Lfalex v1.1

As has my S3. The only Vigiers I've seen without are the Delta Metal fretless. Which is not to say that I think a wooden board on a graphite neck is a bad idea. I'm sure an Ebony (fretted or fretless) board would sound great.

In the past, I've tried to use the bass that would fit best in the musical environment I was in at the time, but not because of criticism from other band members. There's no point in taking a pointy BC Rich to a folk gig. That said, surely the most important aspect of being in a band is your ability to perform, both individually and as part of a unit. As long as your sonic footprint isn't wholly out of step with the rest of the band (wild distortion during the mandolin solo) then the rest of the band has little basis for criticism. Beyond that, it's down to your preference/s in terms of gear and , to an extent, tone.

Most monorail designs (exemplified by the photo example) don't have the range of travel in their saddles that single-piece bridge has. This leads to having staggered bridge pieces as the correct placement for the lighter strings would be too far forward for the heavier ones to be able to achieve correct intonation. In the case of mass-produced instruments, I'd fully expect the bass manufacturers to have got the measurements correct for a broad variety of strings during prototyping. For purchased components, I'd hope the manufacturers provide clear measuring and fitting guidance. Similarly, for custom instruments, I'd expect the luthier to follow said guidance. I've two basses where this layout is used; An Ibanez with individual piezo-saddled monorails. A Vigier with a Kahler (2400?) bridge with individual "blocks" that mount into a parallelogram- shaped plate on the body. Neither are fan-fretted. Both seem to work without any issues.

Aircon!

I like lyrics. Help me to know where I am in a (repetitive) song...

Nutshell- AIC WMA- Pearl Jam Mailman- Soundgarden Room a thousand years wide-Soundgarden Jessie- PAW Stain- Nirvana Unwound- Helmet Throat Locust- Tad Creep- Stone Temple pilots

Fiat. Multipla. Fugly. But you can get a pallet board in one, and the diesel ones (like my old one) can do nigh on 700 miles on a tank driven carefully. If you're a power trio, you can all sit 3 abreast on the front and all of everyone's gear will go in the back ( with the rear seats out. Yes. They come right out.) Everyone used to mock mine. Until they wanted something big moving. Everyone would mock mine. But, as a wise man never said; "Revenge is a dish best served in an IKEA car park"

When clearing out a lot of stuff during the divorce, I actually had two really good Gumtree buyers turn up, without hassle, for two separate transactions! One lovely chap bought my partially-modded Squier VMJ for his wife and paid the (sensible) amount I'd asked for it without question. A second came to buy my Rega Planar 3 turntable, and paid the asking price. He then proceeded to buy my MXR M-80 and Hartke VXL Bass Attack pedals too (!) They're not all numpties out there. Just mostly.

Moot point given the recent news re: Vigier shutting up shop next year 😔 I have a Series III, and love the whole way it attacks, decays and sustains. I also have a (deep) set-neck Warwick Infinity. That's different again, as are the bolt-ons I own. None are better than the others because they're all very different in their own way. That the construction serves to augment the instrument is a testament to the people that designed and made it.

Frequently this. Though I seem to work around it. I just can't wear a watch and play my Ibanez EDC.. FWIW, I just hit the 21st fret (of 21). I love a big glissando.. work through the (extended) scale up to it, then all the way back down E³ to E¹..

Not much to stop anyone buying a Status neck, electronics to suit, some decent hardware and make/get a body made. Might not come out too expensive vs. A US 'Ray. I would, but I've got a 4 and 5 string Warwick that both cover the same territory. Plus the Ibanez EDC715.

DR Strings..

Lee Sklar; Dingwall, Warwick, ? Yamaha, ? EA... others may know more..

It seems a shame that there was no-one who shares Patrice's vision for him to hand the business over to. I wonder what will become of Status and other similar-sized enterprises when the original owners retire; Do you sell up and risk diluting the brand? Find like-minded individuals to continue the business in a similar vein? Shut up shop and allow new manufacturers to fill the niche that now exists?

I'm not sure that's something you can fix with the USB-Lightning cable. AFAIK, it's only there for charging purposes..

I don't experience any latency- it should be undetectable, as you're playing along with an (audio) signal that's already arrived at the Nux. Is there latency when you compare it to the video images on the iPad?

I've never played golf (a good walk ruined!) So I've no basis for comparison. I don't object to people being ideologically different, it's more about scruples, work ethic and the inability to reach a compromise in a band setting. During C19 I we worked like crazy, and had to put up with Joe Public at the same time in the same environment. Perhaps if I were in a more isolated job, and had more money and time, it'd be better. For the foreseeable future, I think I'll stick to playing at home.

(From a personal point of view, and not in direct response/contradiction to the above) I do still enjoy playing, and there are aspects of live performance that I enjoy (The onstage, making music as a unit part) Alas that bass playing and band membership don't exist in isolation from the rest of anyone's existence; I work in a very physically tough job and have to deal with Joe Public at his absolute worst. When I'm done with work, I've little time and no energy left to drag gear around and drive for hours/miles to rehearsals and gigs. Then to be forced to interact with Joe Public again is yet another (sizeable) negative. If things do change, I'll certainly be fairly "match fit", but while the negatives continue to outweigh the positives, it isn't worth it for me.

Absolutely this. No matter how good or bad a player I am, I've no stomach for the interpersonal politics and tensions within a band. I've been "sacked" (as though there were contracts and real money involved) from bands for not being malleable enough, being to old and playing too well (!) I've walked out of bands because of other people's ethics at least twice (and it ought to be about the music) and so on... I now play for my own entertainment and relaxation. Occasionally, I wonder what it'd be like to be in a band again. Then I remember that the concept of being in a band is much more attractive than the reality of being in a band.

Series III 6 strings exist, for I have seen them. I've had my Series III Passion V for 25 years now. Wonderful instrument.

I'm (not) getting exactly the same..

Even as some instruments have come and gone, I've always had a broad spread of types, styles and prices. [Purchasing second hand distorts the picture further, as many of my "cheaper" Basses were second-hand and more costly when new.] Oddly, it's been the more initially expensive instruments that have been sold on and replaced with less costly but arguably more suitable instruments, even if not directly. I think a lot of it is tied up in not knowing exactly what you want when you start out. As you progress, you refine your selection process to more accurately reflect your preferences, and this may not always lead to more expensive basses. Personally, I've never found a single bass that covers all the, uh.... bases, so variety is king.

Basslab L-bow Some sort of Ken Smith The ability to really make music on a Chapman stick.

As referenced earlier; Vol/pickup pan or VVT are better than a 3-way switch, insertion loss notwithstanding. A "hot" J seems to help. Can't fault my SB-2 Tribute.

Maybe it's the various amps' Damping Factors being wildly different. Power makes the drivers move. A higher damping factor stops them more swiftly once the signal has stopped. A combination of higher power and greater damping factor should yield better driver control. I've had good experiences using HPFs, too. No point in amplifying frequencies your poor old cab can't produce. Gives you more headroom for further up the frequency range, too.