BassBod

I could be wrong, but I've had this sometimes with different makes and types of string. I think its a part of the finishing/cleaning process that isn't done very well. Most often I've had this on flats from Pyramid and Thomastik. A wipe with a cloth usually gets most of it off the strings and away from your hands.

I was playing my old Brandoni Jbass last night - alder body, japanese neck (seems identical to old Squier/Tokai?) but with Seymour Duncan pickups and a Badass bridge. I also did a cheap and cheerful spray can finish (clear/tinted "nitro"). Its a very good bass! If you have the time/space/inclination its worth putting one together - it shows where the quality control and skills are required for this type of instrument. You'll never look at a Fender style bass the same way again.

Compared to TI's I'd say they are "normal" sizes, although the G does feel a bit skinny and the E feels very fat. Tension is more than TI's but a lot less than most flats (roto or LaBella for eg). So they feel more like regualr flats, but are also more flexible then most. One thing I've read about them is a very dead sounding E string - I've not noticed this, but honestly they are so "old" sounding out of the packet it wouldn't matter anyway? Lovely strings...if that's a sound you want to make.

I've used them - no problem but be aware that the quality of parts varies. Japanese bodies and necks are good but hardware is variable.

My point was not that a fair amount of handwork was involved in making them (I went to factory and saw the dust)...but rather that the options were always a bit narrow compared to a lot of other makers. The Mk1 customs were pretty much the same, except for the body facings and this seems true of the range as it evolved into MkII/MkII and from 4 string thru 5 to 6 strings. Anything you like, as long as its Wal. Nothing wrong with that, but it does limit the additional cost of extras?

I agree - I think the price is ok, the last thing Paul H needs is masses of orders he's got no chance of completing in a reasonable timescale (sound familiar?). Best of luck to Paul, and I really hope its a success.

I can't imagine the options will add a lot to the cost - there were never many options other than facing woods and number of strings! Of all the custom builders I think Wal must have been the most "production line" ever? Although I admit they did everything their own (harder) way..even the bridges.

Really good to see them back, and I'm so glad I can't afford one! Owned two (ProIIE and a MkI custom)....didn't like them...but you never know, I haven't tried the MkII body shape?

DR Sunbeams (blue packet?) are the best strings I've ever used - sounds like they'd be great for what you want. They feel more flexible than any other round-wound string I've used, not as floppy as TI flats but getting closer (without the daft-light gauges of TI rounds). Also sound very good, of course. The trouble is the cost, but just don't buy them from the UK and you can save a bit. Thomastik Superalloys are also pretty nice, a bit cheaper but I've had some issues with them - small ball ends (slip through the bridge holes!) and short G strings which only just reach the tuner on a Fender...not good. Also Overwaters own brand nickels are good, and a lot cheaper.

I've tried a few over the years, not extensively and never owned one. The Pino Pbass was very nice, but it was a good authentic Pbass copy painted a funky colour with rusty bits. I think you've got to try the bass out, check out the feel and the sound and don't take much notice of the custom shop marketing. If you like it and can use it, good. I must have played 5 or 6 CS basses of various sorts, and I would've bought maybe 2 of those, but only if they came up secondhand at a major reduction of their original retail price. By contast I've owned two Bravewoods and would happily own another if I could find one.

There, proved wrong by science (well, Alex) again. I've always considered SWR to be pretty faithful to the sound of the instrument, provided you are careful with the eq and particularly the aural enhancer. Eden always seems a bit over cooked - too warm and soft, (but that might also be because mine was always overheating?) same with Ashdown. GK always sounds honky to me, even with "flat" eq (but I know there is no such setting on most gear). Good point on the speakers - they seem to be on of the main variables, and they really do vary! When I started using EA cabs it was a shock at first - far more definition, and not always exactly flaterring.

Sorry to disagree...but whenever I use GK I hear GK preamp midscoopyuck (growl or howl..depending on taste!?). My suggestions would be SWR (but don't use more than a quarter turn of the enhance control) or Euphonic Audio. Also the older Trace Elliot (GP11 preamp) is very good provided you are gentle with the graphic eq settings and don't use the pre-shape switch.

Ok - look out for a used EA CXL112? - I think they go for around £350 used, although pretty rare because they were exceeeedingly expensive new in the UK. My favourite all-round cab, although it seems a bit unforgiving when you first try it. Not very light (42-44lbs?) but good size. I used mine with an Eden WT300 and it was great, could cope with surprisingly big rooms...for about 20 mins until the Eden overheated!

Barefaced compact sounds like a good match, although it isn't a tiny cab. The sound is pretty "traditional" but with more mid range definition, which I think would suit an Eden well (if is sounds anything like a WT300?). I wouldn't worry too much about 4ohms in this case, as the compact is a "loud" cab, it was plenty powerful with my IA Clarus . I love EA cabs...but they can be pricey even used, and older versions are a bit heavy.

So good to hear the pros use them too! Even if you can take them off.....

[quote name='Mr. Foxen' post='610376' date='Sep 27 2009, 09:59 PM']Is that one visible in your avatar?[/quote] Yes, thats one - on the side of the fingerboard up to the octave (fret positions 3 5 7 etc), then on the face for the thumb position, between D & G strings . Not that I ever go up there, but it seemed like a good idea when I ordered the bass. I played a Steinberger WAV last week - its got dots everywhere, but they are all on the face, even in the lower positions. I found it pretty disctracting.

I'd recommend small stick on dots for starters - just four plus the octave, on the side. See how you get on, take them off after a few weeks and see if you still need them? I've got small discreet plastic dots on my EUB but I could probably do without them. What are you looking at getting?

Oh yes, always the foyer for me...must remember to look for the rift while I'm there.

I might get to this one - playing at the (not in Cardiff, really) Millenium centre lunchtime. Will probably have Clifton bass(es?)or could bring Alembic Epic fretless??

Here's some historical info on the F2B...and some circuit info for those who can read such things. Makes no sense to me [attachment=33393:F2B_manual.pdf] BB

I can't remember which version I tried, but briefly I did play through one several yeas ago. Best I could describe was a cross between the SWR Grand Prix (super clean and a bit "too honest") and the alembic (big warm and lovely..but still sounds like what you plug into it, but a bit better). Sorry if that isn't much help, but it was a long time ago.

There is a full circuit plan of the F2B inside the lid...there really isn't much inside the box besides a small transformer, two valves and some big caps.

Mr Foxen was right - I've got an old one and I'll happily sings its praises till your eyes glaze over. But it isn't for everyone - the "fender" tone stack does take time to use well. Mines got 5751's in it so its as clean as a clean thing. Makes everything sound yummy. Sorry if that's a bit technical. I got mine pretty cheap (it looks like its had a good kicking) just because it was two channel and I was doubling a lot on EUB/BG. Then I realised how good it was and asked Alembic for a new transformer - they ignored me for a year or two, then sent one for about £40 with wiring plans from Ron Wickersham. Not bad for a bit of gear that's probably 30 years old. The bright switches are hopelessly bright (designed before tweeters in cabs). No effects loop or DI, but run it into a half good passive DI and its luuvveeerrly. I'll shut up now BB

Here's my current Thumb [attachment=33112:DSCN1310.JPG][attachment=33113:DSCN1309.JPG] Lovely bass...but still not sure about the MEC stuff?

There's a few of us here in brisssle, or therrrbouts...welcome along. Has anyone warned you about the For Sale section yet? One day we'll actually organise a B'tol get together! BB