neepheid

Gold, no question.

Sad face EQ in a live situation every time for me, irrespective of how I like it sounding when I'm playing solo.

I think that any functional instrument not being played is a damn shame. To answer your question simply, no, and any bass you think looks good when you're holding it will look good hanging up.

Axesrus are good because they don't charge postage - handy if you forgot a wee nick nack. [url="http://www.axesrus.co.uk/"]http://www.axesrus.co.uk/[/url]

Yup, I enjoy playing mine. Sounds great to me, nice and light so no bother during long gigs/rehearsals. Also looks amazing, particularly in blingin' gold top.

For what it's worth (owning a Fender Cabronita P and having tried a Fender Modern Player Telecaster) my preference is for the Cabronita. When you consider that the Squier VM Telebass and the Squier Cabronita P are very similar in functional terms (4 string, single pickup, volume, tone) the difference is chiefly in the pickup. You couldn't have two much more different pickups, the Fideli'tron vs. the Wide Range Humbucker! Low output vs. high output balanced output with a sweeter high end vs. HEAVY BASS It's really down to the sound you want. Wide Range Humbucker plus flats might just be too lacking in treble, even for a flatwound fan. Fideli'tron plus flats might still be too bright for your liking. But at least there's a tone knob. It's much easier to remove treble response than it is to add it. The Fideli'tron is probably the lowest output pickup I've ever worked with, but that's what your preamp gain is for.

Rich, you are an insane person. Well done That neck looks familiar. It's a black walnut veneer on the headstock if memory serves

[quote name='Geek99' timestamp='1380008888' post='2219302'] Is it possible to buy overwater bridges, pickups etc ? [/quote] Why don't you ask Overwater themselves? What's the worst that can happen?

Yamaha BB414

My wife bought me my RD Artist, so I guess that's last to go. I'd say I'm sentimentally attached to 2, maybe 3 in my collection. In a fire sale situation I guess the order would be 1. any fretless (rubbish at it anyway) 2. Any currently produced models (theory being that in better times I could buy another one) 3. G&L Tribute M-2000 (a rare, unobtainable finish combination, but I could get another M-2000) 4. G&L El Toro (because it's not a Gibson) 5. Gibsons in the following order - IV, Ripper (project), Victory Artist, RD Artist And the Yamaha BB450 would stay, despite it being a lovely bass I'd be lucky if I got £100 for it so it's hardly worth selling.

Black headstocks are for black basses and Gibsons.

[quote name='Funky Dunky' timestamp='1379592056' post='2214526'] Norris - this is exactly what concerns me about active basses. I understand some run as passive basses when the battery runs out, but most just die completely? This is a REALLY bad design, surely? I don't fancy changing batteries every other week, and you dunno how long batteries are gonna last until you get the bass and find out the hard way, huh? [/quote] Is it really that much of a hardship to carry spare batteries around? It's quicker than changing a string, especially if the battery has tool free access. Even with the need to remove a couple of screws it's probably just as quick as a string change. Also you will find that active basses don't just die suddenly (pure sound one minute, silence the next), if the battery is on a natural, gentle discharge curve which happens through normal use (and not completely flattened by leaving plugged in or through an unfortunate wiring fault) then you will most likely hear the problem before it becomes catastrophic. Alternatively, one could add a low battery warning LED - there are kits available. In a properly functioning active bass (which is diligently unplugged when not in use), the batteries last for a lot longer than a week or two. In my experience with a faulty bass which caused the preamp to be on constantly it did 4-6 weeks at 24 hours usage. Let's say you play a gig a week at 2 hours playing, a 2 hour band rehearsal a week and let's say you're diligent and solo practice for an hour a night (7 hours). That's 11 hours a week the bass is on. In the faulty example above, being "used" for 168 hours a week meant it conked out in (let's be pessimistic) 4 weeks. That's 672 hours of total duty. If the actual duty is 11 hours a week then that gives you just over 61 weeks of use at that level. A bit over a year. That's just very rough work (need mA drain of the particular preamp and the mAh of the battery plus an accurate breakdown of the time your bass spends actually plugged in to be precise) but it gives you an idea. It is often the case as far as I can see that this "issue" is pumped up to unreasonable levels to create anti-active scare stories. I for one have never been let down by an active bass on a gig. That's because I'll only be unable to play/complete the gig through my own lack of preparedness or awareness, that's hardly the fault of the bass, is it?

[quote name='Norris' timestamp='1379591087' post='2214490'] Passive I've only ever owned one active bass, and that went through batteries like nobody's business. When your usual awesome tone has suddenly switched to sounding like a mouse fart a couple of times, it tends to put you off. It wouldn't be as bad if there was a gradual degradation as they ran flat. Decent batteries are not cheap when you're replacing them every couple of weeks, and woe be tied if you forget to change them... I've never been playing and thought "I wish this bass was active". Passive still kicks butt. [/quote] That seems like excessive drain to me. Indicative of possible wiring fault causing the battery to run flat regardless of use, or leaving the bass plugged in? I had a Yamaha BB614 which would go through a battery in a matter of weeks (4-6 if memory serves). This is because I replaced the preamp and wired the ground and switch wires the wrong way round - hence the switch wire was permanently grounded and therefore the circuit was on regardless of it being plugged in or not. Oops!

I equate "fast" with "feels right for the player and allows them to play optimally with minimum mistakes and maximum perceived dexterity". It's got very little to do with the thickness or profile of the neck, as I for one prefer the feel of a chunkier neck. Feels right to me and therefore I play better and "faster". Don't like thin necks - I make more mistakes and don't enjoy playing them so much because they don't feel right to me. But there seems to be this deep seated association between "thin" and "fast". It's probably rooted in sound physical reasoning (thin neck == closer together strings == economy of movement) but in practice for me at least this does not carry across.

Well if Fender are going to diversify, then hopefully they'll have learned a thing or two from Gibson. Mostly to drop the "if it doesn't outsell the Precision in a month then it's getting binned" strategy On a Gibson related note - the pickguard seems reminiscent (to me at least) of an Epiphone Embassy Deluxe

I have both, and I like both. Sorry for the boring, non-committal response.

[quote name='libertino' timestamp='1378046742' post='2195041'] Is the combo still available anywhere? Is anyone looking to sell theirs? [/quote] One for sale right here: http://basschat.co.uk/topic/216965-harley-benton-ba5110c-combo-promethean-clone/page__view__findpost__p__2208484

I for one applaud Fender for pushing the boat out recently.

Pretty slow making their way up the road Had a look on Guitar Guitar, Merchant City, Kenny's (Glasgow), Red Dog (Edinburgh) and not heard back from II Music (Edinburgh, Aberdeen and other places). Come on, get them loaded on vans and get 'em up here, Fender UK!

A majority of my basses are from the 80s for some unknown reason. 1981 Gibson Victory Artist 1985 G&L El Toro 1985 Yamaha BB450 1986 Yamaha BB350F 1987 Gibson IV I suppose only the Yamaha BBs (and not my ones) are ones that people would think of in a top 10 80s bass list.

I've only had an HA3500 and have never used an LH so I can't really contribute effectively here. What I will say is that I liked the HA3500. The only reason I got rid was because I got a new detachable head combo and it was surplus to requirements. Well, it was heavy too, but I could have put up with it. Always liked the sound I got out of it, and because it's found in so many rehearsal rooms and in house back line, I'm right at home whenever I encounter one.

Welcome aboard

Here's the cookbook: http://www.ifb.co.uk/~matthew/GL_Wiring.doc I've got #7 (parallel, single coil (inside), series) and I think that single coil, both pickups is my favourite sound.