Lfalex v1.1

That bridge 🤪 How does one adjust the intonation? Just oudh the saddles back and forth by hand? And the reason it didn't work- they forgot to put a pickup in it! 🤣

My 1990 SR5 had a Pau Ferro 'board. A superb choice. Tough, smooth and spot-on tonally.

Next EBMM projects: The Death-Ray, Gamma Ray and Cosmic Ray, Sterling Silver and last (but not least), the Um-Bongo... (Google it if you're under 30!)

That's nifty. Liking the use of Warwick hardware- particularly on a 5, because there's no "W" in the centre of the tailpiece!

OCD? Look at that uneven P pickup! 6 polepieces on one half, 4 on the other? I couldn't own one! 😜

I've always thought that Post-EQ DI was more for (studio) recording purposes, allowing the on-amp EQ to be used to capture a certain tone. In a gig scenario, Pre-EQ DI gives the desk a "flat" (er) signal (dependent upon what EQ and effects are in play elsewhere in the signal chain) Importantly, it frees up the on-amp EQ to help compensate for any on-stage sound issues you may have. (I'm looking at you, hollow, boomy stages!)

That's an odd implementation. I'd have expected something like; Pickups- Blend pot- EQ- Volume control- output jack. Maybe it's to facilitate easier active/passive switching, or is related to the P pickup being very hot.

Liking the parts where the two lines deviate and harmonise with each other. Otherwise a solid line, but it's the way the song is written and the way the bass line serves the song that's exemplary. Extra points for people thinking it's a pleasant song about watching over someone you care about. When it isn't.

As above; "natural variation in the maple"

Jeez. I got virtually none that I've heard of 🤣 Just James Woods and some Tennant bloke connected to the World Health Organisation. 🙄

I favour circumaural designs, and for bass practice, closed back is preferable for me; better sound isolation from the outside world, and they leak sound less, too. Otherwise, as has been previously mentioned, look for comfort, lightweight, reasonable ease of drive and replaceability of parts. Almost any of the major transducer companies make such headphones, including (but not limited to) AKG, Beyerdynamic, Shure, Sennheiser, Fostex, Audio Technica.. Then there's the Hifi manufacturers, and then the consumer electronics giants (Sony, Philips, Matsushita etc.)

Ah, if I had a 12, I'd sacrifice the range on the bass side and allow myself the fluidity, familiarity and the ability to reproduce more recorded bass lines by tuning both halves in straight 4ths. Sacrilege, I know...

Chapman stick in DMR has two of the aforementioned Tunings; C G D A E for the bass side E A D G C an octave up for the melody side.

If no-one can tell, does it matter? 🙃

Does the Amp in question have an internal fuse with a holder on the back panel. That will have a rating. Aim for one of a slightly higher rating than this. Example; My Trace had a 3.15A internal fuse. I used a 5A fuse in the plug. Reason; Trace used a new design of transformer/power supply that was more current- hungry at switch on. It blew fuses again and again. I contacted them and upon their advice moved to a 3.15A spiral-wound slow-blow fuse in the internal holder and a 5A in the plug as it kept doing the 3A ones there as well. As BFM says, belt and braces, but a pain in the a$$.

I'm not the greatest fan of custom builds. This, however, is the one of the occasions when it makes sense to investigate what a luthier can do for you. It works in this case because you have very specific requirements that can't be addressed any other way. It will also "preserve" your Pedulla, a bass you waited 13 years to acquire, from going under the knife.

There's always Monster Magnet... 👍

Once upon a time, yes. Post- divorce and the sale of all my vinyl, most of the CDs and the HiFi to raise funds? Not any more. I can't afford to replace them, so I just use "free" Spotify and tolerate the ads.

I reckon some preamp stages (and maybe even cabs) are "voiced" to favour some instruments. That, or the instruments were used extensively during the products' development. Ampeg- my Jazz and SR5 also sounded really special. SWR- I recall excellent results with a Jazz at a gig where a Super Redhead was provided. Trace Elliot- super with Warwicks, Stingrays, Status. Hartke- Another good one with the Warwick, using an HA3500 and 4.5XL that the venue laid on. I'm sure there are many other examples.

Aren't they all CNC routed? Maybe the Masterbuilts aren't, but I reckon the rest are.

And as another version of events- I'm fairly sure my Vigier Passion s3 delivers a low impedance (600 ohm) output. Its not balanced though. I only uses a regular ¼ inch jack and lead. The idea being that it'll drive long cables and plug into any mic-designated jack sockets on mixers, PAs etc.

Doesn’t he set them ALL up himself? If so, he's touched my Stick, too!

Not a fascination on my part, but I've owned a bass that Boz Burrell (King Crimson) originally owned. It was a 1990 Stingray 5. For the sake of argument, let us assume that (insert famous player) knew what they were doing, and selected a bass that not only fitted their needs, but was a good example of its kind. Add in the possibility that the manufacturer knew where it was bound, and ensured that the said instrument was suitably well-made and finished. Factor in a good set-up by vendor/tech/luthier/the player themselves, and that's potentially one top-class bass. That's why I bought the SR5 fretless. It was way better than everything else I tried. I regret having sold it. Must get another fretless at some point...

Alas not. It was a Low Brow Guitars custom.

Did my eyes deceive me or did the Bassist of Blind Channel just use an Excess for the Eurovision show? 🤣🤣