Lfalex v1.1

I can't advise you much on pickups themselves, but I do have a suggestion arising out of my experiences with a Stingray 5 and a Status Streamline with series/parallel switching on both pickups. Stingray- Great. Did exactly what you'd expect. Status Streamline- All over the show. Flick a switch, and the output levels went bananas. In short, I believe that the Stingray 5 has a resistor (of differing values) on each of the coil switching options such that the outputs of Series and Parallel taps are reduced to that of the single coil. The volume and 3band EQ then function as normal.

That's rather nice... Do they do a matching headstock option?

Sorry for the pedantry! It's based on my experience with my NS 5CR EUB. Markers everywhere! (though they are subtle)

Not wishing to belittle or avoid the OP's question, but hardware colour is more important (black resists my sweat best!) Also, I'd take a vile finish on a better sounding, better playing bass over a pretty finish that played like a dog and sounded awful. That said, I nearly always end up with black or natural!

Side dots at fret positions- but only where markers might normally be; 3,5,7,9, double @ the octave and so on. Anything else is too much!

Yamaha SBV for me, please. Not nearly as wonky as some posted before...

I did. I saw a lot of 50-110 and 45-105. Don't recall any hybrids being mentioned. Either way, whatever.

Am I the only one who plays 45, 65, 80, 100 (125 on a fiver) ? (Standard tuning, btw) I personally favour a heavier G&D string as I find 40 and 60 a bit "twangy", but that's personal preference for you...

Exactly this. 1&2 outweigh the other options. 5 is another option, as side-projects might also be.

1st bass- Westone Raider 1 1st amp- Proamplifiers "Demon" 80w 1x12. Did my first gig with that bass (And I still have it) The amp was too small/ with and replaced by a very skanky 2nd hand Trace 1110 for gig duties. I was going to remark on the fact that no-one went too mad on their first instrument, but then saw the Thumb 5 and SB700. I Guess if you're already playing something else to a reasonable standard, then investing in a more expensive bass (in the knowledge that you'll likely stick with it) makes more sense.

Liking the SWR head & Cab more than the Burns. Until that pint goes in it, of course.

I played a gig seated once. I'd been involved in a car accident and used my Hohner B2AV as my back was not happy. I managed to get the rest of the band to give me a lift AND carry all my gear/ set it up. First and only time that happened! 🤣

(Just to be difficult) Either leg! I watched a classical guitar vid, and they all favour their left leg (being predominantly right- handed), so I thought I'd give it a try. It does seem that R leg gives better lower fret access as it's a shorter reach.

Another one for Vigier; Mine's a Passion V series III from 1996. I've had it from new, and it's never put a foot wrong. Can sound a little too strong in the upper mid in isolation, but that just shines through in the mix and helps give it its voice. Impeccable fit, finish and playability. As previous posters have mentioned, they don't do "vintage" very well. Also rans; A Warwick Fortress Masterman- excellent balance and a Stingray- matching tone if you want it. Not very pretty, though. Oddly, My Ibanez EDB605. Yes. A plastic Ergodyne. Neutral to the point of being sterile-sounding, but very flexible (and cheap!!)

Agreed! I spontaneously played what can only be described as a double-stop except it was across 2pairs of octaves that were 2 octaves apart. I nearly fell over. Just as well I was using headphones, it could've been quite scary through an amp! It probably won't happen again! 😂

Maybe using an insulator rather than a conductor for controls to an electronic circuit makes some sense. Stops them acting like antennae for Radio Frequency Interference. It may also mitigate against interference caused by a potential difference between the player and the instrument and/or play a part in earthing issues they may have had. It's not exactly a major R&D project. Perhaps they discovered that plastic knobs were "better"(if you can qualify what that constitutes) by accident. Or maybe they're cheaper. In the absence of a definitive statement from Sire or the opportunity to try out the two approaches, we'll never know for sure.

Haven't played an NXT, but I have an NS5 CR. Excellent in terms of playability and the EQ is excellent. Does it sound like a DB? Not perhaps as much as you'd like. More like a very mellow giant fretless, but it still has a nice "voice"

Is that some obscure Harry Potter reference? Lots of stick waving in that, too...

I don't think I thought it'd be easy, but it does some things so well. And that tone! It makes me think about what I'm playing. And it makes me consider theory when I haven't got it to hand- thinking about tunings and the like; I thought DBR played "uncrossed" might help me replicate the role of a bass better, but I couldn't tolerate the virtual redundancy of 4 of the strings. Even if it were tuned CGDEABF# , What would the other three do even if tuned in ascending fifths? I think my ideal instrument might be an SB8 (the carbon one) tuned FCGDEABF#, so eight strings, parallel 4ths. At the moment, I'm working on ideas for an adapter plate so I can mount it on the stand from my NS5 CR EUB.. That's what I like about the Stick. It makes me think.

😂 I'm sure that's probably infringed some form of trademark ™

Lots of interesting thoughts and questions coming to the surface! I'll chip in what I've gathered so far! I think the bridge design is a function of the need to cram a lot of strings into a narrow overall width while still offering adjustment for height and intonation. One benefit is that saddle height can be tweaked without tools. It's interesting to note that the Kahler bridge on my Vigier is like a bigger version.. I believe that the Stick should be as flat as possible, and that the action should be as low as possible- both to facilitate ease, speed and fluidity of play. Mine (Rosewood) seems to need very little tweaking. In terms of a stand, I've seen modified cymbal stands used. Maybe a modified NS upright stand would be good. I think I'd try to make a snug-fitting pocket for the belt hook to slot into, so it could be played either way without too much fiddling about. Could the stick be improved upon? I'm not sure! Mass-production would undoubtedly make them cheaper and therefore more accessible, but I get the impression that Emmett has evolved the design considerably over the years due to his own desire to perfect the instrument, and I get the impression he's responded to a lot of feedback from players. As for various playing styles, there are quite a few around that definitely don't adhere to the prescribed method! Tony Levin often turns down the melody side and uses both hands on the bass side (as previously discussed) I gather Mike Oldfield has just used a plectrum as per a regular guitar. Some (apparently) play percussively (slap?!) I find playing "uncrossed" liberating when duplicating regular bass parts as my hands don't collide! I might look into open tunings for the melody side- would a slide work, I wonder?

I couldn't tell it was Railboard from the photos.. I know exactly what you mean about the business with the left hand being entirely familiar (apart from the tuning), while the right hand is somewhat lost! That's one reason I went for Matched Reciprocal tuning.. it felt more familiar on the treble side. I think mine is still running too much relief and that the action is still too high. I think a really good set-up will pay dividends, but I just haven't had the time.. It's not as though it's unplayable.

Heavier? Mine is remarkably light! (Well I think it is!) It never ceases to amaze me how that tone can emanate from something so relatively lightweight. What's yours made of? It looks quite different to mine (in terms of wood)