Lfalex v1.1

[quote name='dub_junkie' post='94886' date='Nov 27 2007, 12:46 AM']plugged in,the Sterling and SR5 should sound more like each other than they do. the EQ (and particuarly the mid freq) must be voiced different....I've owned a SR5 and borrowed another for an extentended period of time and both were soft sounding in comparion to the 3 Sterlings I've owned.mids on the sterling bite a lot harder imo but Sterling doesn't have quite the big lovely bottom end of the five either[/quote] Whilst I'm not sure if the pick-up is in the same position (on the single H models), do consider that the Ray has AlNiCo pick-ups, The Sterling has Ceramic, and the Bongo has NeoDymium. That may also contribute to what you're hearing...

[quote name='ped' post='258198' date='Aug 8 2008, 02:15 PM']What's the point in that not-quite-complete bog seat? Never understood those.[/quote] Competition model. It's to save weight and improve.... Uh.... Laptimes? Edit for on-topic! Maye if they stuck (tap-able) a JJ in the bridge and moved the P closer to the neck? Better still, do it with a Lipstick-style set of pick-ups. On a black one with a B/W/B scratchplate, that'd look better. But whatever else, ditch that nasty bridge!! I've held off buying a Squier TB for the same reason, and that costs about a third as much!

I have two basses with them. They seem to be necessary/helpful on headless basses. In addition to the sounding issue and possible ease of set-up, they may well help to reduce wear on the nut (but is this an issue?) Am I right in thinking that they're usually made of a harder material than regular frets? Common sense says that they ought to be, as the strings bear on the Zero all the time. I realise that the majority of the vibration occurs between the "fretted" point and the bridge, but nonetheless... Also remember that (on a 34" scale) the Zero fret would be at the 34" mark, the nut's a bit further north still.

I have lots of black, and quite a few naturals (mainly Maple and Ash). None of my choices have even remotely been driven by colour, to be honest. Tone, feel, and playability are far more important. But they haven't stopped this from happening!

Fretless- what everyone else said! Headless- Balance. The fact that nearly all can be leant against a wall without falling over as they all seem to have 2 strap buttons at the tail end! Portability- esp Steinbergers and the new Status Streamline... Electro-acoustic? Not loud enough "acoustically" to challenge a vigourously strummed acoustic guitar. Too prone to feedback in an amplified environment (due to the size of the top as much as anything) Plugging the soundhole isn't enough... Scale Length? Not the most important factor in a bass' sound, but, as many have said, influences feel. It does seem to make a difference when you get up to the 41" instruments, but do consider that the next longest in general production is about 36". That's a much bigger difference than from 34" to 35". Longer scales seem to have a greater fundamental content and fewer harmonics (when not EQed!) Red Basses? I play mine slower, but then it [i]is[/i] "Translucent Sunset Orange"... Me? I'm ok. trying to get some sleep, so I guess I shouldn't be doing this!

I've been toying with the idea of getting one of these, so this thread is a boon! Interesting to see what Mike Watt has had done to his. I'd be concerned if the Pick-ups are [i]that[/i] mismatched. It could be more readily altered by having 2v 2t and a blend instead of the 4-way. A good point from Rich, here; [quote name='OutToPlayJazz' post='314881' date='Oct 26 2008, 08:30 AM']I have a pupil who has an EB0 & the build quality is lovely. The sound is pretty clear, but bear in mind that these basses only do "that 60's sound." I've played the EB3 in a couple of stores & it's a nice enough thing, but I ask the same question as I do of Hofners... Why would you limit yourself to only one sound like that? Rich.[/quote] However, it's a criticism that could just as readily be aimed at the good old Fender "P"! One-sound wonders! Also, If you already have something of a collection, a bass of this type wouldn't be too much of a hinderance on the inflexibility front... Still thinking about one, but I've got to try one first. And then buy that very one if I do like it...

Conversely, I wonder how much cash Grant, Nick, Chris and Alex squeezed out of us at the (RIP) Wapping Bass Centre. Odd that we were all on first name terms... I still feel that I got excellent value and service there, and used to love every visit! I also still own everything I bought there, so I must've goy something right! I've yet to make it to the Gallery, but I feel sure that it'd be more the ticket.

[quote name='The Burpster' post='314895' date='Oct 26 2008, 08:54 AM']........ My advice FWIW is steer clear of the place, or go in and look around but certainly dont engage them in conversation, they are cretins.[/quote] Amen. That's my experience of the place, too.

I have 2 Korgs; A GT-3 (pocket type affair) which is very small, light and accurate enough. Only thing is, it won't mute whatever's going through it, so no silent tuning like a TU-2 would give. A DTR 1000 ltd rack-mount. Wicked.... you can run a footswitch to it for muting, but I can do that at my head or pre-amp anyway. Best £150 I ever spent. Everyone tunes through it at gigs. The snags? Price and the need for a rack, size. The TU-2 is serviceable enough, but obviously a Strobostomp or summat will be better (and more expensive!)

I like that for the most part. Love the black pole-pieces A black phenolic fretboard (or Ebony) would look better than (what looks like) a Rosewood one

I own the Hartke VXL and MXR M-80. Both sound good in their own way DI'ed into my practice desk at home. If you could but switch the EQ on and off independently of the drive on these two units, they'd be truly excellent. I'd save up and buy the EBS unit as it offers far more flexibility due to the better channel switching options.

Looks like I forced all the Entombed fans out into the open, then! (And yes, I own Wolverine Blues plus a couple of other albums)

Tony Levin Tony Butler - Big Country Colin Moulding - XtC

Highway 1. Last one I played [i]annihilated[/i] the MIA P hanging next to it. Oh, and the Tokai Hardpuncher... 'cept it's not a Fender (!)

Wolverine's early attempts at fingerstyle were less than successful, though he found cutting cables to be less of a problem...

[quote name='alexclaber' post='308527' date='Oct 17 2008, 12:43 PM']Yes, they do. If they are then they're probably worth more than you paid for the bass! Alex[/quote] I concur with both Ped and AC on both counts; Lane Poor, and (if so) worth more than the whole thing...

My Ultimate set-up would be a collection of 3 pre-amps and a tuner in a 6u case and a power amp in a 2u case. Plus a switching system to shunt between them noiselessly. Something like; Ampeg SVP Pro for drive Trace SMX pre for clean SWR Interstellar overdrive or Warwick Quadruplet for seriously dirty into A big QSC, Crown, US Peavey etc.etc.etc.

Thanks for all the ideas (and PMs) I don't have the funds just yet, simply seeking motivation so I can work towards something. Whilst amps hate me (which they do) I'm covered by my venerable (it's only broken once!) Trace SMX and cabs. Not the pinnacle of modern ampage, but TBH, I can't [i]really[/i] tell the difference at high SPLs in a band/stage environment- I'd be wearing earplugs, and the PA does FOH... There's a Dingwall in "for sale" that's a bit too rich for me, and the good Doctor's tickled my fancy with a Steinberger. If a nice Kubicki Ex-Factor comes up, I could be tempted...

[quote name='BigRedX' post='306446' date='Oct 14 2008, 05:43 PM']Might be better to buy a UK 4-way socket strip and put a Euro plug on the lead.[/quote] (Mr Punch) That's the way to do it! My Parent's house in France is full of them!

If it's just a plating issue, try taking off the plate and sending it to a company (preferably local to you) to have it stripped and re-chromed. That'd keep the Serial# intact and they could plate it thicker for you... Shouldn't cost too much. Electroplating and anodising companies are relatively common. How do you think old MGs, Healeys and E types get their brightwork re-done after 40-odd years? BTW, from when was the serial on the neck-plate? My 1990 SR5 has it stamped into the bridge...

Thanks Bob! A "P" of some sort ought to be a consideration. The Attitude doesn't really [i]do[/i] that sound. I like the look of Clovers, or maybe a Sandberg with the P/MM combination...

I'm considering purchasing another bass. The budget would be around £1000, but could s-t-r-e-t-c-h to about £1250 for the "right" instrument! [u]I currently own[/u]; MM Ray 5 fretless. Warwick Streamer LX 6 Warwick Infinity SN4 MIA Jazz Squier VMJ (modded) Zoot Chaser Ibanez SRX700 Yamaha Attitude BS Sig Vigier Passion S3 5 string OLP MM3 Hohner B2A 5 string [u]Specs for the proposed addition[/u]- 4 string. Fretted. Active or passive (don't mind which) Must be [i]different[/i] to the existing line-up I don't mind good condition S/H instruments. Looking for versatility. Slightly averse to shorter scale lengths and off-balance Gibsons. Thoughts so far; Fender Roscoe Beck IV Vigier Arpege S2 or Passion S2 Status Streamline Musicman Bongo H/S or H/H Warwick Corvette $$ G&L ASAT But these seem to be (with the exception of the Status and perhaps the Bongo) some sort of re-hash of other basses I already own... Admittedly, if I had more cash, I'd be looking at a BassLab L-bow or some other mental contraption, but the funds just won't do it! I'm sure you all have plenty of ideas that I haven't even considered... Please share them!

Doesn't anyone offer a service to retro-fit new internals into old pick-up housings? Can't go wrong with that - at least they'd definitely fit whatever they came out of...

Shiny spots... A sort of "Reverse mojo", then?

I have two. Mainly to leave one laying around in case I can't remember which bass I left the other one on... They do have an effect. In terms of ironing out dead spots, they work quite well. They can, however, deaden the sound of a punchy, vibrant instrument. This, in itself, is useful if you have an unruly sounding bass which needs taming a bit! Here's what I've found them to do to various instruments; OLP MM3- Ugh! Kills it dead and robs the sound of life. Yamaha Attitude - Gives even more fundamental focus to the low notes. Generally good. Squier 70's VMJ - Excellent on this (with BadAss and DRs) Warwick Infinity- Excellent here, too with Elixirs on it. Just the right blend of energy and focus. Take it off and it sounds too 'thin'. Warwick Streamer LX 6 - No obvious difference on a stiff Wenge neck of that size! Ovation Celebrity Electroacoustic- Don't EVER put a FatFinger on an acoustic! All the top end disappears! Stingray V fretless- Kills the mwah a bit. Vigier Passion III V - Not much difference except it loses a bit of sparkle. MIA Fender Jazz - Works a treat on this. Thickens up the sound nicely, especially if you use a lot of bridge p/u Try before you buy if you can - It's a horses for courses job!