lowregisterhead

Thanks Chris - it's not just a trip down memory lane, it's a real gem of a bass too. Some of the Japanese output in the 70's might be considered a bit suspect by today's standards, and I was worried I might be disappointed when it arrived, but it's really well built, plays beautifully and sounds great.

Between 1973 and 1976 I believe. There was a slightly flasher version, the SB75, which had block inlays on the neck instead of dots, but all in all any variant of the model seem to be very rare.

I had one of these in 1979, loved it, but had to take it back to the shop when the neck when banana-like within a couple of months. They couldn't get another one because Yamaha stopped making them in 1976 (things took a while to filter through to North-East Scotland in the 70's.) Then a couple of weeks ago I spotted this being sold by a dealer in Japan, and I think it's in better nick than the one I had nearly 35 years ago. The neck's been re-lacquered, but otherwise it's 100% original. It's bright, resonant, sounds great and is lovely to play. The body shape may be a slightly acquired taste, but it's the best jazz bass I've ever played, and gawd knows I've played a few. Makes me feel like a teenager rehearsing in my grandad's loft again... It's a Yamaha SB55, by the way! [url="http://s1141.photobucket.com/user/lowwregisterhead/media/SB55_zps0d7da426.jpg.html"][/url]

Now that IS a bargain! Slightly jealous, but even with the passage of time it would still drive me nuts trying to work it!

I had one back in the day and I took it back to the shop after a fortnight. Every button and slider had half a dozen functions depending on which mode you were in. Drove me up the wall.

I'm not into the vintage thing personally, but it is rarer than a very rare thing, and I love those stacked pots. Beauty, after all, is in the eye of the bass holder. If I win the £80 million on Euromillions tonight I'll 'ave it!

Thanks for asking, but I got sidetracked and haven't got around to it yet! I shall report back soon

[quote name='xilddx' timestamp='1384128812' post='2273162'] The moral for me is that bands as democracy have the potential to lose drive and fizzle out like a cheap firework. None of the really good bands I've been in have been democratic. I think a band like RUSH is very rare. I have a firm belief that one needs a good bandleader, someone with talent and creativity, vision and drive, quality control and discipline, with a tangible level of confidence in the songs and the band's performance. These IME will usually be high calibre singer-songwriters. Unless you have all those qualities yourself and start your own band, I would try to get in an established band who sound like they know where they're going. Talk to them first and get a feel for them. There are never any guarantees with a band though. [/quote] My experience too. These are the bands that tend to last, although if that control is too firm, at worst it can destroy everything, or at best it can result in a 'revolving door' as far as the supporting members are concerned, and sometimes a completely fluid lineup depending on who's available at the time. I've been in a few bands like that, but it's usually a less satisfying scenario as musically and personality wise it can sometimes be a bit too loose an arrangement. And as xilddx says, there are never any guarantees with a band. Getting a handle on the personalities within a band and the dynamics between them is essential. In my youth I was in a band that I thought was going great. I had a bit of a problem with the guitarist's sound, and at rehearsal suggested some changes he might make. He said nothing at the time, but when I went on holiday for a fortnight, the band 'split up' and reformed again with another bass player! Being young and naive, I hadn't factored in that we rehearsed in the guitarist's parents summerhouse, and he owned the PA. He was therefore in a position of great power, but was a serious conflict avoider. That was in 1979, and I haven't seen him since! Ah, memories. It's not easy to form a band, and even harder to keep one together, but when it works, there's nothing to beat it. Have a clear vision for what you want to achieve, make a plan, and go for it. Best of luck.

[quote name='Bassmonkey' timestamp='1384016259' post='2271968'] I love this. If it was in the UK and wasn't gonna cost me an extra £500 ti import, I would be all over it! [url="http://www.ebay.co.uk/itm/Music-Man-Stingray-Dargie-Delight-Limited-Edition-Bass-5-String-Martini-Inlays-/151155833625?pt=Guitar&hash=item233196fb19"]http://www.ebay.co.u...=item233196fb19[/url] [/quote] As a rough estimate, it would cost you about £1750, including shipping and duties. Go on, you know you want it!!

All that effort for... poor timekeeping.

[url="http://s1141.photobucket.com/user/lowwregisterhead/media/c6268724-d33c-4b17-8808-2c6f456e5def_zps5873594c.jpg.html"][/url] Great basses, but like any instrument, they can be a little variable. I've had a few over the years, and one or two have not been outstanding, but most have been very good. I'm with Pete regarding the preEB's - they have a juiciness the new ones lack. The Classics come close, IMHO, but a good early Stingray has something special about it. The one I sold that I regret to this day is pictured above - a heavily modded preEB that I let go for stupid money because I couldn't pay the rent one month back in the 80's. If anyone sees it, let me know!

[quote name='ezbass' timestamp='1384007899' post='2271849'] Where's the fun in that? [/quote] The 'fun' as you put it, is in NOT being struck round the back of the head with a large frying pan by She Who Must Be Obeyed...

Marvellous. Thank you KiOgon! Now to get soldering without burning the kitchen worktop...

Thanks for that folks - I may well have a go at swapping one around to see what effect it has. And it's nothing like the way a jazz 'spreads out' when you bring in both pickups Woodinblack - I know what you mean, but this just sounds wrong! :-) Has anyone got a wiring diagram they could post for a standard two-volume-one-tone passive setup?

I just bought a second hand bass, with twin soapbar pickups, and two individual volume controls and one tone. When I turn up each pickup individually, they sound fine, and the tone works as you would expect. When I turn up both volumes together, the overall volume drops dramatically and the sound becomes very hollow, and not at all what I would expect from a twin pickup instrument. I don't know much about circuitry, but I suspect the pickups have been wired incorrectly so they are out of phase when combined. Any thoughts?? Thanks in advance to the many knowledgable members of this forum! Dave

Uh-huh-huh! http://www.ebay.co.uk/itm/Custom-Elvis-5-String-Bass-Guitar-/121138375614

[quote name='iiipopes' timestamp='1380552785' post='2226960'] Back in the late '60's, before there was such a thing as an after-market pickup, the first experiments were those who sold ceramic magnet bars to replace the alnico magnet bars in Gibson humbuckers. This was easy, as all a person had to do was unsolder the cover, loosen the bottom plate screws, and switch out the magnets. Well, the ceramic magnets, not having any electrical conduction properties, had the effect of lowering the inductance of the pickup. This made the pickup brighter, but could also cause magnetic coil saturation and harshness. Later, companies like Larry DiMarzio and Seymour Duncan (who was working in Fender's London shop, learning how to fix pickups and other aspects of guitar repair) took those same magnets, but wound the coils differently, whether with more of the same wire, or a different wire, or even developing different magnets, and started the after-market pickup market. (Mighty-Mite was there, also, but went into necks instead). Others, like Dan and Kent Armstrong, first started as a repair shop, then expanded: Dan with the plexiglas guitars, and later Kent with the pickups. And so it goes with the rest of the famous after-market pickup names. Alnico II: darker, smoother tone. Alnico III: good presence. Alnico V: top end and clarity; Alnico VIII: Ballsy, can be difficult to control, depending on the windings; Ceramic: no conductive interaction, so the same gauss will lower the inductance, increase brightness and clarity, but taken over the edge with gauss or the wrong coil can sound harsh. [/quote] Fascinating stuff! When it comes to Stingrays specifically, I've personally always preferred the sound of pickups with alnico magnets to ceramics, but there are so many variables, I find it all a bit bewildering. Best of luck to the OP with the changeover, and I look forward to hearing about the results.

[quote name='cloudburst' timestamp='1379267921' post='2210629'] - And has anyone noticed the guy who works at Queen St station in Glasgow all the time and is the spit for a young Pino? So even when I'm not playing bass, I can still get reminded how s**t I am. [/quote] I hate it when that happens. I pulled into a petrol station behind Bruce Dickinson a few months ago and was reminded that I'm not a wealthy rock singer/world class fencer/airline pilot/author. Just one of those would be enough for most people, surely. He's just showing off.

[quote name='ikay' timestamp='1378994016' post='2207476'] Yes, just spoken to Barry at House Music and they're expecting a shipment of 6 Radius (Radii?) later this month. No pricing yet, they're still doing the figures.. [/quote] Thanks for that - I shall keep an eye out!