Lfalex v1.1

I have fewer basses than when I joined. Fewer "accessories", too. Same number of amps, though, Still a net decrease overall.

If it's half as good as my CR5, you'll be having a whale of a time! Nice one. Enjoy!

Fender Roscoe Beck V (still) BassLab L-bow V That's it.

EUB for when you just can't choose?

Just re-strung my Warwick Streamer LX6 with a set of (the old-style, nickel) Elixirs. I made up a set based around their hybrid medium 4-string set, and ended up with; 0.032 C 0.045 G 0.065 D 0.080 A 0.100 E 0.130 Taperwound B You'd think that'd feel out-of-balance, but it certainly doesn't. Skinny C? It's thicker than some people's G - assuming they're playing 30,50,70,90! Sounds great. Feels great. And spaced at about 16.5mm, not too much of a stretch. For the old plucking hand. Shane it's so heavy!

I'm finding sleeping in 11/13 has caused me to have quite irregular patterns. I prefer even meters, it seems.

[quote name='neepheid' timestamp='1379534886' post='2213962'] I have both, and I like both. Sorry for the boring, non-committal response. [/quote] This. If it sounds good, feels good and plays well, then it is good. I wouldn't let a bass being active or passive determine whether or not I bought it.

^ Nor should you ever need to wind a Trace master volume up beyond about half-way (assuming that the gain is correctly set) The power amp stages are made to be more sensitive so they can be driven by lower-output pre-amps. I've used an Ampeg pre into the fx return to good effect. Think it even says so in the SMX manual... Oh, I have a TE bunch of cabs and a head cut from a combo. Don't get much use...

[quote name='Happy Jack' timestamp='1379422977' post='2212468'] ... but sometimes completely OTT, and not even a bit Green. [/quote] But in fairness, more energy/resources are tied up in the instrument that is being protected than in the excessive packaging. Add in return transport costs for broken items and then sending new ones out, and it pays, even in environmental terms to pack the goods well. Most plastic/bubble wrap/tape is recyclable. All cardboard should be. It's only the dastardly expanded polystyrene that's a problem now...

No worries. If the one you tried was a [i]really[/i] odd shape, it's likely to have been an EDA. Body like a distorted teardrop, pointy little headstock. Brave design for a mainstream manufacturer.

[quote name='Marc S' timestamp='1379406015' post='2212168'] Slightly off topic, but what's the general consensus on the Ibanez Ergodyne basses? I only ever had a quick go on one It was a really odd shape, but it played beautifully and felt very comfortable Access to the notes at the very top of the neck was easy, due to the shape and design of the body of the bass EDIT: and the neck was quite slim & fast I've since seen a few different designs of Ergodynes, And the guy who owned the one I played said there were very big differences in certain models... I never seem to see them come up for sale in shops near me, so I don't get chance to try any out Any thoughts on them folks? [/quote] I know of 3. The EDA, EDB and EDC. They had numbers, but can only recall the one I owned, an EDB600. The five strings were EDB605, just like the current Ibanez numbering system. Do be aware that the newer ones- with different designations again- are [b]Wooden[/b], not Luthite like the old ones. Luthite is a resin, not dissimilar to that used in the manufacture of Tenpin Bowling balls. The bodies are injection moulded, giving (theoretically) great consistency of manufacture, and the ability to make weird and wonderful shapes- like the EDA. Any two bases of the same model were likely to weigh almost exactly the same. The necks were maple with rosewood fretboards. 24 frets IIRC. I've never seen a fretless. I owned an EDB600. It was excellent for the £80 I paid for it. Until... It fell off the sofa when my back was turned. Our floors are solid concrete, and whatever underlay the previous incumbent had used was rubbish. Result, the entire lower bout around the control cavity cracked right through and fell off. A write-off. From an impact that would barely have marked a wooden bass. Luthite can be [i]very brittle[/i]. It sounded great with DR FatBeams on. Very neutral. Only my Vigier and Status Streamline are more neutral. The 3 band Eq was good, as were pick-ups, and I could coax some nice sounds out of it. The next one I tried was similar, but lacked something... So I didn't buy it. Probably the set-up or the strings made the difference. If you get the chance, try one. You might just like it. DO get Straplocks, and DON'T drop it!

I knew what you meant! Just pulling your leg! Not sure about outdoor amps, though. I've been caught out by the weather when playing outdoors before. It's not nice. Think lightning storm whilst on raised scaffolding stage... In an open field. We just ran for it, instruments, amps, the lot! Straight back to the cars.

[quote name='bassace' timestamp='1379320598' post='2211110'] Ply is fine although my outdoor bass has got a walking stick rubber tip on its spike. That always works. [/quote] "Outdoor bass". Excellent concept, leading to all instruments in any given collection being duplicated. One for indoors, one for outdoors. GAS ahoy!

The NS EUBs have small dots under the strings at every position from 1 to 24- the double octave mark. And yes, it is accessible that far up! You might pick up a second-hand NXT for about £650.. Maybe less.

Not an Orange owner, but... I'm convinced from my experiences with my Ampeg SVP-Pro that some amps are voiced to suit certain basses or types of bass. If not that, then at some point during development, the amp is used with "bass X" to fine-tune it, and ends up favouring that kind of instrument. The Ampeg was great with P,J and the Stingray. OK with the Vigier, but hated the Status and Warwicks.

Leo didn't just get it right the once, did he? Horses for courses, but at VERY least the Precision, Jazz and Stingray are truly iconic designs- in bass terms. The models that came later from G&L are every bit as good, just not as instantly recognisable to those non-aficionados.

[quote name='CamdenRob' timestamp='1378972514' post='2207097'] In my old flat my bass used to buzz loudly when I turned the lights on... Rob [/quote] That's not so unusual. Dimmer switches and poorly suppressed fluorescent lights are common culprits, as were CRT TVs.

If I had to do it, I'd use my little 8 track mixer. It happens to have bucketloads of gain, and is great for level matching. I'd then feed it into a head or power amp. No switches as such, I'd just switch the channel off on the mixer whilst using the other instrument. I'd use its DI out to feed the house, as that's nice and clean.

[quote name='dannybuoy' timestamp='1378903392' post='2206262'] If the force was the same on each string and the neck thinner on one side than the other, then it should twist slightly unless the neck was strengthened especially to compensate for it (e.g. by moving the truss rod slightly towards the thinner end, or using a dual truss rod). But perhaps it's just by such a small amount it's inperceptible to the naked eye. [/quote] The use of graphite or even metal rods to stabilise the neck is another option. And,as you say, it probably isn't a massive degree of asymmetry.

[quote name='stingrayPete1977' timestamp='1378408600' post='2199952'] I'm pretty sure you could just flip the bridge and file the nut on the stagg? The forearm rest is in the wrong place and only for thumb position anyway, the body rest I like and use but its just two threads which two nuts glued into the body would solve no problem, I don't think I have missed anything? As for being like a db then I think the stagg is actually much more like a db than something like an NS which feel much more like a fretless bass on end to me although they are obviously much higher quality instruments. [/quote] Pete's right. The NS instruments are more like a halfway-house between a fretless and an upright, but that's why I like mine. It was what I wanted. The NS look like they could be converted. The bridge would easily flip around and is adjustable for height, so that'd be easy. The nut might need replacement, but I reckon that's likely on many instruments. Don't think it could easily be removed and just turned around. Might be worth a try, though. No rests and very little asymmetry to contend with. Only minus is the controls would be on the far side from you on an NS.

[quote name='cameltoe' timestamp='1378760222' post='2204470'] I enjoying watching the confused look on all the trendies faces in the audience when At The Drive In performed on later a few years ago! [/quote] Didn't see that. Must've been good/funny, though. And... Bring back the Old Grey Whistle Test. Some of the stuff on there was awesome. OK, no audience, but that didn't seem to matter. Saw some Roxy Music on the repeats recently. A song I don't even like, but the sheer intensity and accuracy of the performance was superb. (Do the strand, BTW!)

My Warwick Steamer LX 6 might be in the running. It's around 15-16 lbs!

Sorry I've been a little slow in responding. I've been thinking about it.. How about... Concentric magnetic volume/pan Concentric bass/treble Concentric mid/mid frequency sweep Piezo volume. 7 controls in 4 holes. No drilling required, and as versatile a set-up as I can conceive. It allows you to totally exclude the EMGs and just run the piezo, too. Possible catches? Does the piezo currently run through the pre-amp controls? A buffer circuit may be needed because of high impedance. Certainly not a job which is beyond a good luthier or competent tech. There may even be someone on here local to you that could help or even do it. Add for systems, check out EMG, Bartolini, East, and Audere for starters, depending upon what's already in the instrument. Cost (and it's a liberal guess) about £350 fitted. Maximum. You might get in much cheaper, but I reckon it'll be about £200 in parts and a couple of hours' labour. Hope that provides a starting point.

[quote name='stingrayPete1977' timestamp='1378639805' post='2202618'] I don't see why it has to be so divided? Function band gig with a professional set up and performance then you get paid, originals band in the back room at the pub getting your creative juices flowing the next night you don't.I don't get paid for jamming at home. [/quote] Time. I can't even commit to one band, let alone two. I spend SO much time with people at work that I just can't take any more. I play at home to help to shut that out. When I've been in bands, I haven't found it to be particularly pleasurable business. Too many egos. In the other hand, creating new music is great. And delivering a good performance- live, in a studio or in rehearsal is great, too. When you add a financial aspect to it, especially if some members are dependent upon the income, it becomes a nightmare. Enjoyment, then. Except I don't enjoy it.

[quote name='BigRedX' timestamp='1378465377' post='2200664'] You can't do room acoustic correction on an amp, because most room problems are time domain related (nodes and reflections) and trying to apply a frequency domain solution (EQ) doesn't give consistent results - improving things in one area of the room usually makes it much worse somewhere else. [/quote] I agree, but was suggesting it in the context of onstage monitoring use rather than using it as something the audience would hear directly. In that sense, I was considering the player rather than the audience. Needless to say, any DI feed would be "clean", and if correction were applied, make mic'ing the cab extremely problematic...