Misdee

I'll look forward to hearing the results. The 10/20 Series BB basses were the best ever BB basses in my opinion. They were a unique design with a huge tone. There's nothing else that sounds like them.I think they look great,too. I absolutely love mine.

That's a lovely bass. May it bring you much joy. I've got a 2025 and it's fabulous. I expect a 1025(x) is very, very similar. I'd love to hear one of these with flats on. That might be a very good combination.

This is a lovely bass. Jetglo is still the most essential Rickenbacker colour, no contest. I would be very interested to hear if the new design bridge on the latest models like this negates the need to swap it out for the Hipshot replacement version if you want a low action. I hope you will forgive me asking the question, but do you not find it a little troubling or at least unusual that a fairly new, rare and valuable bass like this has turned up in Cash Converters? These basses are in short supply (try finding a retailer with one in stock) and this one has conspicuously turned up at that outlet, of all places. I just wonder what circumstances would lead to the original owner taking it to Cash Converters if they needed to sell. They must have been desperate or very ill-advised is all I can suppose.

I would be very interested to know if it's easy to get a low action with these Euro CST NS2's, and similar Spector basses. It's a long time since I had a neck-thru bass, and obviously shimming isn't an option. Is the bridge sufficiently countersunk into the body and will the bridge saddles go down far enough? I like the strings to be low enough to buzz a bit without choking. A bass that won't adjust low enough isn't much use to me.

I had suspected that might be something to do with it. 🙂

Eddie Jackson certainly gets a fantastic tone on those classic Queensryche albums, so I can see why that sound would be the ideal. Lately I have been hankering for a bass that's unashamedly hifi with active electronics ect like the ones I used back in the 1980's and '90's. I think one of these Euro CST basses would be perfect for that niche, and so I can only hope that this new Legacy preamp lives up to it's promise and sounds at least similar to the proper HazLabs pre. If the Haz pre is so integral to the sound, I don't know why Spector don't just fit it to the Euro basses and charge another hundred quid or whatever extra it would cost for the genuine article.

Regarding preamps, I have always thought that the Tech 21 Bass Driver di (or one of their similar offerings) would be the perfect compliment to that Spector tone. Talking of Tech 21, I seem to remember reading an interview with Geddy Lee some years ago when he was enthusing about some Spector basses he had at home that the company had sent him. I can envisage Spector and Geddy being a good fit for each other. I keep seeing YT video of Spector advocate and endorsee Ian Allison emphasising how the key to the classic Spector tone is boosting the treble on the HazLabs preamp but it just makes me wonder about how crucial a Haz pre is if you aren't a fan of such a bright and grindy top end.

That's a very interesting pedal - I'm always on the lookout for a way to juice up my Fenders- but £285 is pretty pricey, it must be said.I could still see me buying one, though. I would hope the new preamp in the CST basses is close enough in itself, or at least sound pretty good in it's own right. Sooner or later someone will do a direct comparison, no doubt. I seem to remember the Zon bass I had back in the 1990's had a Haz preamp.

That is indeed a stunning bass. (I would've stuck with the original Spector knobs, but that's just me.) Isn't it great on those rare occasions when you buy a bass on spec and it exceeds your best expectations in every way! These basses cost sensible money, too, considering the features and build quality.Top quality hardware ect. From what you say, it seems like the new Legacy preamp is a triumph in terms of getting closer to the authentic HazLabs tone. I love classic Spector sounds that I associate with American rock of the '80's and '90's, I shy away from a lot of boutique-style basses nowadays because most of them sound too polite for my taste, but that's a criticism that could never be levelled at these Spector basses.

Same colour scheme as my Fender AVRI 74 reissue. I expect the neck on yours is nowhere near as chunky, though. Anyhow, that's a beautiful bass.

That's a lovely bass. Some expert woodworking has gone into that! The shape reminds me a bit of some Manson basses I've seen. It's quite (very)reminiscent of Alembic designs, too.

Some bass parts are fun to play, some less so. Whether they are complicated or difficult doesn't really matter. When I started playing I naturally gravitated towards busy players. Also, my bass teacher fancied himself as a jazzer and was dismissive of most electric players who weren't Stanley Clarke or Jaco. Playing with a pick was completely forbidden, for example. However, something I've learnt from my personal journey playing the bass is that I can be very wrong to assume that less busy bass lines are necessarily easy, and some bass players are very crafty in hiding the difficulties of their bass parts. Cliff Williams is a prime example. If you listen carefully he often puts all kinds of subtle variations in his lines that make them work so well. Making that band rock like they do is no mean feat. John McVie is another example of a very crafty bass player whose skills I have learnt to appreciate, not to mention Paul McCartney. I really respect those kinds of players and it's always fun to learn their bass parts. By the same token, I love to learn Norman Watt Roy basslines and he's no slouch. Sometimes he plays simple, sometimes he plays busy, but whatever he plays is always so clever. The individual bits are often straightforward, but the way he puts them together is genius. You could say the same about Robbie Shakespeare. YouTube is full of bright young virtuoso bassists of varying styles, but the thing that most of them have in common is that they cannot find of anything worthwhile to do with their skills. Nothing they play is memorable or particularly interesting. That kind of complex playing doesn't interest me in the slightest. I like bass players who are creative and have a style, then it doesn't matter if the bassline is complex or simple.

Your right, that one looks LPB, but it's difficult to tell definitively because the two colours are so similar. Fender's Ocean Turquoise is far more blue than turquoise.The one in the Geddy Lee book looks more like Ocean Turquoise to me, especially looking at the matching headstock. You also have to allow for how both colours will have faded over time.