Lfalex v1.1

Can't fault it. Jazz (ish) neck, remarkably versatile. Andertons have them at £350 at the mo'

Yep. Same here. I've done the bands and gigging piece. There were some truly memorable moments, but the whole thing left me increasingly weary (and wary) of the music biz and other people to the point that it's not worth the trouble. I still enjoy playing. I'm still improving. I don't need to gig and I've no desire to do so.

That or Russell Hobbs'

That someone, somewhere, can't use their oven anymore?

"Are we there yet?"

Atlansia seem to manage to get their pick-ups centered pretty well.

Or something with more than one valve in the pre-amp, that's designed to deliver "drive" when pushed.

That's rather nice. Looks like it'll balance well, too. Is it passive? That's not super-common for a sixer.

That's what I felt my Attitude 10th Anniversary lacked; A J at the bridge. Never did it, but swapped it for something completely different. (I'm assuming that the neck HB and P are still working?)

Yep. They're my string supplier of choice. Back in the day, they used to just let me into the stock room for a rummage through the strings.. Even though the store has expanded and changed, its still a good place. Never bought anything from them online, though.

Presumably because they swapped his vaseline (which my phone auto-corrects to "bassline"!) for Vicks..?

Do experiment. I bought a 4 string bass with really good but heavy gauge (50-110) strings. To overcome the crazy tension, I dropped it to D standard (DGCF) When I need EADG (and sometimes it's unavoidable as I need the "open" E), I use a capo on the second fret. Not exactly conventional, but it definitely works for me. Try whatever you think might work for you. There's nothing to lose.

I'm of the persuasion that passive basses with a (very) limited set of features have an immediacy of delivery that some actives lack. Maybe it's the lack of components in the signal path? I had a Yamaha Attitude BS 10th Anniversary, which was brilliantly well-made, but I couldn't get the breadth of tones thatI was looking for. The Neck HB was great, but the P less so. Eventually, it was traded away. Latterly, I've purchased a G&L SB-2 Tribute, and that does everything I want from a PJ configuration with just 2 volume controls. For me, a P would be too much of a one- trick(ish) pony. In summary, in your position, I'd not sell any gear if you can avoid it. Look around at P basses, but don't rule out the (passive) alternatives from the likes of Yamaha, G&L, ibanez, Sire (?), Fender (PJs) and so on..

Perfect match for the BBOT original bridges..

That is a decent price..

Are the fives all S3 and S4s? Don't think I've ever seen an S2 five string.

Never seen a lined one before...

Way back when I was buying such things, I demo'd the following; Hartke 3500 & 4.5XL Trace AH300SMX & 1048H Some SWR head and the 4x10 (Goliath?) For fun, we tried the heads with their matching cabs, then mixed it all up. None of them sounded "right" with another brand of cab. Liked the Hartke then and I've used one in anger since and it was still good. It seems, as Lozz suggests, that manufacturers who make both heads and cabs "voice" them to achieve the sound they're after and to give some kind of brand sonic identity. Which you either like or you don't! (I Ended up with the Trace in a slightly different form, as I wanted to buy British, and because Trace weren't far away if anything went Pop! (which it duly did))

This. I did it at the Wapping Bass Centre (back in the day) Went Jazz hunting with a healthy budget, and of 30 of them, including a '72, MIAs, MIJs, MIMs.... none floated my boat. I reckon I was just unlucky. Many years later, I bought a 2004 S1, which was lovely, but had to go in the end due to finances. I just kept looking until a good 'un popped up.

By popular request; SB-2 Tribute All 3 Ibanezzezes; (L-R) EDB605, EDA900, EDC715

Nothing but basses for me this year to replenish the herd/ give a home to Korean plastic... All second-hand. All from here. Ibanez EDC715 Ibanez EDA900 G&L SB-2 Tribute And they're all corkers in their own (very different) ways. The only common factor is that for all 3 designs, it's all about the pickups and the way they're implemented.

Alll of the tunes they recorded were covers. From the Blondie album; Atomic

Yep. Try before you buy (if you can) And buy the one you tried- having tested it against whatever else is around.

So.. The consensus is that A=440Hz, or at least ought to be. If pitch changes due to wonky tape machines, time, feel or mixing considerations are largely arbitrary (as are some instruments that cannot be "tuned"), why do tuners accomodate pitches other than A=440Hz? Much of what has been said has been illuminating, but leaves me wondering why as "musicians" we'd want to deviate from a standard that serves us all perfectly well.

IIRC Cass Lewis (Skunk Anansie) had the Gold version of that finish on an ASAT bass. Gaudy but lovely.