mcnach

very nice!!! Thanks, I didn't know these guys!!!

[quote name='bassman344' timestamp='1352054116' post='1858231'] Thanks to everyone for their input here. Despite this I have decided not to go with Behringer. I went with Genz Benz and it has been the best decision I have made since selling the whole stable and buying a Dingwall ABII. Played first gig with it and it is unbelievable how easy it is to be very loud and overbearing with very little on the volume control. Not sure if it's the amp and cab alone, or because it's teamed with a fantastic bass; but nevertheless - money very well spent. Certainly not my sleek tickling of the (Ernie) balls. . . . . . . . but it sounds incredible. [/quote] Which Genz Benz did you go for in the end? I have my eyes on a couple of things in the GB stable.

I read great things about the Sterling SUB but haven't managed to try one yet... For me the Jazz-like neck is a bit of a negative point. ONly a bit, I have a couple of Jazz basses and it's fine... but I do prefer something a bit more meaty, neck-wise. If you consider Stingray-type basses, don't ignore the original US SUB ones. There was a beautiful all black one here a few days ago for £320, and you often see them for £350 or thereabouts, and that's a superb bass. Or get a CV50, and add a Stingray pickup to it with a MMSR preamp

[quote name='buff' timestamp='1351991033' post='1857714'] I love my 50's CV as well, but found it lacking a little. In the end i put two bartolini pick ups meant for a rickenbacker. Will at some point get another one. [/quote] At one point I thought of putting an MM pickup on mine. But then I thought I had already enough Stingray-territory basses

[quote name='Huge Hands' timestamp='1351683343' post='1854065'] I used to agree with this until someone pointed out that if a drunken punter caught your lead and yanked it - might be better to have the plug just pull out of the socket (jack) that throw your stack across the room with a locked connector (Speakon). This happened to me once, so it definitely gave me food for thought.... [/quote] I have a special "look" I save for people coming too close to my gear. It seems to deter them.

I think you get this issue sometimes when the pole pieces are ground together with the ground of the pickup... so when installing the preamp one should separate those and only feed the preamp with the negative (from the pickup) and not the ground from the polepieces...

optimistic price, very optimistic... even unrealistic although nice looking. Well, it would be nice looking if that logo had not been placed so wrongly!!!

[quote name='Schnozzalee' timestamp='1351960672' post='1857324'] How did you find them in relation to the Sue Ryders?? [/quote] The CV60 is a seriously good bass, regardless of the logo. The one I had, at any rate. Finish, sound, everything. Much better than the Sue Ryders. The SR ones... are ok. For the price they were great value, but nothing extraordinary. They work, I still have a couple... but teh Squier was a lot better. The reason I sold the Squier and kept the SR is that I'm not really into Precisions much... so it made sense to me to sell the one that would give me some money (I wanted to get a G&L L2000 at the time), as nobody would give me much for the Ryders.... and when I want a P bass I am happy to use the Ryders. Now the CV50... Quality wise, as good as the CV60. But different neck, etc, and of course the pickup. I much prefer the sound of the original single coil Precision bass pickup. It has less of that characteristic P-bass midrange bump, but I find it more pleasing. The midrange bump of a Precision is not exactly where I like it best... hence my feeling that a CV50 with a midsweep might help me tune into the sound I hear in my head. Or maybe I will discover I'm just looking for a Stingray sound in the CV50... it would not be the first time

Those Squier CV series are really nice, all of them. I had both Precisions, the 60s and the 50s. I sold the 60s but I still have the 50s, which I like better. It has a chunky neck that feels great to me, it's beautiful (butterscotch one, tinted maple fingerboard)... and it sounds huge. I used it for rehearsal a couple of weeks ago after many months of neglect and I was amazed at the bottom end of this thing. I have it strung with fairly new Fender flats and low action and it's delicious. But I felt that the midrange wasn't were I wanted it to be. I'm very much a bridge pickup type of guy and although I love the "girth" of this bass I felt if it only had a a more controllable midrange... Yes, I used my amp to bring it to where I wanted... using veyr differnt settings from what I use with my Stingray and Jazz basses. But then I thought... hmmm, maybe I can put a midsweep module from John East here instead of a tone control. The stacked knob will detract from it's "vintage" look, and I will have to route a battery compartmemt on the back... but... the result could be immense!!! Or a total failure. I think I will try.

The way the fretboard shines does indeed look like the ebanol fingerboards of the DeLuxe Squiers. Same with the position of the bridge pickup (a bit closer to the neck than usual.

very nice!!!!

[quote name='LukeFRC' timestamp='1351638186' post='1853719'] Red - part of me has always wanted a red jazz bass. I think ideally with a maple neck. But on the negative- well red basses are a bit, you know... common. could always go for the dark aubergine colour! blue. Not sure I like blue guitars, Lake placid is nice but it's not a solid colour is it? ocean, rustic and Mediterranean blue are interesting colours and not normal fender colours. [/quote] orange, bright orange... a bright orange jazz... with rosewood fingerboard. yes... oh yes...

[quote name='drTStingray' timestamp='1351558677' post='1852719'] The spring plates are far less than 5 mm thick - I'd say 1 mm or less. The only recess on the Classic bridge appears to be at the front edge - if you look carefully you can see the four plates fit into the recess, which is about 1 or 2 mm deep. I've just checked my 93 fretless and it has the same system. I suspect the plates are just wedged between the bridge and body, and into the front edge slot to keep them in place laterally. I'd go for it - if it doesn't fit I'm sure you'll be able to sell the mute assembly without a problem. The foam bit is similar to the innards of a mousemat, but without the smooth covering. It's a bit thicker as well. They are glued on. The pre EBs seem to be notorious for losing them - I had one from new and the G string mute disappeared during a gig on a dark stage after I'd had the bass for about a month - if you look at pictures of Pino's fretless Ray whilst with Paul Young, IIRC at least one of the mutes is missing off his. Presumably glue technology wasn't what it is now, back then!! The modern ones appear to stay put. If I had a pre EB with missing mutes, and I wanted it to be fully functional, I would certainly consider buying the mute kit which McNach is referring to, which is an EBMM part. [/quote] I think stingrayPete meant 0.5mm rather than 5mm. Indeed, from the pictures they look very thin. I'm going to go for it. ... and ordered!

[quote name='LukeFRC' timestamp='1351554258' post='1852683'] one thought.... bongos look odd.... but a fan fret bongo could look amazing [/quote] INdeed. If you're going to go "unusual", go all the way!

at least I liked it... some unusual instruments there. That blue Sabre... yum! [url="http://youtu.be/YmPH_HcYwWI"]http://youtu.be/YmPH_HcYwWI[/url]

[quote name='stingrayPete1977' timestamp='1351543923' post='1852483'] I think you could probably use a bench grinder to create the little recess in the back of the bridge failing that the spring plate is really only about .5mm anyway so it might just squash down, I did not realise the OLP had the big flat area like the ebay ones so its crying out for the mute kit! I will send you a link when its up Jose for the Mag cover, I'm not really sure exactly what is going on there myself 28'000 copies though [/quote] I don't have one of those machines... I do have a router But if it's that thin it may be ok without. I'll try. The later OLPs (like the one that was my main one, "Natillas") have the smaller bridge very much like modern Stingrays. Previous models have this very large plate ones... and like you say: they are screaming for something to be added there! Yay for the link!

[quote name='JapanAxe' timestamp='1350846491' post='1844240'] Aha! I did find one report of a failure similar to what I experienced, only it was in the early days of the RH450 (same power stage as the Classic 450 I presume), reported on [url="http://www.talkbass.com/forum/f15/my-tc-electronic-rh450-amplifier-died-any-users-had-problems-565716/"]TalkBass[/url]. If mine is only the second reported incident out of all the units TC have shipped, that can't be bad! [/quote] That was me! At that time I was not yet in Basschat. The amp died on me when switching it on at a gig. A flash, white smoke, smell of burnt plastic. That was a Saturday night. On Wednesday (I believe) I had a replacement in my hands. I posted about it on Sunday, I think. I also wrote to TC. On Monday morning I was told my local dealer (Guitar Guitar in Edinburgh) did not have one in stock, so they'd send one from Denmark and I should be able to exchange my dead one for the new replacement on WEdnesday... and that's exactly how it went. I have used the replacement amp a lot since then, nearly three and a half years ago. It was disappointing that it failed... but the company responded quickly and I have been enjoying the amp ever since. So, no complaints here.