robocorpse

No, it looks like a shill, the bidder with 84 feedback has taken it right the way up and has 100% bid activity with the seller...

It's also going to put a lot of undue stress on the neck joint. EB3s are a pain to balance, have you considered ultralight tuners, or even ADDING weight to the bottom end near the bridge to counteract the dive? Either that, or you will just have to get used to supporting the neck at all times. I'm biased, I play Thunderbirds and Explorers, undoubtedly the most notorious basses for neck dive, and neck support is almost part of my technique, to the point where I pick up something nicely balanced (like my Status) and it feels really weird, almost offputting!

Every Tokai 'bird I have tried has been rubbish. The Gibsons are nice but variable. I am going to agree with "amnesia" about the Epi Gothics, they are lovely. So are the Epi Nikki Sixx Blackbirds. Even the Chinese ones are good for the money if you are prepared to sling some decent pickups in and upgrade the bridge. The necks are surprisingly good. As far as shattered dreams go, EVERY STINGRAY I have ever played (apart from the '78 I stupidly sold in the late '90s) has been horrid. I must have gone through 5 or 6 before I realised the original one was a really special one, almost played itself, and sounded absolutely monster, no other 'Ray has ever come close to it, I'd love it back if I knew where it was.

Biggest regret was selling my EMS suitcase synth a few years ago, I felt a pang as the courier took it, and kicked myself ever since. Still want one back but not at stupid ebay prices. Also '71 4001, '78 Stingray, '72 LP goldtop, '72 ES345, and the Ibanez Firebird I ruined by adding a kahler and reshaping the body. Its still in the loft, an unplayable lump of Japanese mahogany with a corkscrewed neck. Wasn't worth anything in 1986 (I paid 75 quid for it), would be worth around 10x that figure now if I hadn't f*cked with it.

[quote name='redstriper' post='1154145' date='Mar 8 2011, 05:40 PM']Proper job: [attachment=74278:holy_bass.jpg][/quote] If that was red or black, I'd happily gig it.

Fake, but I spose you could mess around with it, OK for you if it plays alright, but I (personally) wouldn't have bought it..

They saw him coming, unfortunately. I think these were only about 69 quid RRP.

[quote name='NJE' post='1144326' date='Feb 28 2011, 11:47 AM']Cheers for that, just starting to read about the whole true bypass thing. I am looking at a pedal without so I guess I would be using battery up. I only really want it for a couple of songs and i dont really want to get into power supplies etc. Might have to fork out a bit more for a true bypass maybe.[/quote] Given the choice between forking out for true bypass, or a low-middle price PSU, I'd go the PSU route. TIP: old SEGA MEGADRIVE power supplies are 9V 1A and the plug is the correct size and polarity to run Boss pedals... "2 quid, take 50 pee?, oh alright, a pound" from your local boot sale.

Was in Bass Cellar the other day. The tall guy is indeed an utter cock, but he had mispriced something, so I bought it and staggered it to the cab rank with a big fat grin on my face having just saved 300 quid...

[quote name='icastle' post='1142342' date='Feb 26 2011, 02:08 PM']But wait! I have a cunning plan.... Why not use a 10W 8Ω loudspeaker across a jack plug and leave it plugged in all the time...[/quote] I was replying to OPs earlier comment: "So I can run it without a cab? That would be convenient." No need to be so condescending...

What about wiring a 10 watt 8 ohm resistor across a jack plug and leaving it plugged in all the time unless you have a speaker connected? that way if you do accidentally unplug the headphones, there is no chance of running the output TR unloaded.

[quote name='cheddatom' post='1139705' date='Feb 24 2011, 10:46 AM']Total balls. Have you heard the bass tone of the guy from Karnivool? He uses one. Quite often people bring this pedal up and say it's only capable of weak fizzy distortion. It has a clean blend, and EQ to boost the low, and cut the highs, and it has a gain control, which is useless past 10 o'clock. It's perfect for a big bottomed growly boost! It's not good at fuzz, but it's great at OD.[/quote] Hence "Bass OVERDRIVE"... BTW, although its not a fuzz, if you want the Greg Lake "Barbarian" sound, this pedal nails it really well.

[quote name='buff' post='1135315' date='Feb 21 2011, 12:09 PM']Ok, the output from the pick up in my jack casady bass is according to epiphone 6K. but im finding despite the fact its meant to be a good pick up, it's very wooly and lacking any bite.[/quote] You are never going to get bright and zingy sounds from that bass in a hundred years. Unfortunately, a semi acoustic with centrally placed pickup ain't going to have "bite" no matter what pickup you fit. If its a major issue for you, and you can live without the cool factor of the JC bass, I'd look at something with a solid body.

Oh you git , I missed the end of that auction and would have probably outbid ya. Oh well, next time...

[quote name='AttitudeCastle' post='1135847' date='Feb 21 2011, 05:27 PM']Robocorpse you really use the Fuzz factory on bass? I've never found it great for bass, and the constant howls suit guitar better, i'd love too hear how you use it![/quote] Plug the Status S2 in, and play chords through it. Sounds like a massive polysynth. Mmmmm

He's also using a very toppy bass sound to start with, you can hear it poking through all the effects.

[quote name='MythSte' post='1135404' date='Feb 21 2011, 01:13 PM']Personally, I dont think your ever going to get a good modern slap sound from a P bass. You'd be better suited with a Jazz or a Stingray [/quote] +1

Grit = a touch of growly grindy stuff, think Geddy Lee. Overdrive = starts at "grit" and goes up to "fairly raucous" Distortion = Bees having a fight in a discarded Stella can, difficult to use convincingly on bass. Fuzz = Breaking the signal up to the point of degeneration and gappiness by excessive overdrive.

I use loads of distortion and fuzz and have tried a lot of pedals. The best results I have had for adding grit without sacrificing tone are the overdrives with a proper "mix" knob that actually lets uncoloured signal through with the overdriven (rather than just ON or OFF and leaving it up to the setting of the "drive" knob) Boss and DOD both make really good bass overdrives, available S/H off ebay for under 50 quid. They are equally good at adding grit, but are different if you want LOTS of overdrive, the Dod is more "American" sounding, the Boss is more middly. If you want to go further, a Sansamp Bass Driver is a really nice grit machine, and has DI output as well as effected and parallel clean, but that will cost you closer to 100 used. However, it does mean you can go straight into the PA without losing much of your sound, and saves lugging your stack around on some gigs. I currently use DOD and Sansamp together, with a Boss FZ5 for the nuclear meltdown stuff, and I seem to have all bases covered for what I am doing. I prefer the Zvex Fuzz Factory for the mad stuff, but I don't like gigging it, as I have already broken 2 knobs off it

OK own up, whos the lucky bugger who just scored it for 132 quid because my bloody phone rang and I missed my bid? AAAAARGGGHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!

[quote name='SteveK' post='1133368' date='Feb 19 2011, 02:01 PM']Why? I totally understand why a guitarist would use such a tuning. But why a bass player? He won't be playing open power chords...will he? The same notes are available, he just has to reach them in an unorthodox fashion, which would make study bloody hard work.[/quote] On the other hand, it makes it a lot easier if all the strung instruments are playing in the same tuning and same positions so showing each other stuff is easier, especially if the band aren't all seasoned pros with 20 years of theory behind them, which is most of them. Cast your mind back to the level of someone who has only been playing a year or 2 and is trying to work out songs with a guitarist in drop tuning, and look at it from their point of view.