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Just out of curiosity does anyone know if sadowsky strings are actually made by another manufacturer and repacaged?

Wow thats a lot opinions flying around since I was away at the weekend playing gigs! I guess from Sadowskys point of view it's good to be talked about, no such thing as bad publicity and all that.. They obviously make very good basses that are still selling well even at higher prices. Aside from the nice neck and light weight one of the things that impressed me most was the active circuit, a really nice choice of boost frequencies.

Well it's good to hear a few opinions on the Sadowskys, I must say I was impressed by the one I tried. I'll have see if I can borrow one for a gig sometime.

I did something I haven't done in years today. I went into a shop and tried out a bass. It was a five string jazz style Sadowsky with a maple neck. I just wondered if they really were that good. It was! ahh well better start saving. The guy in the shop said he reckoned that Sandberg basses were just as good (I don't think that's the way to sell a bass, he didn't have any Sandbergs in the shop) So now I need to find out about Sandbergs. Maybe I was wise to stay out of shops all those years.

Before you go pulling the bass apart, try one of the "piano" style sets of strings, perhaps a lighter gauge and use the single coil setting on your selector switch (the brightest tone) and experiment with the eq. Buy some duracell procell bartteries. They keep a good voltage for a long time.

The easiest option is get a heavier g string, it will be louder and have more bottom end. The tricky thing is the piezo strip may not be totally flat so the bit of the bridge above the g string may not be fully in contact yet the tiniest gap makes a difference. [quote name='Linus27' post='1252347' date='Jun 1 2011, 08:37 AM']First rehearsal last night with the acoustic bass (amped up) and it was not bad but the G String really was still a little too quite for my liking. Not wanting to fiddle anymore with this, is this something a luthier/tech would be able to fix or am I pretty much stuck with it like this?[/quote]

Good one steve, I love bootsy. I wasn't wanting to start anything negative about slap bass I was just curious about the youtube phenomenon. Go in peace bass brethren.

After doing a google search of some basses, I was struck by how many you tube posts come up with people playing slap. While it's great that someone takes the time to make a video demonstrating a bass, the vast majority are non stop slap. I'd just like to hear a bit of everything, a few notes longer than 20ms, some eclectic bass styles. And why do so many people miss out their heads in these youtube clips. Are they ashamed? Is slap bass illegal in some countries?

I recently ripped the cone of the B+C driver in my Epifani T110 UL cab. I replaced it with an Eminence DELTALITE II 2510. 10" It seems like an improvement to my ears, I'm well impressed with the sound of the cab with this driver, I'd say it was a more even response. The truth is I'm just glad it's working again!

Thanks for the replies. It's the sound I'm after and it would have to be a long scale

I'd be interested to find out some opinions on some of the models of hollow body basses currently available. It would be ideal to compare them in a shop somewhere but usually you'd be lucky to find just one make of hollow body bass in any shop The lakland hollowbody and warwick star bass are looking and sounding good (although the warwick seems a bit overpriced) the epiphone jack cassidy looks like it could be OK but I don't know if it is up to the spec of the other two. Both the lakland and the warwick have a solid central core which seems like an advantage. Of course there are the vintage basses like the guild starfire and the gibsons but these are very hard to find. Any thoughts?

I don't suppose anyone has a replacement speaker for an epifani T-UL110 that they would like to sell?

I just ripped the B+C speaker in my epifani T-UL110 cab. I've asked B+C about a re-cone and they directed me to their US people as it's a custom speaker. It could be too expensive to send it all the way to the states and back for a re-cone, so I am thinking about a replacement driver. The cab had a good bass response for one so small so what is the best 10" 200-300W driver for handling the low end?

Ta for all the suggestions. The .130 piano is actually sounding really good in rehearsal now. None of the odd overtones above the 7th fret can be heard with the rest of the band playing. I must remember never to judge anything before trying it at volume in rehearsal or at a gig.

Ta for the replies I'll check those strings out. The .130 is playing in well I just checked the intonation and had to adjust it a bit. I set it up after I first put it on but a bit of dirt seems to make a difference!

I've been using rotosound steel strings on the stingray 5 for a while now. I've been trying to get the B string to have more clarity so I tried a roto .120 then the .130 roto piano design on the B. The tone of the .120 was clearer but of course the string lacked tension. The .130 piano was certainly brighter but not so good past the 7th fret. GHS contact core strings look like the right sort of guage but I haven't tried them. Any opinions on who makes a B string around .125 with enough tension?

Can anybody point me in the direction of some decent recordings of a Dingwall super J played finger style? Most of the stuff on youtube is not great sound quality and usually involves a lot of slap noodling.

Before you go replacing the pickup or electronics, find out what really good eq. can do DI the bass through something like a midas desk, there should be more than enough high mid and top end boost to let you hear what is possible. If you want top end boost without hiss, John East makes a good eq pedal DI if you don't want to mess with the wiring in the bass. Its worth spending a bit of money on a good eq like this with a sweepable mid. Use it to boost hi mid or cut low mid.

Ta for that I'll have to give that bass a try .

Anybody know who makes a 5 string with reverse position precision pickup (the D and G part of the pickup nearer the neck) and a jazz neck pickup?

Thanks for the replies. It is a revolution solo II. The capacitance makes a bit of sense to me. The most frustrating thing about this is that the problem seems to be at it's worst in the shed I use as a studio. I've done a bit of research into earthing but I need to find out more. I may need a big copper spike in the ground connected to the earth wires in the studio.

Ta for the replies if they are not the same size that's all I need to know.

I have two pickups on my double bass, one is a realist beneath the foot of the bridge, the other is a revolution solo two in the wing slot. The realist is very quiet on it's own (the piezo unit is covered in copper foil, the strings do not need to be grounded), whereas with the revolution solo on it's own, the strings need to grounded via a shield wire and I need to be touching the strings to prevent a loud hum. I understand how shielding works but I am puzzled as to why I need to hold the strings to prevent hum if they are already grounded? I have observed this problem with other instruments too. It would be great if someone would explain this.

Could someone with a g+l L2500 or L2500 tribute tell me the length and width of the pickups and the the distance between the screw mounting holes. I'm wondering if they are the same as an EB Musicman Stringray 5 pickup?

Some of the squier jazz basses are very good and very cheap. Just buy a passive one and save up for a john east pre.