Lfalex v1.1

I suppose it should really be an amalgam of the bassline, the player's approach to the instrument and the line, their choice of equipment and settings and how these all conspire to serve the song. However, I'll contribute. Just about anything from the Joe Jackson albums "Look Sharp" or "I'm the Man" Graham Maby has it nailed. And he's well up in the mix.

I've owned a red bass with a white plate (Fender Jazz- Sunset Translucent over Ash with a W/B/W plate) I also have a bass with a logo on the body. Fortunately they weren't the same instrument. There's very little that'd put me off. Something poorly made, something that irreparably badly, plays badly or doesn't sound good (to my ears). Anything that's damaged (rather than used or relic'd) would be out, too.

I liked the one on my old ME-8b You could use the tap tempo to keep it in time, and set a value from (IIRC) ¼notes upto an entire bar. Had to keep the signal fairly wet if you were using it slowly or it'd get lost in the mix. Don't know what the equivalent stand- alone Boss unit wood be, or if it had all the features, though.

*Cheaper Ritters are available.

I was considering purchasing a left-handed bass to improve my right- hand dexterity/fluidity (by using it for fretting) The Stick has definitely helped with that, and it's improved my ability to anticipate what I need to do next as I really have to think about what I'm doing. When I switch back to bass, it really all just falls into place.

I wholeheartedly agree. My old 1990 Stingray 5 had an Alnico pickup as it was made before the change to ceramic. Lovely instrument. But being fretless didn't seem to suit it.

At a slight tangent to Bill's post, concentrating mainly on old school low Xmax drivers' performance explains many of the older bass cab form factors. Low Xmax? reasonable power handling per driver? Stick 8 of them in a box and you have potentially huge power handling, good sensitivity, and the ability to shift a lot of air due to the sheer driven area of the 8 cones, in spite of the low Xmax. Modern enclosures are heading back the other way, with fewer drivers, but similar or better performance and smaller, lighter enclosures.

If that were all there was to it, then yes. However, I'd guess that other variables (system sensitivity and whether or not the enclosure is ported (and if that targets excursion control over ultimate low-end output)) would also alter driver behaviour. To wit; its no good having the available xmax to shift a lot of air if you end up needing so much power to achieve it that you fry the voice coils. Power handling is still of some importance.

My experience is a bit limited, but it seems to me that (irrespective of class) there's no replacement for displacement... or Power. I started out with a no-name 80w 1x12. It got utterly drowned out in my first band practice. I replaced it with a Trace 1110, but I think I was only getting half the power without an extension cab. Next up, a Trace SMX combo and a choice of extension cabs to to liberate the full 300w. That still wasn't enough. I ended up with an Ampeg SVP pro into a QSC PLX 1202. 1200Wrms into 4 ohm, about 600Wrms into 8. That did the trick. Still class A/B, though. I'd not baulk at a class D amp, as long as it had plenty of power to spare, and I got a chance to test it at real-world (on stage/rehearsal with a drummer) SPL.

I tried playing mine with it horizontally across my lap whilst seated. Why? , you ask. I spend 40+hours a week on my feet, and I might like to sit down! I hate, hate, hate wearing a belt and dressing like I'm Simon Cowell just to put a stick on. It's not bad at all. Granted, my hands are both approaching the instrument from what would be the top edge, but at least it's helping my right hand dexterity with regard to fretting. It's got 28 years' worth of catching up to do!

If it's an Allen key, you could always rout the body as per Fenders. (It'd be nice if someone made retro-fittable capstan wheels that fitted into the socket so it worked like a Musicman truss rod adjuster.)

Or seek out that Ibanez thing that had a fretted E, A, D, & G, then a fretless duplicate D and G string. All on the same neck, of course...

Didn't ZZ Top have something like that?

I think I'd go for (given unlimited time & resources) A matching headstock, black (better quality) hardware, better pickups, then a new loom and pots. I'd keep the scratchplate white. Especially if it's 3ply W/B/W.

Mid frequency sweep controls. Excellent for dialling in a good variety of tones. Humbuckers with coil taps. Other than the cost of the wires and switches, why would you not do it. Kudos to Musicman for the Ray 5. That's how it's done. Strap buttons that stay tight. It can be done! I have a bass that hasn't had them tightened since '96 (and it's not a Warwick with the recessed fittings!) Single coils that don't hum. Good fit and finish. I like anything that's been manufactured, finished and assembled with care and attention. Then subjected to good QC. Just to make sure.

At £315 (ish) it's up against some serious competition. It sounded good in the video, but there were (as ever) other variables at work. Someone needs to do a level-matched A/B demo with loads of different products.

Jeez. They must have MILES of string wrapped around the posts to make them look that offset. It looks so far out that I thought they were meant to be the other way around! Probably the last Luthite Ibanez I'd buy. I like my EDB (605?) and aim to find an EDC 705 and 715 at some point, though.

Yes, but they've string E and A backwards. Ought they not to be strung such that they pass under the machine heads, thus maintaining the straight string pull?

That's not the best piece of stringing I ever saw..

The seven Vigiers I've played were superb. One Passion S2 IV. Three passion S3 V One passion S3 IV fretless One Excess IV One Passion S4 They were all good in their own way. All superbly made. The three five strings had very little to choose between them in terms of sound and feel. They're very consistent.

Yes. I want an L-bow. That is all, I'm afraid!

No to a Fender Roscoe Beck signature then? Or a Stu Hamm Urge? Yes please to either or both for me.

Or you can treat it with kid gloves so it acquires no further dings. You must, of course, make contact with the owner of the original to ensure that they do likewise. Not pointless at all! 😉

I owned a '97 Warwick Streamer LX6. I had to sell it due to a divorce / house purchase / needing funds. I liked it. Played well, sounded nice (if a little polite) Upsides? Great for chordal stuff. You can play further across the neck before you have to go up it! Or down for that matter. They can be weighty. A thick, wide non-slip strap can help, though. There's plenty to choose from these days at all price points. Downsides? Re- stringing costs an arm and a leg. Some less enlightened musicians may mock you. I got a bit of stick from some other bands' members for using it with acoustic guitars and light percussion. It was actually well- suited to it (as I felt compelled to prove) I arguably played my best gig with it. And was sacked from the band immediately thereafter for bruising the guitarists' egos. Drummer wanted me to stay, but was out-voted. Lovely instruments, but can polarise opinion a bit...

Or my EDB 605. I think they might actually share neck dimensions with the SR series (?)