Lfalex v1.1

Or a 2 metal plates, shaped to fit the upper and lower faces of the (non) headstock, thereby stabilising it? Better still, do it with multiple veneer laminates each side. Well glued, they ought to reinforce the area and decrease the degree to which the woodscrews penetratw the neck timber. Its a case of too much stress being applied to a small area with too many holes cut in it. The "trauma" of a change of environment (in the case above, taking it home) seems to be enough to do for the woodwork.

At a slight tangent- consider the Car industry and its chequered history, particularly during wartime. Granted, a car might be deemed a more necessary purchase than a bass, but who remembers the potentially dubious ethics of the car companies when evaluating a car?

I've heard that story. From a good but not unbiased source. And I've heard things about my good but not unbiased source from another good but not unbiased source. It's a competitive business. Companies will do whatever they feel necessary to remain competitive. Including, but not limited to; Upsetting their competitors in the pursuit of profit Launching budget ranges in the pursuit of profit Cutting costs in the pursuit of profit Farming out production to the lowest bidder that can meet their QC standards, in the pursuit of profit. It's all about £ € $ and ¥. Just like any other business.

That's not a great start. Is the roasted neck something you specified and paid extra for? If so, it's not been sold as described and you may well be entitled to a replacement or some other form of redress. It's a shame when a new instrument isn't up to scratch. 😔

I currently find myself without any amplification. I play Bass guitar (inc 5 string), EUB (also a five) and Chapman Stick. What I do have is a small mixer with enough gain to serve as a pre-amp stage and sufficient channels to cope with both halves of the Stick's output. Question is, do I opt for a combo, a power amp and cab or a powered PA FRFR speaker? My last amp was a Trace SMX and matching cabs. I gather things have (sort of) moved on a bit since the 90's! Opinions, please, learned members of BC.

Because the exchange Ray is so poor. Don't look at me. I found it in a Christmas cracker

As Cato said. Even more so if it has a mid control..

I'll guess that one push-pull is active/passive, the other will likely be a coil-tap for the bridge pickup that kills the rearward half of the twinjazz, essentially leaving you with a thinner, more jazz bass oriented sound.

They certainly did. I have 2 different implementations of the twin-j in my Fortress MasterMan 5 and Infinity SN4.

Would that be a Streamer Pro M, perchance? Nice. What are the controls? Bass/Treble stack, Pan, Volume ?

Likewise. Searching the net may eventually yield what you're looking for- I did find out what exactly how the coil switching in my EDC715 is implemented elsewhere, but I'm a bit put out that Ibanez seem to have withdrawn this piece of customer support.

Looks like a lot of the manuals have gone/been moved too. 🙄

Trey Spruance? As in Mr Bungle/Faith No More? That's an odder combo than Doom and Ecstacy! 🤣

To be fair, I'm not entirely sure that MDMA would be the drug of choice for any Doom/Funeral band.

Definitely an SR500. Great all- round basses and easy to get on with, as are all SRs.

I guess Dreadlock Holiday's out of the question, too, then.

Given that I pay extra as they're specified "high value items" and that it's accidental damage rather than theft, I'd like to think they'd pay out. I think I can sort it out more in a more economical and straightforward way, though.

🤣 I'll chuck Pete Sandoval and Steve Asheim in as well, then! And I can name a couple of drummers I never want to play with again..

Meh. Tried the EDC yesterday. Judging from the intermittent squeals and the fact that it can be rotated back further than its zero position, I'd say the volume pot has had a whack, too. Not necessarily an expensive fix, but beyond my soldering skills, particularly as I don't own a soldering iron.. Fortunately, a man who can isn't too far away..

Ah... Much of the material I play needs a B string, as those notes are in the original recordings. I tend to play the 5 like it's a 4 with a B string when covering material that was originated from a 4 tuned EADG. If playing drop tuned material, I treat it like a BEAD tuned 4 with a spare high G If it's from a 5, well, that's covered. A six? I'm snookered!

I've bought a 4string since, and I wouldn't let it put me off buying a really nice instrument. What is this FB of which you speak? 🤔

I've had one of mine since... 1996 😨 Has it really been that long?

I did think of Brian "The Brain" Mantia, and Tim Alexander (the other Primus drummer) And I'll add another; Pat Mastelotto. Awesome drummer.

Think I'd just get a 5 string to cover the BEAD (and the G!) tuning. And another for ADGC (and F, of course)

I think this is me. Sort of. I don't have a fretless, but an EUB instead, and a Chapman Stick. No precision, jazz or Ray, but others that fill those roles. There's 4s, 5s, a set-neck, bolt ons, thru-necks, wood, graphite and Luthite. And a token headless. The only thing they all have in common is that they all seem to be active. That's not a conscious thing. It's just happened that way. As for GAS, I don't really have it. There's some things I've always wanted to at least try, but most are older and out of production, so I just keep an eye open for them. At a tangent, I think it's fair enough to have 4 of one kind of instrument, such as (for example) a jazz; 1 with rounds, 1 fretless, 1 with flats, 1 drop-tuned across the board (DGCF)