Lfalex v1.1

Hello! Here's mine; This is the signature. 1 of 300, so not particularly common. Black is the other colour scheme. The plus is really only a Yamaha "P" bass. Artist is otherwise the LTD1 or LTD2; AFAIK the LTD 1 is just as the image above depicts save for a Maple fretboard, unpainted neck/'stock, solid red positon markers, and a plain white scratchplate. The LTD 2 is the current incarnation, minus the upper fret scallops. It has solid black position markers and comes in sea foam green or black. The Signature has Gotoh tuners and a Hipshot manufactured DeTuner (as opposed to a licensed one...) I believe the LTD1 shares these, whereas the LTD2 does not, using cheaper parts. The Signature is as above. Generally, it sounds fantastic, but is always better through a rig than headphones/ in ear monitoring. The fundamental output from that Neck HB is huge, but the tone is still well defined. The "P" pick-up is oddly wound, and gives far more upper mid and treble than you'd expect, but can be a bit harsh as there's no tone control wired to it. It won't "sing" like a Jazz, but it will shout down most other passive basses; Precisions, Ricks etc. It does need the right string choice. Mine wears Elixirs at the mo', and they just aren't right for some reason. I reckon some DRs might be a good bet. I think, ultimately, that the slightly compressed sound of a Maple fretboard might suit the bass better that the phenolic does. Good for; Fingerstyle anything Plectrum players Difficult for slap for the reasons already mentioned. It can be achieved with practice, but it doesn't bother me that much. Any more questions? Ask away...

I so nearly bought one of the Behringer units, but opted for a Korg DTR1000 instead. Cost £140, but worth every penny (or should that be "cent") Accurate as you like, whatever the pitch. Makes setting up an instrument a much more accurate process. Put it this way; Everyone else spots it, plugs in and tunes up. Only the Peterson tuners are as good / better, and they're V. expensive...

Nice idea, nice engineering, but plainly to compensate for the lack of adjustable bridge saddles on acoustics. I also have reservations about how it might affect the integrity of the neck/body joint and the affect this might haved on tone. Particularly on a bass.

[quote name='Buzz' post='275350' date='Sep 2 2008, 12:24 PM']I'd say some sort of week acid solution to tarnish the chrome a bit, no idea what sort of acid base you'd need though or if it's even feasible.[/quote] I concur, and would venture to suggest these readily available weak domestic acids; Vinegar? Lemon Juice? Might be an idea to find something small, cheap and chromed (nuts/bolts?) and experiment in small amounts before moving on to the big stuff!

I did a fetsival gig once without a drummer. Using an unlined fretless Stingray 5. Hardest gig I've ever done. I dictated the pace (I [i]was[/i] the rhythm section, after all!) I also "telegraphed" the changes to the guitarists as best I could. I had cramp in my feet from time-keeping, and I don't think I looked up much, but we survived. It can be done. But a drummer is better...

[quote name='escholl' post='267673' date='Aug 22 2008, 10:15 AM']is there not a phase switch on the input of the mixer? most mic pre's will have something to that effect to ensure that several mics running into a mixer from different positions will not phase cancel. i don't know if the devices themselves are phase inverting, but that's been a big no-no in the industry since about the 70's, so assuming anyone with half a brain designed it that shouldn't be the issue. have you tried a different xlr cable? it's possible that's the problem, if it's wired up backwards at one end; that would also give you the same phase problem.[/quote] No phase selector/s on the mixer. It's more of a diddy 8track mixer than a dedicated mic pre... The leads were all bought at the same time, so I doubt they're differently wired. I think it's that the MXR's DI and "dry out" are deliberately out of phase with each other, possibly to prevent feedback if you cable it up like a numpty...!

[quote name='tonybassplayer' post='268487' date='Aug 23 2008, 03:53 PM']Buy a cheap one from B and Q and cut it down to size may be the best option[/quote] That's what I did...

Try watching your drummer play. Keep an eye on the exact moment that his/her sticks strike the drums' skins. Try to co-ordinate with that as well as the sound. It can help you to "read" what drummer's doing and predict what they may do next. Works for me. Don't become too reliant on it live, as you'll end up looking at the drummer all the time and not facing the audience!! With the Zoom, does the display change in any way as it goes along? Flashing or some other visual means of marking time? If so, try co-ordinating with that...

My MXR M80 works fine. And it sounds pretty good. I like the full and clean fundamental it gives, with plenty of attack. Just what good a solid state pre should deliver. I don't like OD as much as the nice valve crunch the Ampeg can give. Yesterday I had both plugged into a small mixer and headphones for practice. I had it wired thus; [>>>> Mixer ch1 (via DI) Bass>>>> MXR M80[ [>>>> Ampeg (via "wet" 1/4" output)>>>> Mixer ch2 (via DI) Figuring I could blend the depth and power of the MXR with the warmth and edginess of the Ampeg. However, with both pres running at approx the same level into the desk, they virtually cancel each other out! Does anyone know if the MXR's wet output is in negative phase to its DI out? Or is it the Ampeg that's phase inverting? If you cut the level on Ch1 or 2, the other channel regains its former level from the mixer. Hope this makes sense! Alex.

I must admit that I'm tempted by these. But I've got to mention a slightly more rectilinear relative that also begins with "S".... Steinberger! I reckon you could pick up a good'un for £1300. I wonder how they compare?

As far as I know, the 5 has a wider neck. Also.... The 5 string bridge is (1 saddle) wider. Genuine Musicman bridges are virtually impossible to come by. The pick-ups have 5 poles (x2) The string alignment would be completely out, and would yield (at best) unreliable results. It'd be easier to get a Stingray 4 or Sterling and get a luthier to attack it with draw knives, spoke shaves and router until it resembled a5 What is it that you like about the 5?

My Zoot has a single MMHB (a Seymour Duncan one). That's 331mm from the leading edge of the 12th fret to the front edge of the pick-up. Is this a pattern I see emerging? There seems to be a fairly strong harmonic output from the string above the front (neck) coil. I played the open string hard and tried hammering on harmonics at and around the pick-up. That was the strongest I found, about 340mm from the 12th fret... A quick measurement of my Ibanez SRX700 places its two 8-pole Humbuckers equidistant from this 340mm point also. One is 25mm ahead, one 25mm behind. Now we need a G&L owner and a Warwick $$ owner...

[quote name='alexclaber' post='262677' date='Aug 14 2008, 08:10 PM']The position of the volume knobs tells you nothing about how much power the amp has left to give. If two amps are putting out the same power the one with the most midrangey sound will be loudest. Cab sensitivity matters more than amp power. TE 4x10" combos tend to sound very loud for their wattage because they have very little true bottom, tons of midrange, low Xmax high sensitivity speakers that rapidly compress and add extra overtones which increase apparent loudness. Alex[/quote] One man's compression, high midrange output , overtones and lack of bass is another man's "Cuts through the mix in a band scenario". I'd like to think that it was a conscious decision on the part of TE to voice their equipment thus, but really, I doubt it. Still, if it works... Otherwise, overall perceived volume is a virtually indecipherable mix of instrument, pre-amp sensitivity, frequency response and output coupled with power amp input sensitivity, the power amp's overall power and stability into a fluctuating modulus of impedance (with frequency), the cab's drivers, driver complement and array, overall sensitivity, the system's LF tuning.... (I've missed about 20 variables) ... Oh and where you put it in the room, how the room is furnished, how big it is.... AAAAGGGGHHH!

From an aesthetic point of view, I'd prefer a MM Bongo.

[quote name='BigRedX' post='258979' date='Aug 9 2008, 06:06 PM']I find that's not so much the overall length of the neck is how it relates to the body and playing position that can cause problems. My Overwater is comfortable to play and I don't really notice the extra length (in fact the first time I realised that it was longer than 34" was when I bought my first set of long scale strings for it and they didn't fit!). On the other hand I can't get on with Fender P or J basses because of the way they hang on the strap when I wear them the first fret is too far away...[/quote] My Warwick Infinity has a 26fret neck, a small but long body and a big upper horn. It's a 34"scale, but throws the first fret out beyond the reach of all but Gibbons and Orang-Utans... [quote name='OutToPlayJazz' post='259044' date='Aug 9 2008, 09:39 PM']I often see these threads on string spacing/scale length etc., and I wonder what the real problem people are having is... ...Is it perhaps that some of you are playing one finger per fret in the lower reaches of the neck? I never use the third finger at all below the 7th position, always compacting the hand to use 4 fingers over the space of 3 frets/gaps. This method also frees up the tendons in the left wrist, as the player isn't expanding the hand unnecessarily. I've also found that making sure the thumb is behind the neck (never peeking over the top edge) placed behind the middle finger maintains this hand shape perfectly. I'm not criticising anyone's playing technique, but wondering if the problems people have are more technique related than gear related? Rich.[/quote] Most people ought to be able to play most basses, I'd have thought. A bit of a change in technique should accomodate most instruments. Full-sized double bass? Scale's about 41" give or take IIRC

Ha ha! I get to post on this one as well as the Vigier one! SRX700. Plays like a dream. Little bit rough and ready sonically, but that's what they had in mind. Think G&L L2000 or ASAT, and you're not far off.

If the newer Trace cabs are like the OLD Trace cabs, then the 1818 is an 8ohm, and the 1524 is 4ohm. Can your head tolerate a cabinet combination that yields a total impedance of less than 4 ohms? Not many can, so you might have to rule that out. Also, the 1524 is one BIG cabinet. Taller than an 8x10, and probably 50% deeper. I don't think it even has wheels or a bar handle. Hope you've got some serious transport lined up, which ever route you end up taking!

As AC says, probably not worth it. The T/S parameters he refers to are Thiele/Small parameters, and these describe just about every physical and electrical detail of the driver in question. These can then be used to calculate optimum enclosure dimensions to give the desired sonic performance (see also Hoffman's Iron Law) using either good, old-fashioned equations or a PC based application such as Win ISD. Unfortunately, far too many driver manufacturers are a more than a little coy about releasing some of these details, which makes simply replacing drivers with other ones that fit the holes in a cabinet baffle something of a lottery at best! As an aside, The older 2103(and H) [i]definitely[/i] had 16ohm drivers in, wired in parallel to give a cabinet load of around 8ohms. I (ahem) cut the amp stage out of my H122SMX and fashioned a (slimmer) 2103h of sorts and a separate head, primarily for convenience. That also has 16ohm drivers in. I own a 1048h from the same era, but I don't know if that's 4x32ohm drivers in parallel or something else entirely!

[i]In order (as best I can recall it!)[/i] [b]1984/85 Westone Raider 1[/b] - In a cupboard awaiting new "P" pick-up and new pots... [b]Columbus Series 1 Fretless Jazz copy [/b]- Now broken for spares [b]1996 Vigier Passion S3 Standard V[/b] [b]1997 Warwick Streamer LX VI[/b] - Wenge Neck... [b]Ovation Celebrity Electro-acoustic Hohner B2A V [/b]- Headless Steinberger replica in Natural wood. Now sporting only E,A and D strings on alternate saddles! [b]1990 Musicman Stingray Fretless V[/b] Now tuned EADGC. [b]A strange, cobbled together EUB[/b] - The majority of it is an Arco. Shape is reminiscent of a Warwick Triumph. HUGE humbucker, it's the size of my fist! [b]Ibanez SRX700[/b] [b]Yamaha Attitude 10th Anniversary[/b] - 1 of 150 Purple ones. The other half of the run were black. [b]2004 Fender MIA S1 Jazz [/b] - Ash body. Translucent Sunset Orange finish (So Red, then.) [b]2002 Warwick Infinity [/b]- Bargain from new! Probably wouldn't have bought it otherwise. [b]2007 Squier 70's VMJ [/b]- Modded with a BadAss II and nice black Schaller controls. [b]Ibanez EDB600[/b] - A Luthite one. Cracked the body when I dropped it. A wooden bass would have bounced. Broken for spares. [b]Early OLP MM3 [/b]- Won in the raffle at the Northants bash!

[quote name='ste_m3' post='259294' date='Aug 10 2008, 02:08 PM']Trade for a bacchus Jazz with a J retro...? [/quote] Not today, thankyou! [quote name='Gwilym' post='259308' date='Aug 10 2008, 02:28 PM']they're nice looking instruments, but IMHO, spoiled by the fact that they have "Vigier" written in large letters on the body. There's a few other manufacturers that do the same (Zoot and Sandbergs (4 dot logo, a bit more subtle perhaps) spring to mind), and it totally turns me off from an aesthetic point of view. What do you owners think?[/quote] Given that I own a Zoot as well, I guess it doesn't bother me! Some of my basses have far worse aesthetic failings, and I've forgiven/ignored those because of their tone or playability.

[quote name='ped' post='258728' date='Aug 9 2008, 10:58 AM']Do you want Alex and Luke to show you theirs ;0)[/quote] Oh, alright then!

Nice to see it's still got the original pick-ups & electrics in it. (Ducks) The only way the Passion could be "improved" is a variable cut/boost on the EQ. I know how to do it. Patrice seems to positively encourage modifications, and mailed me straight back. Only thing is, I don't want to drill any holes in it!

All my walls are brick... However, my parents live in France, and few of their walls are anything but plasterboard. There are appropriate fixings available (as others have said). The French have expanding metal ones with a central threaded insert that take bolts rather than screws. The fixing expands behind the wall (more than a normal rawlplug) to spread the load. They look like they'd hold a bass. If you check the packaging of the fixings, they may give details of any weight limits that they may hold... If you're paranoid about falling basses, put some pillows and an airbed beneath it for a couple of days until your paranoia subsides... I've done it with my stupidly heavy Streamer LX VI!

[quote name='Viajero' post='256507' date='Aug 6 2008, 05:26 PM']That's what I was thinking, but I can't locate one so far. You seem to get an octave and a half on the Stylo, but I fear it will be useless for hearing harmony. I should dress in a 70s way, certainly. Perhaps I'll end up sitting next to an 80s guy with a huge ghetto blaster, and an alarm clock round his neck.[/quote] If it's going on public transport, I can heartily recommend a battery-powered Theremin...

The EQ [i]may[/i] be contributing to the seemingly weak G,D and A string outputs if you've knocked off loads of the Treble, dialled out a lot of the mids, and boosted the bottom end. Normally, I'd have said to try adjusting the pick-ups, but you've stated that the bass sounds fine when played outside a band context, so I guess it's more of a case of the bass failing to cut through the rest of the band in the mid and treble frequency ranges... If you're finding that it plays well, and has made the 4 to 5 string transition bearable for you, I really wouldn't sell or exchange it, at least until you've had a tinker with the EQ. Perhaps when you next rehearse with the rest of the band, try setting everything on the amp and bass to flat, EQ-wise. See if you can dial in a completely different tone that you like and that you can hear in a band context... Edit- I read your signature! I own an SRX700, too. One of my guitarist mates bought one too (without my knowledge!) We both tried the 705, and found it had lost something in the transition to a 5 string... I'd reckon the K5 would be fine. If you really, really can't get what you want from it, but still love the Ibanez approach, there's always the good old SR500! Excellent value and tons of good tones to be had from it.