Lfalex v1.1

Looking at the [i]exact[/i] list of requirements, you'll struggle to tick ALL those boxes. I, too, would've said "Warwick" until I got to the 4+1 tuner arrangement. The Maple or Ebony 'board also rules out most Warwicks, as does the matched headstock. If you're prepared to compromise on some areas, you could broaden your choices to include G&L and Musicman (Tributes and SUBs, too)

[quote name='obbm' post='201982' date='May 19 2008, 10:38 AM']The OLP copy of the SR5 is narrower at the nut and the bridge than the SR5. In a rash moment I once bought a Westfield fiver that was also very narrow.[/quote] However, as an owner of both, I find the SR5 the easier of the two to play. There's more to neck dimensions than just the width at specific points... My recommendation for a slim 5 goes to either a Vigier through-neck model or a (particularly mid-priced) Ibanez, such as an SR505. (Sorry, Machines! I didn't read your post, but it goes to show that great minds think alike - right down to the same model!!!)

[quote name='BigBeefChief' post='201962' date='May 19 2008, 09:50 AM']I quite fancy one of these. Please someone tell me that Machine played a friday afternoon jobbie.[/quote] Please someone tell me that a company with Lakland's reputation doesn't suffer from Friday afternoon jobbie syndrome...

I have both actives and passives. I do wish that more systems with active/passive switches had trim pots so that you could set zero gain with the tone controls centred... Either way, there's good and bad implementations of both concepts. I like the 2-Band 'Ray (I don't own one!). The EQ helps make it what it is. I haven't found an active (stock) Fender that sounds good- Deluxe "P", Deluxe "J"... No. Not even the Miller Sig Jazz. Too peaky, and you can't dial it out! My (Passive) Japanese Attitude is excellent. The passive controls still shape the sound, and interact well with the pick-ups. Fender "P"s are great. Simple, yet effective. Why don't Fender offer the stacked twin dual concentric 2V 2T as an upgrade option on the Jazz? The Jazz is a bit susceptible to noise, but I'd be inclined to blame that on the single coils... Don't forget that some basses have active and passive controls (Vigier, my Zoot) which can help give a more subtle top-end roll off than a treble alone can give. My main criticism of active systems is the fact that you're (generally) stuck with the frequencies and bandwidth selected by the manufacturers. But we don't all want four bands of fully parametric EQ built into our basses, do we?!

[quote name='jake_tenfloors' post='199923' date='May 15 2008, 09:06 PM']I love the sound of Jazz basses but have never found one that i comfortably play on. Evry shop i go in, i must have tried every Jazz bass there, but there just not comfortable I guess if i ever want one it'll have to be a custom! -Jake[/quote] Really? I find the "J" shape body one of the most comfortable around, irrespective of who made it and how much it costs! Allied to the fast, slim necks, they're almost like wearing no bass at all. The only niggle is that the lower cut-away is a little tight for my fretting hand when really chasing the high notes. I have 2; a 2004 MIA s1 in trans sunset over an Ash body a Squire VMJ with a BadAss, Black (Schaller) control knobs I might be tempted to pursue another if it were active/graphite necked/super low actioned... But for now, the other two'll do just fine!

I have an OLP MM3 and its big bubba... An SR5, fretless though. I also have a Squire VMJ and its big bubba... An MIA S1 Jazz. The OLP is just like a more crude version of the 'Ray. Neck's good, likewise the fretwork. The OLPs have Basswood bodies that lack the tonal clout of their Ash, Alder or Poplar 'Rays. Naturally the EQ is absent, but the ability to control both coils of the P/Up yields various sonic possibilities. As for the Jazzes, they're like chalk and cheese! The MIA has a rosewood board, Ash body, The S1 circuit and is strung thru-body via a standard Fender bridge. It wears Fender Nickel 7150 strings and just purrs when you play it. The VMJ has a Maple body, Maple board and a top-loading BadAss II. It wears DR FatBeam strings and sounds like a toned-down Marcus Miller. The VMJ is excellent, but it can't reproduce what a full-on 2EQ 'Ray does, any more than a 'Ray can produce a convincing Jazz tone...

[quote name='Rainbass' post='196239' date='May 10 2008, 09:51 PM']I never thought of my beloved Fortress as an evolutionary dead end! It's a 92 model, I got it second hand a few years ago. I wondered where it sat in the Warwick view of the world when it was released, so I emailed Warwick, and they told me! (low-mid bracket apparentely). I've since upgraded the electronics and pups to current 3 band model (like the Streamer Stage 2), through a Warwick dealer. While I was there I tried a number of newer models, but to me they didn't feel as special as my old'un[/quote] When I described them as evolutionary dead-ends, I was looking at it from Warwick's point of view, which would likely be an entirely commercially-oriented standpoint. To wit; (irrespective of how good it is) Does it cost a lot to make? It's quite a complex shape... Can we sell it for lots of money? Not huge amounts. Does it duplicate features found elsewhere in our range? Yes, particularly the Streamer LX. I personally liked the Fortress. Particularly the Flashback and Masterman variants. They were even less popular and went first!! Strangely, Warwick still persist with models like the Stryker... Does ANYONE like these? I can see the appeal of the Vampyre to the Metal crowd, and the appeal of the Buzzard to the Metal crowd/BC Rich fans/Entwistle fans/ fans of the dual "P" layout. On a different note, it'd be nice if they'd expand the CustomShop options further, so ALL body shapes (past & present) were available in any wood choice- Choose your body shape / number of strings Choose your wood Choose construction method Choose your neck wood Choose your fretboard Choose your Pick-ups Choose your EQ etcetera... Without incurring the massive costs associated with CS services. Much of the work is done with CNC routers. I appreciate that Zebrano, Ebony, Bubinga, Ziricote and figured/spalted woods are going to cost more in any given shape, but they really do overcharge you for the privilege. If you configure a standard model using the C/S bass construcion tool, it costs way more than buying the exact same model "off the shelf"!

[quote name='The Funk' post='189805' date='May 1 2008, 03:59 PM']No, you did the right thing. You're a player not a collector.[/quote] Are the two mutually exclusive? Can you not be both a player [i]and[/i] a collector? I would if I could afford to (with regard to vintage instruments...)

Pffft. "[i]Rumours of my demise have been greatly exaggerated [/i]" (Mark Twain (methinks))

Anyone who makes the effort to learn to play in the first place and continues to do so irrespective of other influences must have [i]some[/i] integrity. You have followed through on a purposive decision, namely to play bass... Reasons for doing so are largely irrelevant, as they will vary from individual to individual and even from time to time. I like the 2/3 calculator. It's about right in its practical application.

Definitely agreeing with; Flame of the West - Big Country (Tony Butler) Mayor of Simpleton - XtC (Colin Moulding) This must be love - Phil Collins (Alphonso Johnson) Don't Give Up - Peter Gabriel (Was it that Levin guy again??!) You can call me Al - Paul Simon (Bikithi Kumalo) 5 of my personal favourites! And I'll add... Fools in love - Joe Jackson (Graham Maby) Got the time - Joe Jackson (Graham Maby) Anthrax covered it, too, but watch Frank Bello run and hide when it comes to [i]that[/i] solo! Babooshka - Kate Bush (John Giblin) Making a mundane song phenomenal. Except non-bassists don't get it. Philestines!

[quote name='kevbass' post='196116' date='May 10 2008, 05:44 PM']I did just that. Im pretty impressed, finish is nice, necks very playable, and it has a good weight to it and it sits nicely. I dont think I'll worry about fitting an active pre amp to it because the passive stingray pup should run pretty hot by itself. for £180 im pretty pleased with it [/quote] For the cost of a strip of raffle tickets (thanks, Ped!) I'm over the moon about mine!!! Happy playing!

I don't think there's a strict heirarchy in the Warwick model range. It seems to me that it's evolved over time. It's almost as though the designers have an idea, say "let's try... [i]this[/i]!" Bingo! New design! New design goes to market. It either delivers a good margin at low sales volumes or a smaller margin at higher sales volumes. Otherwise it falls by the wayside like other evolutionary dead-ends; Infinity SN Streamer Pro M Fortresses (although the RockBass lives on...) Streamer LX (now back from the dead!) and so on. I DO think that some of the more interesting and versatile models have/ will continue to survive; The $$ (Streamer or 'Vette) Streamer Jazzman Dolphin As for "better", then it's entirely personal! Go for what suits you best and delivers the sound/tone you're looking for. Assuming that you can stretch to the more expensive models, that is. The cost mainly reflects the difficulty of manufacture and the quality of the woods and electronics used (as well as the number of strings!) Rest assured, though. Most Warwicks are easily versatile enough to meet most needs. I've used my Infinty SN4 for Indie Rock, Metal and Folk gigs without problems. Some of the more aesthetically single-minded designs (Stryker, Buzzard, Vampyre) could be accused of looking a bit out-of-sorts at a Jazz gig! I own two Warwicks. A '97 LX VI (Wenge Neck!) and a 2002 Infinity SN IV. Both are very well constructed, and sound good in their own way.

I won an MM3 in the BassBash raffle! I really like it. It's still passive, but quite hot. I'm finding I like the variation that having independent volume controls for each coil gives. The passive tone really does only just skim the very top off, so I'd guess it's a 0.22 microfarad job. The neck's true and the overall tone is fine. Quite a good low "B", and it's all well enough screwed together. Finish is more than you'd expect from a realtively inexpensive instrument, and it's not so thick as to rob the tone of a bit of earthy growl. I assume it's strung with EBs (no silks suggests they might well be) Nonetheless, I'm fancying a V/V/ stacked BT control layout... I'm unsure as to what P/U I'd have. Does anyone manufacture an aftermarket Neodymium-poled affair for the Bongo? Where's the 9v going to go, though? Is it going to need routing, or is there space enough under the scratchplate (if there is, can you be bothered to unscrew it all for battery changes!! In any case, I'd go for it for £180...

...Meanwhile, in other news, Police in the US are reporting a collision between a Dingwall, a Les Paul and a Chapman Stick... Which I suppose means I reckon it's hybrid of some sort!

[quote name='EBS_freak' post='189294' date='Apr 30 2008, 10:06 PM']...this it would seem.[/quote] Yeah, but you should see what it did to her face...

Danelectro 63 series? £249 (If I recall correctly) Available in Red Burst and some Light Blue colour. Available in 32" and 34" scales...

Sounds like a Second-hand Trace SMX pre would suit you fine. I'm not that well acquainted with Aguilar, Alembic, Demeter and the other high-enders, but do that many have on-board compression? The only other manufacturer that features this (that I can readily recall) is Eden, and I'm not sure if they currently do a pre... It's worth considering the fact that many pre-amps are only 1u deep (some are 2u), and as such, a rack-mounted compressor could easily be accomomdated in a 4u case. With the advent of lighter weight 1u power amps, you [i]could[/i] fill a 4u thus; Tuner Compressor Pre Power If you use an outboard compressor it would broaden your choice of available pre-amps to... well, all of them! Which would include not only Ampeg and SWR but some excellent (though not necessarily bass specific) pre-amps by firms such as Avalon and Joe Meek, too. Hope this helps! Alex.

When I was a kid, my voice was fine. Then it broke, and it ain't been fixed since! As for singing and playing, I just can't do it, except when the vox are on the off-beat (With or without you, Message in a bottle etc.) Does this make me "special"?

[quote name='Machines' post='185294' date='Apr 25 2008, 02:01 PM']Ugly atrocity to the bass world. I love BBs - but this is like someone got it wrong in paintshop and put it into production.[/quote] Nope! This is what happens when things go wrong in [i]real[/i] paintshops!!! And it's an Attitude, too...

Presentation style notwithstanding, I like the look of the all-black "Stealth" style Bongo IV H/S. (Can I admit to liking Bongos in public?) Out of curiousity, I Wiki'd Bongo, and uncovered; [b]Operation Bongo II[/b]- [i]a controversial experiment in which 1,253 sonic booms were unleashed on Oklahoma City, Oklahoma over a period of six months in 1964 [/i] Maybe that's why it's called "Bongo"?!

[quote name='FJ1200' post='183487' date='Apr 23 2008, 08:45 AM']I thought IPA was banned by the HSE. We used to use it where I was working years ago and had to change.[/quote] I bought some a while ago from a pharmacy. Told them it was for cleaning tape heads, contacts, pots etc. About £3 for 500ml.

[quote name='Maine' post='183523' date='Apr 23 2008, 09:22 AM']Lovely, good tip thanks! 2 x 17" = 34" for me then. You're right, I was wondering about where exactly to measure at the bridge end.[/quote] Probably at the mid-point of the saddles' fore/aft travel. [i]Probably[/i]

Having been to a few Metal gigs in my time, and played in a Death Metal band, I can safely say that you can use almost anything! For example; Pantera, Biohazard - Stingray V Iron Maiden - Precision w BadAssII and Roto Flats and fingers Deicide - a Rickenbacker (!) RATM - Stingray (1st Album) Modded Jazzes thereafter Stuck Mojo - Precision One Minute Silence - Spectors then Warwicks Snot - G&L SOAD - Thunderbird (dropped BEAD?) I know some of these aren't exactly up-to-the-minute, but it gives you an idea. If you have limited resources, I would strongly recommend buying a bass that'll fit in well, whatever genre of music you may be playing. It gives you more flexibility. Precision? Jazz? Stingray? Corvette? Streamer? Thumb? L2000? ASAT? Various Ibanez- The ATKs in particular. The more versatile the better. Do bear in mind that your string choice/type/gauge can help to tailor the sound and feel of your chosen instrument, too.

Self-taught. Joined a band (good way to gain experience). Thought tuition was the way forward, but my choice of teacher was VERY poor. Yup, he could play. Nope, He couldn't teach. Just destroyed my confidence, cost me lots of money, prolonged the agony, and made me strongly consider ditching the whole thing. A word of warning, then; A good teacher is worth their weight in gold. A bad teacher is worse than none at all. Still playing when I can, and learned more in a few hours watching others' technique than I ever did from tuition. Yes, I'd try that route again, but could barely stretch to a lesson a month between rotating work schedules and bills! They'd have to be pretty damn good, too!