Lfalex v1.1

[quote name='crez5150' timestamp='1337197908' post='1657110'] The trick is to have a high input gain (or a Status with 18v pre ) to adequately drive the synth. This is where most people fall down and end up with bad tracking problems. [/quote] Funny you should mention that. My Streamline does sound better with effects than most. My Vigier seems to ignore effects altogether. I reckon it's to do with the low impedance output of the (on-board) pre-amp.

Looking at your signature, you've got more fx than me.... For I have none. I still can't even find a suitable OD. The Ampeg SVP-Pro sounds nice, but the OD isn't switchable. And it softens the bass end of things too much, Why does no-one make a tap-tempo chorus? Surely that'd get rid of the nasty out-of-time wobbles.

Oddly, I've never experienced any obvious issues with necks. This is quite ironic, given that my third bass was (and still is) a Vigier Passion 5 series 3. One of the main reasons I bought it was to alay my (then) fears about truss rod problems. Since then, I've bought another ten or so basses of (generally) more traditional construction and none have been problematic. I had an SR5 (fretless) myself but the neck was finished with their usual gunstock oil. The only truss rod adjustment I made was when I elected to re-string it EADGC. I tightened it a little to compensate for the higher overall tension compared to BEADG tuning. As for fretboards, one known concern is related to the use of wooden 'boards on composite necks. There is potential for a wooden board to expand or contract to a considerably greater degree than the neck. This is why phenolic boards are so common on composite-necked basses. I'm not absolutely sure about the GB take on wood removal. If it's to accomodate a second T-rod, then I can see the logic. If it's for the installation of reinforcement bars which will stabilise the neck further (especially if they're bonded in place), then I'm less convinced.

[quote name='Johnston' timestamp='1337191496' post='1656991'] But say for talks sake I buy my self a track day car. I'll never be on the road . so why should I be paying a "Road Tax" to blast along a circuit. I used to work at a rally school. 40 to 60L a Session two sessions a day. Plus the Kart track. That will be a lot of "Road tax" for vehicles never going near a road . Officially the cars don't even exist. [/quote] I agree with you that non-travel related [u]business[/u] fuel users (including the rally school example, users of chainsaws/strimmers and other petrol/diesel powered appliances for commercial use) ought not to be disadvantaged. Your track day car is most definitely a luxury item, though. Which leads me to the question; What are we taxing with each tax, and what does each tax then actually pay for? [b]If[/b] Fuel duty is levied as (partly) a means to to tax/discourage emissions, then it ought to be payable by all vehicles and devices that generate emissions through the consumption of petrol/diesel, whether they be generators, outboard motors, snowmobiles etc. ad infinitum. [b]If[/b] Vehicle excise duty is levied to compensate for damage to roads, then (hopefully obviously) vehicles which do not use roads need not be so taxed. What the government has done, however, is to blur the lines between the two taxes by introducing a variable rate based on emissions.

[quote name='Johnston' timestamp='1337186625' post='1656897'] One problem wit extra tax on fuel. Not all Fuel used gets used on the road. Paying a road tax to fuel your Lawn Mower or the sons day out racing his scrambler, seems a little daft. [/quote] Kind of. But (using your examples) How many people that have gardens large enough to necessitate petrol mowers can't afford to power them? Likewise XC motorbikes if you can afford to buy/maintain/transport such a thing, a few extra pounds spent on fuel is no real hardship. Consider it a tax on luxury items. Like VAT on bourbon biscuits.

[quote name='flyfisher' timestamp='1337171275' post='1656528'] No, no, no!!! More useless and expensive bureacracy. Road tax should be SCRAPPED!!! I'm not stupid enough to think that car-based tax will be abolished but why have a tax that is so complex and costly to administer when the simple answer is just to put all vehicle tax onto fuel? The collection mechanism is simple and already exists, the more fuel you use the more miles you would travel the more road you would wear out and the more tax you would pay. Plus, it's completely impossible to evade. [/quote] With the exception of the naughty people that use pink diesel, you're largely right.

The Steinberger sounds [i]heavier[/i], quite simply because it is more massive. More fundamental content, less harmonic content to its sound. The Streamline is more resonant. For the most part, there's not a lot to choose between them in most musical settings. The Steinberger would be a clear winner for dub reggae, though! For sheer long-term comfort, the Streamline is stupidly good, and an ergonomic tour-de-force, whereas the Steiny is just minimalist.

And, in all seriousness, HTF will you get that in a car?

[quote name='greyparrot' timestamp='1337031701' post='1654490'] bite the guys hand off....those tokai hard punchers are awesome, and very rare, im out for one myself.... [/quote] This, but it'll be a "Jazz Sound". The Hard Punchers are P bass clones (aren't they?!)

What you [i]really[/i] don't need to know about electric 'cello is that the 5 string (yes, they do them!) is tuned FCGDA. As in the "F" above our beloved open "E". So you could double any 4 string bass lines by down-tuning... But the fingering patterns would be wildly different as they're tuned in fifths, not fourths. Then there's that "bow" thing... Still, played well, a 'cello can sound quite lovely. And being electric, you could use FX and an amp and... and.... and.. Frankly, I'm tempted. More than by those pesky 6 string things.

[quote name='TheGreek' timestamp='1337095562' post='1655360'] I looked but couldn't be arsed to sign up... [/quote] Me too. Musical Curiosity? FAIL.

Hi. Nice to see another major manufacturer on the forum. Thanks for the good service I've had over the years from both the US and German parts of the organisation.

'Ere you go. This is what the Yamahas look like; [url="http://www.yamaha.co.jp/english/product/strings/silent_electric/index.html"]http://www.yamaha.co.jp/english/product/strings/silent_electric/index.html[/url]

IIRC, all the Yamaha "Silent Strings" series (Violin, Cello - Don't know if they did Viola or Bass) were of a "Skeleton" design. No flat body surfaces at all, That's a very old IIRC, mind you!

[quote name='wateroftyne' timestamp='1336765482' post='1650871'] Very sensible, those Canadians. All their stupidity is drained by clubbing seals. All that's left is common sense. [/quote] Have you ever seen clubbing seals? A right rowdy bunch, I tell you. Drinking too much, laughing too loud, looking at your woman....

This happened in Europe once. They called it he Renaissance. Humanity advanced immeasurably in all spheres of art, science and literature. I expect Canada to emerge as leaders of the New World Order any minute now

So... What happens if you tune your fiver EADGC or DGCFBb (excellent tuning, btw) Will that banjax my G string? Or am I very seriously not convinced. There are [i]way[/i] too many variables to give an accurate answer, let alone a consistent statement that 4>5. Does that mean that 5>6 or 6>7? Should we all worry about our 8, 10 and 12 strings? Burn our Chapman Sticks? Curse our 5-or-greater stringed EUBs? Not today. Not on any day. For even if the addition of a dastardly Low "B" does ultimately compromise the quality of our beloved E string, the extra range and positional flexibility more than makes up for any sonic degradation. Which is why everyone uses (and will continue to use) them.

Never been a consideration for me. Play bass, like bass, buy bass. I've never had any mechanical issues with any neck, One piece, laminated, neck-thru, bolt-on, glued, or monocoque. And the examples I have all sound fine (or I'd not have bought them)

I use a Phonic 8 track mixer as a pre-amp for a my power amp/cabs. Using the standard 1/4" inputs, the it delivers ample gain and a good (3 band) EQ and has very low noise. Because of the multiple inputs, I've configured a channel per bassist when other bands have used my gear. Its only shortcoming is that it has no XLR outs to feed the house PA, so a DI box is required. Other than that, it does everything else. Cost £80 a couple of years back.

[quote name='51m0n' timestamp='1336489091' post='1646322'] Yeah, I love hearing statements like:- Because so much of what you hear is treated in some way (eq, compression, tape compression, microphone artifacts) and you are saying you dont like the sound of recorded upright, or an upright with anything creative done to it after the fact. Which is why I mentioned close minded. I also enjoy "I am not alone" line too, the Wehrmacht weren't alone, they weren't right either.... [/quote] I agree with the philosophical point. How do you know whether what you are hearing has been processed or not? And if it has, in what way? As for the Godwin's Law thing, never did I think it'd happen on the DB/EUB part of the forum

[quote name='bassace' timestamp='1336404816' post='1645111'] Not really fussed about the more extreme effects, such as on these clips, but a chorus can do wonders on a ballad solo up the fingerboard. [/quote] Whilst I'm no expert, I'd agree with this, and perhaps suggest that in some cases a nice (light, airy) reverb or some subtle delay might be appropriate? Have you a multi fx unit or can you borrow one to try things out? Might be worth a go. I'm assuming you're using either an EUB or some kind of bridge transducer that can connect directly to such a device...

[quote name='Horizontalste' timestamp='1336404223' post='1645100'] Aria Sinsondo? [/quote] Nice idea, but I already have a Status Streamline and Hohner B2A. Space isn't the issue, more security. I fear that I will suffer heavily from the issue that Brancini describes. I shall endeavour to find a quiet, undisturbed practice space. Should be possible in my workplace.

I have no long term secure storage, so whichever instrument I took would have to come and go with me, as would the "amplification", but it'd all fit in a gig bag or case. I do have a regular lunch hour, though. My greatest concern would be the constant interruptions. Still, a little "education", and I reckon I'd be left in peace.

Lunch hours here are dull as F... (you get the idea!) I'd rather practice scales than listen to banter about footie/soap operas. What does anyone here do? I've several basses that would be ok to bring to work, as well as a Korg Pandora/headphones/Mp3 player. Thanks in advance... Alex.

[quote name='Noah Deere' timestamp='1336225032' post='1642769'] I've got an Ibanez SR506 which doesn't seem to have that problem. According to a book by Gary Willis, attaching small weight's in the body will help - he recommends ones you can get from shops selling model railways. I haven't tried that so can't say how effective it would be. [/quote] or hang a bag of sugar from your rear strap button?