Lfalex v1.1

[quote name='neepheid' timestamp='1354986043' post='1892680'] I'm not some rich toff! I happen to live in a two income household. No kids and no other hobbies to speak of. Don't smoke and don't drink half as much as I used to.. [/quote] This. Well, sort of. I have a relatively unjustified collection, but don't smoke, drink much or go out much. Work and the kids see to that. I do live cost-effectively, and the basses are my sole luxury. My collection has evolved over 20 years, with little chopping and changing. I'm pretty careful about what I buy in the first place. The hardest part is deciding what has to go to finance what, and being sure that the new squeeze is actually any better than what you've already got....

[quote name='mentalextra' timestamp='1354995377' post='1892846'] .....or have you acquired superhero status. Also, do you cringe when someone fetches guitar hero into work for a laugh! [/quote] Given that I play in the canteen at lunch from time to time (via Headphones/mp3 player), I would suggest that I'm a regular B-cleffed crusader.... (Gets [s] coat [/s] cape)

[quote name='markorbit' timestamp='1354925352' post='1892185'] ... Over time (as original bands from my era have split and reformed) I've come to realise that Joe Public really doesn't care that much who is backing the singer...!! [/quote] Perhaps. But the question was raised on BC, and we're not quite in the same musical demographic as Mr Joe Public (fortunately)

Doesn't the fact that the bridge is grounded (via the bridge earth lead/cable shield (-ve) and the amp) count? Can't that earth the static? Or is the player a quicker way to ground?

[quote name='thumbo' timestamp='1354811312' post='1890726'] Metallica, and they've proven that point numerous times. [/quote] YES! (as in +1, not the band!) [i]How[/i] much better would they have been/continued to be had Cliff still been around? And my addition: Type O Negative.

[quote name='BassTractor' timestamp='1354747379' post='1890065'] Great thread ... er ... [b]really[/b] great thread, but be careful: one too many threads like these, and we'll start assuming you have a brain. 1) Windings augment mass. More mass means more change in the magnetic field. [b]But only if the windings are ferrous..[/b] 2) My guess is that different correlations make for different overtone spectra. [b]Liking this one! [/b] 3) My guess is the structural support is near zero or negative, since quite some windings "bite" into the core. [b] And this one![/b] 6) In my book, action is a byproduct. The real issue should be compliance, as the lack of it at the ends (bridge and nut) should mean that the intonation is wrong on most of the fretboard. [b]Well, sort of. If the action's TOO high, you'll be sharpening the pitch of the string by bending it too far away from its natural position as you fret it[/b] [/quote] Cheers, Bert. Some good ideas in there... [quote name='noelk27' timestamp='1354755713' post='1890160'] [url="http://www.professorstring.com/index.php#.UL_uSo5y_Hg"]http://www.professor...hp#.UL_uSo5y_Hg[/url] [/quote] Yes, I've seen that site. But they charge for access to the site... [quote name='chrismuzz' timestamp='1354790492' post='1890331'] With regards to coated strings, I know that Elixir coats the entire string after it's made, so that no dirt, grease, or skin cells get stuck between the windings to deaden the sound. Other coated string makers (like DR) just coat the windings so they don't prevent this as well. [/quote] A-ha! So not all coated strings are created equal. Or at least equally... I'd heard of the static build-up issue with scratch-plates, but I'm not sure if BRX's earthing trick would solve it, as I've no experience of it. It occurs to me that scraping the coating off of an Elixir would defeat the object. Because they're coated after winding, removing any of the coating introduces the potential for the string to oxidise. Which leads to.... I reckon the main reasons that strings need changing are (in no order) Oxidation Chemical corrosion (from sweat) Dirt build-up between the windings (hence Flats longevity?) Physical damage (from plectrum and fretting causing flat spots) Mechanical failure of core or winding/s due to fatigue Still just kicking ideas around, but thanks for all the responses so far.

Yes. At last! something that nearly all of us have in common! We all use strings. We all have our favourite brands, types and gauges. For the most part, in use with magnetic or piezo pickups. Now the questions start! 1) The core of the string. Is it the ferrous part, or do the windings contribute to the output? 2) The core gauges change (get thicker) for heavier strings. But what's the correlation between the string gauge and core gauge? 3) Do the windings just serve to "mass-load" the string to lower its resonant frequency at a given tension, or do they help to structurally support the string 4) To what sorts of tolerances (vis a vis gauge) are strings made? 1%? 2%? Higher? Lower? 5) What effect do finer/coarser windings have? 6) Taper Wound strings can help achieve lower action. Some manufacturers claim they change compliance? Is that true? What other effect/s does it have? 7) Silks. No Silks. Why do some manufacturers use them and not others? 8) Coatings. Do they coat the whole string after it's made or is it coated first and wound later. 9) How many layers of windings does a typical string possess? Does it vary with gauge? 10) Do any bass strings have cast "bullet" ends instead of ball-ends. The bullets are supposed to stop strings from being overwound/badly made AND to make the string more resilient as the core-stretch around the ball-end is effectively eliminated. Any answers to such imponderables? If I find any answers, I'll add them. Otherwise, over to BC for the answers. And hopefully MORE questions! Thanks in advance, folks....

Yes, the choice of round/hex core does seem to make a difference to the compliance of a string. Rounds are softer. Hex are stiffer. Or so it seems. I don't even know half of what makes strings tick... I feel a thread coming on...

[quote name='Truckstop' timestamp='1354725120' post='1889634'] Does anyone notice any difference to having the taper at the bridge end or the nut end? I've used strings with a taper at the but end but not vice versa. Any difference in feel? Any brands recommended for this? Sounds interesting! Truckstop [/quote] Isn't it the case that most string gauges (surely for F#, B, E, A and probably D) taper to varying degrees somewhere beyond the witness point at the nut? I'm guessing that it gives the strings the flexibility to enable them to wrap tidily around the machines' posts without compressing/damaging the main outer windings, which could lead to tuning/intonation issues, undue stiffness and poor sustain and tone. Tapers at the head end shouldn't affect the feel much, as the full width of the string should sit in the nut slots. If the taper sits in the slot, it'll cause too low an action and rattles. OTOH, on a few (4 string) basses the E is fully wound to the point that it wraps around the tuning post, and that's not particularly good, either. Also the case on B strings on some fivers, too. On a general point, there's just TOO much myth attached to strings with regards to the effects of the many variables in string design and manufacture. I do wish the companies would give us a bit more info to allow us to make more informed purchasing choices.

[quote name='4 Strings' timestamp='1354703628' post='1889258'] I couldn't buy a bass called 'Ex-Factor' [/quote] There's always the "Key-Factor"....

[quote name='BigRedX' timestamp='1354711614' post='1889396'] ....so other than Newtone what elese is available with a tapered B (and ideally a tapered E too)? [/quote] Love them or hate them, Elixir do a TW "B" string. At least they give you a good degree of choice in the way you can buy a set. For 4 strings, buy a set of your choice. For 5 strings buy a 4 String set of your choice, and add another string from the following; 0.032 "C" 0.125 0.125 TW (allegedly less compliant) 0.130 0.130 TW 0.135 Naturally , you buy 2 for sixes, but alas, no strings for Sub/Sub-Contra tunings and 7 strings.

[quote name='BigRedX' timestamp='1354714936' post='1889464'] The reviews of RockinRollin' VampireMan EP were all either massively positive or horribly negative with AFAIK nothing in between. TBH that's good good thing as it means the music has struck a nerve be it good or bad. From my PoV there's nothing worse than being considered average. However if you can't take criticism - either constructive or otherwise - then maybe this isn't for you... [/quote] The best band I've been in to date was only really liked by other musicians. I still don't know why. As for criticism, just write/record something that you (collectively) like. Everyone's got an opinion about something, but none are more important in this context than those of the band. We used to sell our discs online from our own site and at gigs. We'd generally make enough to finance the next recording session from each previous recording. At least in that way it became self-financing.

Sold my 1990 Fretless 'Ray 5 for £800. Fine by me. Paid £1k for it ages ago. It was still mint. I [i]really[/i] didn't get on with it. Swapped it from BEADG to EADGC, which was better, but still annoying.# Bought a '97 Warwick Fortress Masterman 5 (fretted) That's better. More Stingray than a Stingray! (And cheaper still!)

[size=1]Bongo 5 HH....[/size]

People can do whatever they want with their instruments. The odd modification to get a certain bass "just so" is worthwhile if it improves the instrument and you enjoy it more. Similarly, the owner needs to decide what the instrument is for: Use a musical tool in working scenarios Specifically for modification Hung on a wall as more of a decoration Left in a case under a bed/in a cupboard to appreciate in value etc. The intended purpose of the bass will help determine which (if any) modifications are appropriate.

[quote name='lettsguitars' timestamp='1354398908' post='1885652'] Laquer makes a big difference. Maple looks better than rosewood to most people, but doesn't hold frets as well. Rosewood does a better job, but the winner for looks, tone and function has to be ebony. [/quote] And cost! (Not to mention that it's generally only standard on necks that [i]don't[/i] have any frets to hold!)

[quote name='chris_b' timestamp='1354359924' post='1885126'] With such a negative attitude who can argue against you? I don't understand why anyone would develop a skill and buy good gear unless they have the ultimate goal of playing in a band in front of an audience. [/quote] I do. Because they enjoy playing. There need not be another reason. I arrived at this conclusion in a roundabout manner, having been through the "usual" get gear, learn to play to an acceptable standard, join band, play live.... routine. I can drive, I'm not yet 40, But I've had enough of all that. Some of it was great. Some of it certainly wasn't. Went as far as it was going, and I just don't enjoy playing live any more. I've found that playing because I want to, when I want to and what I want to is more rewarding than playing because I feel obliged to. YMMV, naturally. Edit - Apologies to KiOgon! I didn't read the whole thread... I just posted a reply. Interesting that the responses are so similar, though. I could've just put a "+1"....

[quote name='voxpop' timestamp='1354196369' post='1883393'] Bass only for me. I can't and don't want to play guitar. [/quote] This. Guitar was never an option.

I have a MIA Fender Jazz in Ash. Not "Swamp Ash", mind, just Ash. It's a comfortable weight. Sounds "open" and "resonant" (for want of better adjectives) It has a Rosewood fretboard, and I use DR Sunbeams on it. Alternatively, I have a Squier VMJ (Maple body, neck & 'board) with a BadAss II and wearing DR Fatbeams. It is heavier and sounds much more aggressive, compressed and growly.

Tony Iommi. Best heavy riffage. Ever.

The Trace head in that combo will "only" be giving 150w into its own cabinet's driver. Halving the impedance to 4 Ohms by adding a second 8 Ohm cabinet will allow it to deliver about 300w (rms) I found that my AH300SMX and 1153 cabinet could only really manage (without PA assistance) against a small PA amplifying acoustic guitars and vocals. Introduce a drummer using more than brushes or Hotrods, and you'll be struggling to hear yourself or to be heard over the rest of the band. You can always turn it down!

[quote name='Joker2807' timestamp='1354124550' post='1882428'] what really annoys me is they have like 10 guys all working there at the same time all trying to fit behind the counter instead of been in the store where they are needed [/quote] I think that's PMT policy (!) They do it in the Southend store, too. (Less so in Romford)

[quote name='Joker2807' timestamp='1354098300' post='1881944'] you can kill someone with bass frequencies can't you ??? obv i talking about a lot lower signal and with a lot more power than our basses lol [/quote] Allegedly 3Hz at massive levels will do the trick. That's well into infra-sound, though, and good luck finding any kind of system that can reproduce it at all, let alone at the requisite level !

See, I never makes any mistakes

Ibanez said at the time that they couldn't mass produce those shapes in wood, and that Luthite was a "cheaper" solution. I can see how that might be true of the EDA, but less so the EDB and EDC. With regard to buying a bass (and I [i]may[/i] have bought a few in my time!), the best advice I think I could give is; Decide what your real priorities are. If it comes to the crunch, what's most important to YOU: Colour? Aesthetics? Ergonomics? Weight? Tone? Playablility? Set a budget, but allow a bit of flexibility. If you find a "killer" bass, it may be worth having an extra £50 in your pocket. Try everything you can get your hands on. Only that way can you decide what you really do and don't like and WHY! If you can, completely ignore the name on the headstock! Look at how well/robustly made and designed it is, and how well does it perform. I once spent a considerable sum of money on a bass by a manufacturer I'd never heard of. When I'd started off wanting a Fender Jazz... As it turned out, I bought a bass by a well thought-of boutique bass builder (!) and it's still the best bass in my collection! It felt great, sounded good, and was superbly put-together. Job done.