Lfalex v1.1

It's a pity you can't see [i]why[/i] the artists are related (shared members, same genre, etc.) Different coloured connections and a key would've dealt with that. Just a thought. It's good otherwise.

Explorers / Flying V / Westone Raider ( ) etc.. Pros: They're all generally quite well made! They usually sound quite good! They're different The balance is normally pretty ok. Better than a T.bird or an EB0 Cons: "Ding Magnets". All those pointy bits get whacked. The cases are 1) rectangular 2) Massive (esp. in terms of length!) Injuries to bystanders / band members can be quite nasty!

3 ply: Black/White/Black Black Pearl No tortoises were harmed in the making of these suggestions

I suppose the initial question ought to be "what's the definition of classic?" Having esblished that, we'd probably all agree (more or less!!)

[quote name='horribleman' post='469906' date='Apr 22 2009, 07:18 PM']Hi all. I've looked around at a few bass forums, and this seems to be the best for me, being in the UK, and it also looks like the community is intelligent [/quote] Flattery will get you everywhere! Welcome to BassChat! Actually, you're right. It IS quite sensible in these parts. As Hot Tub says- Try lots! The 80's MIJ 62 RI Precision could be really good. Then again it may not! There are some good (Modern) Squiers and MIM (Mexican) Fenders. Also seek out Fender Highway One models. They Retail at about £549, but you may get lucky! Obviously, second-hand values put some American Fenders within your reach, but American still isn't a guarantee of brilliant quality. Do you know any good, unbiased bassists? Take one along for a second opinion. Otherwise, look for feel, tone and playability. Checks are largely the same as for guitars- Wonky necks, Shagged pots, loose hardware, poor fit & finish etc. Hope this helps!

[quote name='Krysbass' post='438201' date='Mar 18 2009, 01:51 PM']... but then beauty is in the eye of the beholder. I learned on a Thunder 1A and always loved the individual look of those basses. So when I upgraded to a more "professional" bass, it was the Thunder III that I still use now. Every time I open its case I'm pleased I had the will-power not to be lured by the chance to own a ubiquitous-looking Fender Jazz for almost the same money. But aesthetics aside; I can confirm that my Thunder III has been an extremely well made bass that takes gigging in its stride.[/quote] Oh... You've got me thinking "Matsumoku" now; Aria SB700/SB1000 Ibanez Musician/Artist/Roadstar/Roadster Westone Thunders.. +1

[quote name='ARGH' post='436841' date='Mar 17 2009, 04:23 AM']One word lads..and its a love or hate em affair..... BURNS[/quote] Why did it take 11 posts to get to Burns? First name to come to my mind.

[quote name='SJA' post='469547' date='Apr 22 2009, 01:05 PM']there's been a strange tip floating around on Talkbass claimed to improve low B tone- of using a short brass tube to extend the length of the B string past the bridge- the reasoning being along the lines of that for the benefits of through-body stringing (and of siting the B string machinehead further away from the nut)- the physics involved is a bit contentious as you can't alter the tension without changing the pitch of the string, but I think the way the string stretches and flexes when plucked changes in some way.[/quote] That IS strange. Here's another one; To raise the "Perceived" tension of a B string, one common approach is to minimise the number of times the string is wrapped around the tuner post. About 1 to 1.5 times is okay. Reasoning being that string stretches along its entire length when plucked- not just between the saddle and nut (albeit not proportionately!) By reducing the overall length of the string (for a given pitch and/or tension), you make it "feel" stiffer... give it a go. Most people on here seem to be in agreement about the effect. If not the cause!

[quote name='jakesbass' post='465962' date='Apr 18 2009, 10:42 AM']I think thats harder as talking is improvisational wheras vocal parts are set. I've learned to improve my talking whilst playing to teach and display at the same time, I still get stuck (verbally) sometimes. Playing walking basslines (or improvising lines in general) and singing is really hard.[/quote] Whilst normally posessed of a perfectly adequate vocbulary, I find myself reduced to porcine grunts whilst playing! As for singing, I can do it perfectly- as long as the vox are on the "off"beat. 2 good examples I can do; With or without you - U2 Message in a Bottle - The Police Otherwise, I'm useless. Just as well I can't sing!

I have [the remains of] a 122HSMX. I say "remains" because I took the head out, built a new sleeve for the "head" and cut the extraneous woodwork off of the 2x10" "cabinet" that was left. Why? to broaden my choices of cabs etc. I also own a 1153 and a 1048h to use either separately or in pairs (as they're all 8ohm cabs, and the amp'll go down to 4ohms) Do be aware that the 2103h has a bigger "cabinet" section than the H122SMX. Adding a 2103h will (arguably) give better results than the 1153, certainly in terms of power handling. The addition of a 1048/h is better still, but it's a big (and heavy) old boy. I definitely advocate the addition of casters to the bottom cab in any case!

[i][b]Second opinion![/b][/i] My Father-in-law (a guitarist of some 30 years) tried this yesterday. Whilst he's not a bassist, he does have an appreciation of what constitutes a good instrument, in terms of action, feel and tone. He tried it unplugged first, then I plugged him into my mixer and he monitored via headphones. To quote; "How can a bass fret more easily than a guitar? It's effortless." "It doesn't weigh to much and certainly doesn't get in the way!" "Good, resonant sound and ringing tone" (Plugged in) "This is [i]so[/i] fast." "This is [i]evil[/i]" So that'll be a +1 then... (With a slight "ouch!" over the price tag- but we all know guitarists generally get of lightly compared to bassists!)

Tori Amos (Jon Exans on bass) Suzanne Vega (Mainly Michael Visceglia on bass IIRC)

Any possibility that you've got a tiny sliver of metal stuck in that finger? Touching other metal items can be agonising if you have metal splinters in a finger or fingers. It kind of shorts out your nerves like putting aluminium foil across two dental fillings. Not nice at all.

[quote name='fede162162' post='463377' date='Apr 15 2009, 08:44 PM']Bass (passive) - preamp - Power amp - Cab with tweeter. I don't even have got an Eq!!!!![/quote] I see your minimalism, and I'll raise you; Bass (whichever) - Mixer - headphones! With an MP3 player mixed in for jamming purposes. I don't even use a DI - the mixer's pre has adequate gain and a shorter signal path. Doesn't need EQing. Even using a switched off MXR M-80 or Hartke VXL sounds less "direct". I'm [i]still[/i] seeking a good OD or distortion. My Ampeg SVP Pro sounds good, but not in a hi-fi sort of way. Plus it seems to be voiced in such a way as to favour Fenders & Musicmen! Maybe if it were switched with a clean unit (A/, but that sounds like another £500+ for another pre and switching! I do have an ME-8B kicking around, and have sold on Muffs, compressors, distortion pedals etc.

[quote name='Balcro' post='464959' date='Apr 17 2009, 01:12 PM']Drummers and vocalists are often the worst parts of a band noise.[/quote] Too true. There was a kid practising drums in a garage across the way, and they sounded awful! He had the garage door up, and began to shrink on his stool as I approached "It's okay, mister, I'll stop! "No, don't stop. Keep practising. But tune the damn kit!" (throws drum key to Emo drum kid) But on a more practical level; We did a full-on electric gig in someone's front room (just a regular semi!) for their wedding party. He'd invited them all round.. For writing work, we'd use the singer's front room- but with 2 acoustics, unamplified vocals, me playing through an 80w 1x12 combo at a sensible level. The drummer would use a snare & hats with "hot rods" or brushes. No, not full-on rock (we saved that for rehearsal rooms), but a good way to explore/write material until everyone's acquianted with the song structure/s. That way, we'd save on rehearsal room time spent writing/arranging/arguing.

Many moons ago, my (then) guitarist mate plugged his pointy Jackson into my Trace (AH300SMX+2103H+1048H) and played some hefty drop-tuned palm-muted power chords. All the other guitarists came into the rehearsal room to see what was delivering such high SPLs and such a wicked tone. That was with the EQ flat, and even with the bass oriented pre-amp/cab voicing to contend with! Edit - On the subject of voicing, a "bass" drive pedal might not suit a guitar that well (EQ set points might not be that appropriate). Plus, you might want to try the pedal "in front" of the amp's input rather than through the FX loop. It might sound different/better.

AND... The Sterling "Sterling" has a Basswood body- Not that that holds the MM Bongo back AND... The Sterling Ray 35 doesn't do single coil- it has two Series modes; 1 with a filter, 1 without. £600? on a good day you'll get the real McCoy on here for that or maybe even less! Just follow the fashion trends!

[quote name='NickThomas' post='463179' date='Apr 15 2009, 05:21 PM']If my gear wasn't better than me, I'd be restricting myself lol[/quote] Amen to that!

[quote name='OutToPlayJazz' post='462468' date='Apr 14 2009, 08:41 PM']I hope you all realise how important your playing really is...[/quote] Rich has a point here. Whilst good gear may give you power and that [i]killer[/i] tone, they won't give you wicked riffs, excellent timing, a sense of rhythm/harmony and knowing what to play and when not to play it. OTOH, my gear is somewhat better than I am. Or so I thought until I changed from my Status to my Ibanez, and found that I sounded amazing on the Ibanez- It was hiding some of the [s]finer points[/s] [i]nuances[/i] of my playing. As well as covering some errors!

I like my SRX700, it's great! I enjoyed my (luthite) EDB 600 before I broke it by dropping it... Otherwise, An MC924 (fretted) An old (c.1980) Roadster or Roadstar- Make that both! And I could be tempted by one of those ATKs with a neck "J"

Nice bass! And a tasteful "restoration" to boot. In twenty years' time, I fully expect it to be lime green with gold hardware.. Or perhaps not!

The neck recess/ single cutty bit doesn't get in the way at all, but I play with my thumb on the back of the neck, too... If you play over the top, you'll come unstuck at the 12th fret! As for neck dive, certainly not! It's not in the Streamline's vocabulary! It can sit a bit neck-up, but that's fixable with a bit of strap alteration...

Review of the Streamline added as requested. Here: [url="http://basschat.co.uk/index.php?showtopic=45820&pid=455223&st=0&#entry455223"]Basschat Streamline Review[/url]

Ordered on 06/01/09. Collected on 30/03/09. Cost £1483 due to some requested modifications, plus some straplocks. [i][b]Features:[/b][/i] I think the images help to demonstrate the design elements better than I could describe them. The whole instrument is a one-piece monocoque of woven carbon fibre. It [i]does[/i] have a truss rod in the neck (Accessed at the body end) to allow the neck to be adjusted The Streamline is active only, and runs an 18v sysyem.It uses Status' own "Board 701" Eq, which gives a boost/cut +/-13dB @ 7KHz for Treble and 14dB @ 120Hz for Bass. The controls for tone are the stacked ones. The other two are: Master Volume (Central) and Pickup Pan (Nearest the neck) For some reason I find these counter-intuitive, and am forever changing the pan control rather than adjusting the volume! I had Rob Green fit me switching for Series/Parallel modes on each (Humbucking) pick-up. This necessitated custom-wound pick-ups, and increased the cost a bit. [i][b]Sound:[/b][/i] It was supplied (as requested) with 40,60,80,100 Status roundwound hex-cored Hot Wires Strings. With the Eq left alone and the pan-pot centered, it delivers the typical "Status" sound, quite full, with good note definition. The bottom end might be described as a little lean, but perhaps would be better described as "clean". The sound is warmer than I'd expected (but that's not a bad thing!) ,although not as warm as a wooden-bodied or necked instrument. Using the coil switches yields interesting tonal options. Changing to Series mode gives more output overall, and lessens the "mid-scoop" that parallel mode produces. In summary, Parallel is smoother, Series is harder-hitting. Using the Neck pick-up in series and the Bridge in parallel gives a smooth mid/top and a tight, defined bottom end. Switch them the other way around, and you get a softer bottom end with a tight upper/mid range. You have to use the pan-pot to stop whichever pick-up is in series from dominating the sound. Put both in Series and hang on to your hat, it 's got a lot of clout! The Eq works well, and the 18v system has been used to deliver more headroom rather than an increase in output. It's not super-hot in terms of level, more medium warm. Ultimately, I'd describe the sound as "Modern", although there's an interesting sound available by having the neck pick-up in parallel, the bridge in series, and playing with your (plucking hand) thumb resting on the base of the neck. It's very full, and almost upright-like but with good definition. One point to note: I ordered this on a [i]very[/i] cold day. I went to one (excellent) bass dealer, situated in an industrial unit, early in the morning. It had been even colder overnight, and nearly all their stock gave a very poor account of itself as a result of being too cold. I tried Overwaters, Warwicks, Sandbergs, Spectors, Vigiers, MusicMen, Laklands, and a Fender. Of over 40 basses I tried, only these played well and still sounded good; Vigier Arpege S4 Vigier Passion S4 Musicman Bongo Spector Euro5 LX Oh, and the Highway 1 precision was okay, too. It was even colder at Status Graphite's factory, but all their stock basses were fine! The Graphite necks seem to tolerate changes in temperature and humidity very well indeed, which bodes well for travelling or use in locations where seasonal weather changes cause problems with wonky necks! [i][b]Action Fit and Finish:[/b][/i] The fit and finish are superb! Utterly beyond reproach. The fretwork, in particular, is exemplary. All the controls feel solid, and the tuners (though a little stiff!) are precise and accurate. I reckon they'll loosen a little over time! Rob won't let anything out if the factory until he's given it the once-over, and the instrument was well set-up with a (deliberately) mid-to-low action. If you want to slap 'n' tap exclusively, you'd want to lower it a bit more. If you're a hard hitting rock player, you might want to raise it a bit. [i][b]Reliability/Durability:[/b][/i] Too soon to tell, but I'm not expecting any problems. I look after my stuff, and the build quality, design and choice of materials suggests that it will prove to be very durable. [i][b]Nitpicky bits - Nothing's perfect[/b][/i] I initially used it with my trusty Comfort Strapp, but due to the light weight and lack of headstock to damp it, the neck would bounce about all over the place if I so much as moved! Also, the Comfort Strapp made the instrument hang at a very odd angle, too "neck up" for me, and it was pulling the instrument too far back. The first fret was very easy to reach, but the dusty end of the fretboard was pushed too far back to allow easy access! A simple fix, though! Get a cheaper, longer,less padded, non-elastic strap. I substituted an old Planet waves woven nylon item to good effect. I might change the string gauges to 45,65,80,100, but that's about it... [i][b]Customer Support:[/b][/i] Excellent! Rob and Dawn Green will do everything they can to accomodate your requirements. On the two occasions I've visited the factory, I've spent ages talking with Dawn about everything from round-cored strings to golf and how our respective kids are doing! [i][b]Overall rating:[/b][/i] An excellent player thanks to a combinaton of light weight, superb balance, good ergonomics and a comfortable neck profile. It's very compact, and will travel well as a result. The performance is in no way diminished by its diminutive size. If I were very critical, I'd only subtract a mark for the fact that the sound is determinedly "anti-vintage" , but so is the design, so It fits the overall "vibe" of the instrument. On that basis, it'd be churlish to subtract marks. I realise the design and aesthetic won't be to everyone's taste, but I don't mind it at all. So a confident 10/10 from my perspective! Thanks for reading. Any questions? Drop me a PM.