Woodwind

Absolutely love the look of this!

It was a natural one like this I saw being played. Damn It's making me crave a natural one all over again!! Active two band plus passive tone sounds interesting if the tone can be applied simultaneously in active mode.

Two examples - nothing to do with me and caveat emptor etc Corvette- https://www.ebay.co.uk/itm/WARWICK-CORVETTE-BASS/254821164121?hash=item3b54866459:g:RooAAOSw5MFf06la Fortress- https://www.ebay.co.uk/itm/Warwick-Fortress-One-Bass-1993/254768636175?hash=item3b5164e10f:g:RD0AAOSwv7Zfoqr4 I really doubt the fortress will go for £800. They are less well known than corvettes and streamers, but arguably much better ergonomically. I still regret selling my fortress masterman. The corvette looks good, although the full caps description really puts me off I have to say. I wouldn't buy either without playing/inspecting them first, but that's just me. Neither of these bassess will sound like a double buck, but both WILL have a definitive warwick sound and being German made will be superbly put together.

I'll just say if you have 700quid to spend, definitely, definitely buy a "real" warwick second hand. You won't regret it and can sell it with no real loss if you don't get on with it. That rockbass double buck may well be a fine bass, but even buying new I wouldn't drop £700 on it, ( I'd spend less for a different brand). and if you don't like it I doubt you could sell it for £400

Wow that is super nice!! Looking forward to hearing the music you make with it 😎👌

may I slightly hijack this to ask how you both describe the sound of black nylon strings?

This is a great point! There are many pieces of music written where the primary way to engage with them is at a performance. This is compromised by whatever medium recordings of them are released on. Eric Saties Vexations with its 840 repetitions (or whatever) would have used at least 180 78records had it ever been released. Mind you he might have enjoyed the fact that a home listener was getting up to flip sides so often. On the other hand I'm sure Sleep would have written Dope Smoker/ Jerusalem as a much longer piece if they hadn't had the CD maximum length at the back of their minds

Bandcamp is my primary means to buy music, but I should have expanded on my original post. I like to use a computer or phone as little as possible and for as specific a task as is possible. I enjoy the fact that listening to music requires different physical acts to writing a letter or watching a film etc etc I engage with each activity in quite a profoundly different way (which will have an effect on the results - you'd never write the same sentences using a pen as you would typing - in this case one isn't better per se, just different ), whereas flipping a laptop open to send an email, stream some music or watch netflix boxsets utilises the same means of involvement and I really don't enjoy this. So if I can avoid a download I will. In short Bandcamp is phenomenal 😃👌

I'm not surprised that vinyl is seeing a continued resurgence. If I'm buying new music I'll ways look to buy it on vinyl first. This will generally be artists in a similar or related niche to the music I'm involved with. If I can't get it on record I'll go for CD and I also buy classical musoc on CD generally after checking out versions on youtube or similar. I don't like downloads or streaming both from a sound quality point of view or ethically (specifically spotify). If an artist I like only has their music on bandcamp download rather than physical product I have to think hard about whether I'll buy it : Once it goes into a harddrive library it tends to disappear - scrolling through itunes is the least engaging way of thinking about music I can imagine.

on a tangent what bass is that? Viscount? Vincent? Looks interesting

Isn't this too late? The deal has effectively been made We were all describing exactly this scenario two years ago.

I really hope you can get this! I saw one in action circa 2005 and wanted one ever since. I couldn't work out what it was and assumed it was some prototype Ibanez thing like Percy Jones had. Stingray, but not stingray. Absolutely fantastic tone and looked very easy to play. Good luck! 😎

Have you tried it using the balanced outs? Just running a line from there into the fx and amp?

I have tried this several times over the years and always preferred the sound with the effects going from bass to preamp. Using the FX loop sounded a bit limp (on different amps). Also the sound engineers would always take a di from the bass signal so I needed my effects before that. But do give it a try and use whatever method sounds best to you.

Wow, would love to have tried that. I always wanted an all wood Status 6. The 4's and 5's (wood necks) I've owned have all been wonderful instruments.

Oh wow, I wish I had been in your shoes! Superb find. For my own personal needs I'd be making up two 2x5's. All the best with this project, can't wait to see the results

Sorry if this sounds negative, but all I'm learning from this thread is how not to do review videos (slapped chours effect ) and how not to present products on websites. I really like the look of these cabs and would be interested in investigating, but I don't think anything is doing them justice.

For those reasons alone get it a nice new set of frets and keep playing it for another 27 years. Your fear is understandable - the changes to tone caused by the frets wearing have been very gradual, this will be a sudden change (albeit not necessarily a noticeable one). Going for super Jumbo stainless steel frets will definitely change the tone, where as something like it left the factory with (medium height cupronickel or silver nickel) would be a more sympathetic/appropriate (?) choice. Go for it! 😎

Not to take the thread on too much of a derail, I was listening to I should Coco the other week having not listened to it for 18 years or something. The bass playing and bass tones are really, really good!

Many different levels/facets to what pro is. Playing originals music for a living potentially puts different requirements on what's used than if you were a session bassist for a living. On a tangent, Looking at double basses (and generalising a great deal) a pro bluegrass player could get away with a sub £1k bass, a pro jazz player could well manage on something for a few thousand pounds, a pro classical orchestral bassist would struggle on an instrument under £15k

currently strung with super dead Status groundwounds 40-100. I like very light strings so would like something a bit lower tension than these ideally 😃

Great bass!! I'm a fan of the onboard the three band eq. The mid in particular is very useful to get the bass to sit in a live mix. (I use a fretless Ray34). I don't think you'd gain much by swapping the pre until you've tried it in context. If you want to try some variables in the meantime and have cash burning a hole in your wallet buy a load of different strings and see how differently the bass reacts to them all.

if my stage set up wasn't getting quiter (less amplifers) I'd be super interested in checking these out!

Treat it as two three-dimensional shapes and add the two volumes together: A rectangular volume and the slanted triangular volume. For the triangular section, multiply the depth by the height then divide by 2 and then multiply by the width of the cab. I've assumed the whole front face of the cab is slanted. Is this correct?