Lfalex v1.1

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!

[/thread]? or IBTL

[quote name='LukeFRC' timestamp='1341065280' post='1713400'] if you take them out you will be left with wee holes. I can't for the life of me work out why in defretting that neck you would want to. [/quote] They'd not be in the right places. They'd be between the (ex) frets. That looks fine on a lined board, but is misleading on an unlined one. As for achieving the un blemished look, the best way is a new ' board.

I set each of my instruments up differently according to how they sound best. Whilst the Vigier will go super-low, it chokes a little in the upper registers, so I've raised it to about 2.2 mm beneath the B@12th. The Status sounds great all the way down at <2 mm. As a rule of thumb, I'd say go as low as you can with your playing style without buzz, clang or choke joining the party...

Thumb. Looks like a Neck-thru from the taper at the end of the fretboard. As for buying a Warwick... Try loads. Find one you like, and buy one second-hand from the For Sale section on here. Plenty of bargains to be had that way, especially as the current price structure puts German-made instruments into silly-money territory.

[quote name='paul_5' timestamp='1340985062' post='1712484'] I've only got 4 of them. The [color=#ffffff]Bjork[/color] is a belter though. [/quote] Yes. It's one of the four I own, too.

[quote name='Kiwi' timestamp='1340874120' post='1710714'] Would pay to see some Barefaced Wadgery. [/quote] Not sure Alex Claber would do that...

[quote name='Matt P' timestamp='1340806605' post='1709875'] This^ where do you live? if you're in a reasonably populated area then there should be plenty of guitars available within a bus ride, Matt [/quote] In all likelihood, more than there are basses, so by comparison it should be a doddle!

Shuker Or, dare I say it, a high-quality bitza or parts build. Which assumes you know how to get to the sound you want.

[quote name='BassPimp66' timestamp='1340742082' post='1709089'] I have never seen an ebony fretboard "pop off" from a graphite neck, but it sounds so scary that I want a phenolic fretboard now !!! P.S: I own a Modulus Flea 5... guilty as charged. [/quote] FWIW, Ebony is probably the least likely wooden fretboard to fall off! (given that it's probably the most stable)

[quote name='mcnach' timestamp='1340730627' post='1708809'] - phenolic fingerboard. I don't think they normally advertise it as being "better", and I do like them. [/quote] Agreed. I have 3 basses with phenolic fretboards. Made by manufacturers who have no idea what they're doing. Like Status, Vigier and Yamaha. They don't make any extravagant claims for them, and two use them because they're less prone to expansion/contraction than wood, which helps stop them "popping off" of the graphite necks they're bonded to. Oh yes, and Steinberger and Modulus use them too. As, oddly, do Squire on some models.

Shouldn't it be all about the whole ADSR envelope of the instrument and how you control it to best fit in with the music you're playing?

[quote name='yann' timestamp='1340224571' post='1701484'] It's not normal, but depends on your playing style... If you play like Steve Harris and hit the strings hard,it could even be ok.... [/quote] Seriously? Harris is a "tickler" by my standards... 8mm away still seems too far. Just get them as close as you can without; Hitting the covers/polepieces Getting any nasty wolftones Upsetting the string to string output

Er....... I quite like "Debaser"?

[quote name='BigRedX' timestamp='1338902281' post='1680802'] One of the advantages of having the finances and space to own multiple basses is that you rarely get the "I wish I'd never got rid of that one" syndrome. Each bass can be evaluated over a long-term period and compared with the others I have, before deciding whether or not to keep it. Also just because a bass I own is currently out of favour doesn't mean that it won't become my main instrument if the band changes musical direction or I join a different band. Five years ago most of my playing was done on fretless. These days neither of the bands I play in have any call for fretless bass so the only time they get picked up is for a little home noodling. However I have no idea what I'll be playing in another five years time so as long as I don't need the cash or the space it makes more sense for me to keep them for that eventuality. [/quote] This. If, over time, If I find a bass doesn't do it for me anymore, then I'll sell it on. So it went with my Ibanez SRX700, Fretless 'Ray 5, and Iceni Zoot Chaser. They were all good in their way but have been superceded with more appropriate instruments, and I don't miss them. I think I've got about 10 basses knocking about at the moment, all of which have been gigged and/or recorded with at some point or another. I usually have 2 or 3 out and ready to go, and these get rotated in and out of play periodically. No harm done. They're still being used, so (with the exception of the Status Streamline) no trees died in vain. Running costs? Strings and batteries, but that's spread across "the fleet" rather than concentrated into one or two instruments, and, as such, costs no more or less. Still plenty of room in the cupboards for flight cases, in preparation for some sort of EUB (5), Electric Cello and any Basslab L-bows that happen to crop up...

None. I can't tell you I don't want to own it until after I've played it. And then only the one/s I tried.

I'm sure someone else is better qualified to explain the concept/electronics behind series/parallel/single coil switching than I am. It's used in some popular production basses that use either single or dual MMHB pick-ups. For Example; Musicman Sterling Musicman Stingray 5H Warwick Corvette/Streamer $$ The basic idea is that it changes the way the coils of the pick-up are wired together and consequently alters the tone. Series and Parallel settings both still reject hum/noise, too. Parallel is the standard means of wiring a MMHB (think Musicman Stingray), and gives the characteristic, slightly scooped sound. Series wiring gives a hotter output (the Musicmans have a resistor in the signal path to match the signal to Parallel levels) and rolls off the bottom and top a bit (so more mid)... But does it pack a punch! Single coil would be just half the pick-up (one row of polepieces and one coil) Sounds like a soloed jazz pick-up, but can be prone to noise. Some MMHBs have a third "phantom" coil to help reject hum.

Wot? No Bartolini? And.... Do you intend to have MMHB/MMHB as your pick-up configuration? J/MMHB works well too. And have you considered series/parallel/single coil switching? MEC TwinJazz are great pick-ups.... But they're stupidly expensive. It'd be cheaper to get a donor Warwick.