Lfalex v1.1

[quote name='Glengarry' timestamp='1342031586' post='1728508'] Oh, wouldya look at that. The Bass Gallery isn't on Denmark St - I was thinking of the Bass Centre. Glad we've got that cleared up [/quote] Which wasn't either. That was in Wapping High St, and then moved to Brune Street. I think you mean the Bass [i]Cellar[/i]?

I have circumvented this minefield in proper BassChat style... Have one of each! 2 Jazzes- 1 Maple bodied, maple necked, BadAssII 1 Ash bodied, rosewood necked, BBOT strung thru-body, s1 switching

I usually look at the neck for big changes, otherwise I tend to keep an eye on the rest of the band.. Just seeing what they're up to, what's coming next and so on. I don;t like being in bands that don't "communicate" on stage. If you can see that everyone's on top form and enjoying themselves, it lifts the band's performance that bit more (IMO) Oddly, I'm not that concerned by the audience. It's enough to know that the band's firing on all cylinders - If the audience don't appreciate what that looks/sounds like, the band were never going to win them over anyway.

Thinks.... Active pick-ups have a built in amp to increase the level prior to the pre-amp (with tone controls) right? My experience is that all-passive instruments are more immediate sounding still, but this is masked in comparisons with active instruments by their pre-amp voicings and (sometimes) hotter output. Could it be that the length of the signal path and the components in it are "time-smearing" the signal? The OP mentioned an SB 1000. Aren't they a single pick-up model? I've always found that single pickup basses have a stronger attack, and had attributed this to the fact that these give a more coherent/less "phasey" interpretation of the string's motion. Just kicking some ideas around... Don't all jump on me/burn your Jazzes/rip out your pre-amps. Besides, they give us loads more tonal options...

Lz: how many more times? Bs: Paranoid!

[quote name='Bass-Thing' timestamp='1341503205' post='1720176'] Ok thanks for that Chris. I understand what you mean but do you know HOW he was forced? IE Did somebody put a gun to his head and give him a sledgehammer or was it just a court order which he has said he complied with? I would have thought also that regardless of rights to any means of production, you can't destroy or have somebody destroy their own property without compensating them financially. Of course if Rob did accept any such compensation, it probably means he hasn't just buried them under the patio after all . I wonder if HP Wilfer has a video of the moulds being broken, that he uses to cheer himself up occasionally. You don't fancy asking him personally do you? [/quote] I've conversed at length with Dawn (Green) about this. They [i]were[/i] required to destroy the mould by Warwick. Warwick (irrespective of the rights and wrongs of the matter) have a great deal more financial (and, therefore, legal) clout than Status do. Given the choice of "Do what you're told" or "We'll sue you to the point of ruin" there's little real option for an otherwise financially viable operation.

Marooned is what they should be. On a distant planet. Without any air.

[quote name='cocco' timestamp='1341429987' post='1718978'] Feeling a little 6 string curious these days, but I don't want to buy one and not be able to play it/not like it. What can I do? Anyone fancy temporarily trading a 6 er for one of my stable? [/quote] Shame you're in Cardiff... I've a Warwick Streamer LX 6 that I'd have swapped out against a T-40... but I'm 300 miles away.

Second hand on here might well get you more bang for your buck....

[quote name='discreet' timestamp='1341336833' post='1717331'] But I'll only (only?) get 2 X 400W in Stereo Mode (8ohms each channel) ... [url="http://cpc.farnell.com/jsp/level5/module.jsp?moduleId=cpc/626381.xml"]http://cpc.farnell.c...=cpc/626381.xml[/url] [/quote] Buy two more 8Ohm cabinets. Then you'll get the 2x650w into 4Ohms and your band mates will be running for cover. Just like the suspension in your car/van...

[quote name='OutSpoon' timestamp='1341493788' post='1719969'] I guess buying another neck is an option... what sort of price for a '70's fender jazz neck? [/quote] As much as a s/h Squier VMJ and a decal? Then you could put the '83 neck on the VMJ body, too.

The day someone tries to dictate what I wear on stage is the day I leave the band. Remind me again why I',m not in a band.....?

[quote name='OutSpoon' timestamp='1341490955' post='1719907'] continue the journey it has had, and make it personal... [/quote] This

Now I don't [i]normally[/i] get all excited about basses. Sure, I [i]like[/i] them, but I've seen/owned/played so many.... .... However, that Dutch Black/Maple one is not only unusual, but looks "of a piece". I definitely like the lollipop tuners.

If I one turned up, I'd have it. (We are talking about the 5 string, 15 fret one, tuned EADGC, aren't we?) I have a feeling that the bassline to "A Horse with no name" by America was played on one, as it's difficult to articulate correctly on a 4.

I've a VM jazz. Made in Indonesia. I've put a BadAss II on it and some DRs, which have made it even better. Neck is lovely, overall, it's a bit heavy, and the pick-ups are only okay. Better electrics would make it superb.

Good string choice (quality/type) and a good set-up can help a lot. Good construction helps too. Only one of the fives I've had has a "weak" B, and that's my Hohner B2a V. I attribute that to the cost-cutting in the electrics department, and the fact that the instrument is simply too light! My Stingray 5 was fine, but their QC/construction is good. The Vigier sounds the best, as it sits well tonally with the other 4 strings The Warwick Fortress Masterman is a bit OTT, but that's in keeping with the rest of it Even the OLP is reasonable, and the bridge on that isn't that great. I wonder if it's down to the rigidity of the neck, and the joint with the body?

Sound gear is just their sub-brand used (exclusively?) on the SRX series instruments. It's just to distinguish them from the SRs more easily.

[quote name='lowdown' timestamp='1341225432' post='1715275'] [media]http://www.youtube.com/watch?v=twICykaRRvY&feature=related[/media] [/quote] Oh looky! It's that "Powerslave" album again.....

I find Elixir coated strings last for ages. Paradoxically, I find DR's non-coated offerings to have greater longevity than most other non-coated strings. I've never tried coated DRs, though.

Yes. Welcome back [i]"You can check out any time you like, but you can never leave"[/i] Welcome to the hotel Basschat Some people use vintage amps. I use old but trusty Trace Elliot gear Just because it isn't brand new, it doesn't stop it sounding good or being fit for purpose. If you can hear it over a drummer and the DI works, it'll do for now!

In [i]theory[/i] it's possible to mess around with EQ/cross-overs/amplification/cabinets/drivers ad infinitum unti you find your personal version of perfection. In practice, I'm sure it's an utter pain in the... You get the idea. I think the reason that modular midrange cabs aren't readily available is that the manufacturer can't legislate for whic other pieces of equipment you'll be using, and as such, can't guarantee how well they'll all work together. Worse still, the crossover aspect is potentially problematic. Feed a "mid range" cab a full range signal, and odds-on you'll fry it. A passive crossover that can deal with 1kW from a large amp is possible, but expensive and not adjustable/flexible enough for this application. In the context of a full-range cab (such as the Baers/Barefaced/fEarful) it is more cost-effective because it is working with drivers for which it has been designed. The better alternative is the active approach; Bass----Pre/EQ----Crossover-----2x or 3x channels of power amplification----- Low, Mid and High Frequency drivers Which is flexible enough to work in most scenarios. But you'd probably want an extra set of eq in there. One (with the crossover) to correctly eq the speaker system to the sort of response you want, and one to "play" with for tone-shaping. And this is rapidly approaching PA system levels of complexity..

Had one and sold it. Don't miss it at all. Nice enough bass. Well made and all that, but I kept using other basses instead. Replaced it with something similar but better (for me) Try not to think "I want a Stingray 5" Try to aim for "I've got £1.5k to spend on a 5 string. I'm going to have a lot of fun finding something awesome. I might try a Stingray 5"

Guess not then!

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