an excellent tone wood. IIRC Warmoth should be selling replacement bodies of walnut. Well, seemingly, as Ed Roman explained on his website, most of walnut disappears into the rifle industry, and sought after woods tend to get pricey.

[quote name='Alpha-Dave' post='5208' date='May 23 2007, 05:21 PM']I mean $1200 for a redwood front and back that can't cost them more that $400 at the very outside (they'll more likely pay $150): [url="http://www.exoticwoodbrokers.com/index.php?main_page=product_info&products_id=267"]http://www.exoticwoodbrokers.com/index.php...products_id=267[/url][/quote] No doubt, you do pay for the name of Alembic, and also otherwise they aren't exactly cheap. Still I'd be careful with such statements b/c it's not just about the type of wood but also the quality. Alas this has become a tremendous problem in the last decade or so. There's all sorts of most exotic stuff to be had at seemingly sensational prices, while even once decent manufacturers/luthiers now produce instruments w/ qualities of maple and such really basic stuff that are just dreadful and harsh sounding. Not to speak of qualities of cocobolo, zebrano and such which just left me wondering what's the point of using such woods. Also bodies composed of more than 3 pieces no longer are limited to budget gear. Etc. etc. "I'm not amused." :wub:

I just wouldn't think of them as alternatives which may have advantages vs. disadvantages. If you have the time and resources it certainly can be worth learning to play both (as well as fretless), just as it's worth the effort to learn cello or any other instrument you're seriously interested in. With time your experience will tell you how [i]you[/i] want to approach which musical situation. [quote name='jwbassman' post='4637' date='May 22 2007, 08:57 PM']to quote Victor Wooten -"Bass is not an instrument, it's a role"[/quote] Very funny hearing this from a guy who certainly is not trapped within the limits of conventional role concepts.

[quote name='Tinman' post='5301' date='May 23 2007, 07:52 PM']I expect that would make sense if I actually understood what you were talking about [/quote] It's a quote from Rush's "The Trees" ([i]Hemispheres[/i], 1979).

[quote name='David Nimrod' post='4668' date='May 22 2007, 10:45 PM']The trouble is I like the Precision sound *and* the Jazz sound. For Jazz I love the *growl* and for Precision I love the *deep clank* As to necks I really like the Jazz neck better...[/quote] Pretty much sounds like whatever sporting a PJ — or also P + HB — PU combination and a Jazz style neck. Besides the Reggie Hamilton Signature the [url="http://www.fender.com/products/search.php?partno=0135760359"]Deluxe Series Active P Bass Special[/url] might be worth consideration even though it's a bit cheaper. Nice Fender type of basses with P + HB and J + HB configs are manufactured by [url="http://www.sandberg-guitars.de"]Sandberg[/url], but I guess they will be too expensive. Still worse Fender's Stu Hamm Signature basses with their killer JPJ config.

[quote name='dood' post='906' date='May 18 2007, 12:28 AM']I don't think they are a novelty.. and lets face it.. Us ERBers do need help with sourcing strings in the UK![/quote] I understand they have been introduced earlier this year together with the instrument of the same name. I have also been trying newly introduced Warwick Black .015w as well as .020w in January. Well, in short, they were as good as expected of Warwick Black. Another company that now offers strings from .017p to .170 is Pyramid. I had them also make a handfull of custom .012p at ok conditions. Of course, sound-wise that's a different world. Many ERBers seem to use La Bella or SIT, but my dealers of trust had difficulties with their distributors. Guess if you're an endorser and directly negotiate with their US representatives that will work out considerably better.

Main is a Rickenbacker 4001C64, complemented by Jazz Basses (both fretted and fretless), an Ibanez Custom Shop fretless, as well as a Washburn 6-string.