P-T-P

[quote name='GreeneKing' post='50072' date='Aug 24 2007, 12:29 PM']The TRB neck is very wide and flat, i.e. not a D. I love it.[/quote] Thanks, sorry to be a pain, so the back of the neck is a smoothly sweeping, quite shallow curve from the treble to bass side, something like this ) ? The TRB1006 I had was a definite three side affair that I hated. Reminded me of the neck on a Status SmartBass 4 string I tried.

Been fighting the GAS for crazykiwi's Ken Smith 6 as I simply ain't got that kinda money to spend (at least not on what would be a bit of an indulgence really). There's a TRB6P on eBay at the moment. It is a thru-neck job, flamed maple body etc. What I'm wondering is, how different is the neck profile on these thru-neck basses to the bolt on models, in particular the TRB1006? I played a thru-neck one about 15 years ago and loved it, always lusted after one. Bought a TRB1006 back last year and hated the shape of the neck which seemed to be quite a solid D shace whereas I'm far happier with something closer to a ) shape (this is hopefully making sense to someone!). Anyone throw light on the subject for me? Am I just clouded by reverie when thinking back to the TRB from 15 years ago?

I removed the cap from a new decosphere air freshener thingie (Glade I think) and put the sphere and cap on TV as there was a knock at the door. I kinda forgot about it and a day later noticed the cap still on the TV, went to remove it and was horrified to find it had welded itself to the TV! It took sustantial force to get it off and in the place where it had been was a cavity in the TV casing about the size and depth of a 10p piece.

Ace guy to deal with. Very pleasant chatting to him and he paid cash on the nail too which can't be bad (and the bank didn't even notice the ink was wtill wet in places )

Very easy to deal with when selling a monitor and let me have a pootle on his exceptional Ken Smith 6 string which I may yet live to regret!

No probs dealing with Basszilla, easy transaction.

Sold Tom a monitor and met him briefly. Nice guy to deal with.

Top bloke. Sold him a monitor recently and a Hohner cricket bat some time ago. A pleasure to meet him and do business with.

[quote name='silverfoxnik' post='48127' date='Aug 21 2007, 03:19 AM']Just bought one of Pete's Lakland DJ5s, which is superb! As well as the bass being exactly as described, in pefect condition etc, Pete hand-delivered right to me it to the SE Basschat Bash on Saturday so I didn't even have any courier issues to contend with or to go out of my way at all. A thoroughly pleasant and satifying transaction all the way through -thank you! Also had a chance to hear Pete have a play on Crazykiwi's Ken Smith 6 and he's pretty nifty! Thanks mate... Hope to do it again sometime Nik[/quote] It wasn't me, that bass just plays itself, and I wish I'd never held it in my hands because it's haunting me!

If you can find someone who will do that trade, it sounds to me like you should do it. A DJ5 is probably worth a little more than the 55-02 so if you like the look etc. go for it. You can always drop a pre-amp into the DJ5 if you miss the active controls too much. Be aware however, the neck profile and fingerboard radius on the DJ5 is different to the 55-02. The JO5 has a similar neck to the 5502.

Haven't played a DJ4, have owned a JO4, JO5 and DJ5. JO4 was a very retro - feeling and sounding bit of kit. JO5 felt more modern but still had that 60's jazz vibe to the tone, albeit with a little more precision. My DJ5 sounds more like Geddy Lee's tone than the Geddy Lee I owned and certainly has a much more 70s funky jazz bass tone than any of either of the US 75 re-issues I owned.

Just a possibility, but are the shops saying there are only four deliveries a year as a way of covering the fact that what's really happening is they have 90 day payment terms agreed with the distributor and as a result can't actually order any new stock from the distributor until they pay the invoice for their previous order?

[quote name='chardbass' post='47913' date='Aug 20 2007, 08:10 PM']If you really like that Jazz sound and feel I would get a 4 string. The Fender 5s apparently have a slightly flabby B string although it may not bother you. The drawback with a Lakland 5 is also it's plus point- the 35" scale makes for a good B string but you loose out on that funkiness on the other strings IMO- bear with me. I have Homer's/ OBBM's old Skyline JO5- I think it's a great bass but there is extra tension in [u]all[/u] the strings. When you dig in on a 34" neck you get a great funky feeling through your fingers which is slightly diminished on a 35" neck as there is more resistance there. Try before you buy. If you want a 35" 5 string I can recommend a well priced second hand Skyline if you can find one. DJ has a chunkier neck than a JO5 too! As has been said- it's well chronicled that the Lakland Skyline basses are some of the best value basses you can get.[/quote] On the necks of the DJ5 and JO5, it's been a while since I played a JO5, but I'm pretty sure the DJ5 isn't as chunky. Certainly the JO5 has a more pronounced C to the profile, which is perhaps where I'm getting the chunkiness from. I think I know what you mean about the extra tension of the longer scale, but surely a good set-up and/or a slightly lighter gauge of string will brink the funk back! I don't feel what you describe in my DJ5 though, digging in gets me exactly what I want from it. The DJ5 which Nik bought from me I did feel was a little less responsive to digging in, but I always put that down to a rosewood board versus maple. Tonally though I have to disagree on the "get a 4" suggestion. Both of the DJ5s I've owned and all that I've played have sounded exactly like I'd expect a jazz of their kind to sound. Both had well defined bottom end thump combined with zinging upper mids and highs on the maple boarded one or slightly softer highs but more pronounced mids on the rosewood boarded one. I think generally though I'm in agreement with you and most people who've commented, the best non-vintage Fender Jazz you can buy without spending a fortune is one of the Lakland Skylines, doubly so if you're thinking in terms of 5 strings over 4.

[quote name='niceguyhomer' post='47649' date='Aug 20 2007, 12:10 PM']My 75 Reissue Limited Edition Jazz - which I sold to Pete above (PTP) not least because it was a great bass but Pete sold it to someone else and that guy (not PTP!!) then sold it on EBAY for £200 more than I sold it for [/quote] Yeah, I'd noticed that too, was a bit miffed about it as well. I thought it might go down well on eBay but figured I'd spread the love and sell it on here for what I paid for it. More fool us I suppose. [quote name='ped' post='47652' date='Aug 20 2007, 12:14 PM']Hi mate, Do you have any pics of sound clips of the Lag bass? There is a very 80's red P bass Lag in the PMT near me, and some of my fave fusion players have played Lag basses in the past. And, of course - I like French basses ;0)[/quote] Hi Ped, I have no pics of my actual bass but I just did a search after writing my post to see if I'd find any and I actually did, sort of. [url="http://fr.audiofanzine.com/produits/index,idproduit,106181,mao,lag_collection__4_cordes_1990.html"]http://fr.audiofanzine.com/produits/index,...ordes_1990.html[/url] It's not a very well kept bass in the pic (and given the not very good matching of the body wings, it night even have been one of the models that was sprayed a solid colour. There's a few pics and info on different Lag basses on that site's home page here [url="http://lag.audiofanzine.com/"]http://lag.audiofanzine.com/[/url]

Only two major ones... A '73 jazz, vintage white, black guard, maple bound neck and pearly inlays, had all the ashtrays etc. and was in 9.5/10 condition. It sang like a bird and played like a dream. And I, being still very wet behind the ears and not really thinking about what sounds good ahead of what looks good, part-ex'd it for a Status Energy 5 string. Part of the reason the Jazz got let go was because I had bought a bass by a company called Lag (who are still around making guitars, though seem to be mass produced). This was a hand-crafted job which came with nothing but a phone number for a little workshop in France somewhere. It was a jazz-ish type bass, though more modern. It had a stunning American black walnut body with Bartolini j-type p-ups and eq. Hardware was all black (with a Warwick alike bridge) and the birds-eye maple neck was capped with about a quarter of an inch of never-seen-before-or-since highly figured rosewood, all marked out with abalone inlays. As amazing as it looked, it sounded even better. Thick bottom end with sizzling everything else. The Lag met it's demise because the Status convinced me it was all gonna be about 5 strings and, well, because I was stupid so a few months after the Jazz went, so too did the Lag, depressingly for a drum machine, a chorus pedal and a second hand four track.

I couldn't stay long, but had fun while I was there. Apart from meeting some top geezers, highlights for me were the Smith 6 and the Duck Dunn with Darkstar. Loved both even though they are very different animals.

+1 for the advice that watts alone isn't necessarily going to help you achieve what you want in terms of volume. The same amp through two different speakers, one much more efficient than the other, is going to generate two very different amounts of volume. Perhaps the better and more readily answerable question to pose would be, "What combo should I get that will be fairly light but sufficiently loud enough that I can use it at my local jam session. I have £xxx to spend."

[url="http://www.macpahire.co.uk/"]http://www.macpahire.co.uk/[/url]

[quote name='Mike' post='45421' date='Aug 14 2007, 08:19 PM']Thanks for your thoughts. If that's the case, Dood ([i]Using earphones as your stage monitors would be very good though.[/i]) then why don't more people do it?[/quote] Fear of the unknown! Plus in-ear monitoring isn't cheap, especially if you want truly individual mixes. My band made the jump earlier this year. The biggest snag we have, because we run our own sound, is that if we're all in-ears and don't have a mate with us to sit out front and listen to what's going on, should something major go wrong (like the left channel of the mix conking out, we've no way of knowing. On the phones front, we have E2s and E3s. Me and drummer using E3s, singer and guitarist using E2s. I haven't tried gigging the E2s, but they were a little lacking in bass response when noodling around with the IEMs when they first arrived. The E3s were definitely better. However I still find I need to hear/feel the real low part of my signal coming from my amp to be truly comfortable. Of course a big part of it is getting the seal right when using the phones. No seal = no bass. I agree with what others have said in respect of monitoring FOH via phones, it will work to an extent but won't tell you what the sound out front is actually like for the punters.