LukeFRC

[quote name='silddx' timestamp='1359549823' post='1956382'] It's not just tone that we're after with kit though, [b]the attack and release, and the envelope, are as important, or even more so, than tone[/b]. Tone is a misleading word. True that a lot of our sounds come from what we do with our hands, but if your bass, amp and effects are not reacting to your hands in the way you need or expect, or in a way that pleases and inspires you, or in a way that fits your musical vision or the music you play, then it's time to change that kit for something that does. Of course, there is a lot of inexperience or ignorance around too, which the industry likes to capitalise on. I change my sounds quite often, I am on a journey of improvement. But because I have a POD X3 LIVE, I dont need to spend loads of cash buying and selling amps and effects to get what I want. And I have the ONE bass which delights me. [/quote] +1 which is all part of how it sits in the mix. I am going to hunt through your posts to work out what that "one" is

A festival/industry gig. Set up with 12 different venues in the town and music on constantly at them all, free to see anything. Deal was we all used the provided backline - which was great as some music shop had sponsored it all and it was all good stuff, you know brand new state of the art stuff.... except Ashdown had just brought out their superfly amp. Now by choice I wouldn't play ashdown, but I regularly used an ABM300 head and they arn't awful- just not my flavour. The superfly however.... arrrgh the amount of time i sat hitting buttons to try and set the EQ vauguely right, you couldn't work out the gain and volume and worst of all I lent back mid gig and put my hand on it and you could have fried eggs on it.

no. Another reason to love the EU

[quote name='ziggydolphinboy' timestamp='1359363164' post='1953423'] (hes said im tooo busy before now and he doesnt like my tight sound,hes also an awesome guitarist but doesnt learn the tunes like the tunes then moans at me when im playing them like the track). [/quote] I interperate this as: "even though I don't care much about this band I want you all to drop work/social life/family to make this work and massage my ego for me, your sound it's just too.... tight and present in the mix taking the attention away from me, oh and you know when you follow the songs, well I didn't learn them like that so can we do them how I think they are" kick him out, or at least start a discussion (argument) with him over it all.

is the tweeter working? as in is there a difference between turning it up and turning it down it could have blown.

just a though.... that is a closed back cab?

could you not change how the speakers in the cab are wired together, so have two sets of two which should give you a 4 ohm cab?

saw this, judging by the string thru bridge this may be USA and worth going to have a look at if you are local. If I had the money I would be tempted to go myself! http://www.gumtree.com/p/for-sale/fender-jazz-bass-with-hard-case/1008318132

look how mint this is - just like it came out the factory http://www.gumtree.com/p/for-sale/1983-fender-p-bass/1008344171

[quote name='Slimriddim' timestamp='1359369467' post='1953519'] Hi there, I have a 2003 Warwick thumb "Bleach blonde" that was beautiful to play when I first got it but gradually the action got way high to the point that I couldn't do anything about it with the truss rod. This thing is totally unplayable now. For the money that Warwick's cost you'd expect the neck to be solid. It has been kept side by side with my '96' Corvette F.N.A, which is perfect, so not an atmospheric issue and it's never been dropped. Has anyone else had these issues and are Warwick likely to help? Not sure who I could contact... All input appreciated, thanks. Kev. [/quote] where are you based? We will be able to recomend local luthiers to you! It should be fixable I would have thought/hoped

[quote name='alyctes' timestamp='1359552027' post='1956448'] When you've bought a bass here, and paid the money, how long is it reasonable to wait for something to happen? A week? Two weeks? I won't name the seller, at this stage. But he's had the money since 7th January, and I've had one apologetic PM (on the 19th) and nothing since. [/quote] probably now if that was the question you're asking. Also look at if they are longstanding member who else is from the area. There are clumps of people who know each other on here - so for instance a PM to one of their friends could result in some kind of explanation "oh yeah it's crap, he's having major surgery/his wife left him two weeks ago and his life fell apart/he's a bawbag, ill get onto him for you" or something

[quote name='Pete Academy' timestamp='1359500161' post='1955945'] We're all chasing that elusive tone that we hear in our heads. But is[b] it [/b]all down to our fingers and how we play? Are we wasting our time and money buying new gear? [/quote] depends what it is. Tone is partly from an instrument and partly from the player. I think as you learn more you realise that one half is more important than the other

I heard of another ltd warwick where this had happened. If it were me I would take it to CHRISDABASS to sort out

[quote name='Chris2112' timestamp='1359418435' post='1954632'] I don't think they're all that rare but the pricing issue is a good point. When Guitar Guitar Newcastle first opened (must be maybe ten years now, wow) they had a dark blue Streamer LX at £600. I thought that was a pretty fair price, given that in Sound Control, nothing with a Warwick badge on would sell for less than £1000! Of course, the LX was a trade in but it was like a new instrument. In any event, it was the first Warwick that I really got to sit down and play for any length of time and it was a revelation. Superb quality. That said, their value has fluctuated wildly. Unlike some basses, Warwick prices fluctuate on the used market, maybe because they are essentially the bass world's biggest niche product. Some sellers expect their used Warwicks to command a premium just because they are great instruments, but it just doesn't work like that. Unlike say, flogging a Geddy Lee jazz bass for £500 or whatever, you never know what sort of reception you'll get. When I put my Ltd Edition 1990 Streamer up for £1000, which I thought was a fair price, my inbox nearly burst under the weight of the replies I got. [/quote] whereas my JV no one wants... but the warwick I want to buy no one seems to want either

[quote name='DiMarco' timestamp='1359416867' post='1954603'] The LX sounds aggressive, Stage 1 is a lot smoother yet modern sounding and Stage 2 is king of the midrange frequencies. I'd go for a Stage 2 myself. [/quote] I personally would prefer the bass I just linked too... but one to few string maybe!

[quote name='Sparkl' timestamp='1359416311' post='1954591'] I know and I agree but it's a whole new world playing a Suhr Classic J, or a remarkably well built high end Warwick than a cheap Rockbass alternative. Tried it numerous times and though you can get close with sound quality sometimes the feeling in your hands and the feeling playing it just isn't the same and as comfortable. It's in the wood, the neck, it's in everything actually. If you know what I mean, it's difficult to explain. It's probably just that once you own a well built instrument you probably never go lower than that. There are exceptions of course I played a Garry Willis GWB35 which felt suprisingly comfortable and the sound was great. But from my experience, my friend owns a Rockbass and playing that, I really don't see me craving over this thing. [/quote] I know what you mean. But on the other hand I've had top end instruments and picked up bottom end stuff too... in my experience it's not a direct correlation. Like I really don't get on with the feel of sadowskys much, no idea why - but i've set an old cheap japanese jazz copy up to play like butter. ... that said seeing how we arn't disagreeing and it's a thread asking for advice.... if you want a top notch warwick... look for a pre 1992 neck through model, something from 92-98... or something from 2011 onwards. the middle bit you will find great basses in, and some not so great too. If you try an LX you may find it's the bass for you. If you're buying it based on 'quailty' I would suggest their is better stuff out there... this for instance would wipe the floor of the LX http://basschat.co.uk/topic/197682-fs-warwick-dolphin-pro-1-four-string-1989/page__p__1952816__hl__warwick%20dolphin__fromsearch__1#entry1952816

[quote name='Sparkl' timestamp='1359415053' post='1954563'] I really think that playing professionally and knowing every single detail of an instrument is a separated thing. Or do you consider someone who plays in a professional band and doesn't know a thing about warwicks, a non professional? Seems absurd to me. Don't take me wrong, I'm not considering myself as a professional player even though I'm studiying jazz on an academy, as I don't yet have experience with true professional bands. But I really don't feel like trading my SR5 for a Rockbass ripoff. Simple as that. P.S.: Plus I wasn't even asking of a sound difference between these two basses as I'm fully aware and informed of that. I was merely asking for build quality comparison, and the true worth of a specific instrument. QC as such. [/quote] I was just a wee bit surprised at the way you degenerated the rockbass line. Most the pro's I've chatted to on here may not know anything about warwicks but they would know what they professionally need and would be required to have. You rarely see them asking opinions about blind trades! My take, for a future pro, having a stingray in your arsenal would possibly be more desirable than a Streamer LX...

[quote name='lettsguitars' timestamp='1359406899' post='1954379'] Fair enough. What is it with Warwicks and truss rods today? (another thread) [/quote] what today as in this day, or today as in the ones they are making at the moment?

[quote name='Sparkl' timestamp='1359412926' post='1954523'] I'm terribly and truthfully sorry if I offended someone, I just don't consider a Rockbass as a professional instrument. For hobby playing perhaps, for serious professional use, not really. There is a difference between a cheap instrument and true craftmanship. [/quote] Define professional? not being funny - but wouldn't a professional already know which of a warwick streamer LX or stingray 5 sound suited their projects/shows/studios best without needing to ask here?

[color=#000000][font=helvetica, arial, sans-serif]"Warwick Streamer LX5 made in Germany, year 2002" -condition, colour, finish, neck wood (still wenge?).... nice bass, kinda like a streamer stage one but bolt on with a wenge or ovenkol neck (i think). Not an amazing vintage. Worth... who knows, my guess, todays pricing 600-1000 ish. [/font][/color] [color=#000000][font=helvetica, arial, sans-serif]Would I trade. Well if a Streamer LX is what you [u][i]want[/i][/u][/font][/color] then why not- it's swapping a good bass for a good bass. If you don't want it and it's just to try, then it's not such a good trade for you in my opinion. There are better Warwicks out there so it may be easier to sell the MM and then go shopping secondhand. But like I said - if a Streamer LX is what you want- and some folk love the LX's- then it's a good trade.