LeftyJ

I currently only have my 1983 lefty MC924 that I love - but never play. It's very rare and it's from my year of birth which makes it quite special to me, and it's really comfortable to play and sounds great. I mostly play my other basses. That said, I've always been a vintage Ibanez geek. I've owned two more MC924's, an RS924 (indeed, as @Bassassin put it, one of the best sounding PJ's out there), two 1996 ATK300's, one 1998 ATK305 and a 1987 (first year) SR800LE, all made in Japan. I've also had a few of their guitars, all RG's and also all made in Japan (two RG470's and two awesome RG550's). I'm sure more will follow, I'm a sucker for anything Ibanez Japan.

The Status Graphite Facebook groups are buzzing with news of new Status basses, the Series 23 with graphite-reinforced maple necks with phenolic fingerboards. Rob has updated his site too. Exciting, but weird too!

I've been a plug and play type of player for most of my bass playing years. I started out as a guitarist and have had loads of pedals and multi-FX units, but for bass I've never really felt the need. I had some pedals for sh*ts and giggles at home (like envelope filters and a synth pedal, and some other things that went unused) that I had no use for in any of my bands, but that's it. If I had an amp with a slight bit of dirt I was happy. Now for the past 3 years I've been in a doom metal band where I need to be able to add more drive on occasion, so I had a use for the Darkglass B7K that I've had sitting at home for a few years, and I've finally made a small pedalboard (Pedaltrain Nano) with said overdrive, a tuner, a compressor and a chorus. But I often forget bringing it to rehearsals and even gigs... It's just not really for me, and in the end I'm happiest with just my bass into a dirty tube (pre)amp that I can vary the drive on by altering how hard I pluck.

Still better than having bands split, and then having two bands touring with the same material. I used to listen to Rhapsody when I was you get, they're a symphonic power metal band. When the two founding members and main contributors clashed in 2011, they went their own separate ways as "Luca Turilli's Rhapsody" and "Rhapsody of Fire". The latter kept the original vocalist until 2016, when everyone except the founding keyboardist reunited and did a farewell tour. Then in 2018, confusingly, they reunited again onder the name "Turilli / Lione Rhapsody" - still without said keyboardist. Ever since, my bandmates and I have jokingly used the addition "OF FIRE" for any newer lineup of an older band.

The correct name is actually Dymondwood®, trademarked by Rutland Plywood Corp, which consists of layered hardwood veneers that were heated, vacuüm pressed and impregnated with dyes and phenolic resin. Roscoe also offers Rainbow Dymondwood on their fretless basses, which has multicoloured dyes (each layer has a different colour, and when the radius of the fingerboard is introduced, this gives the rainbow effect).

I too choose this guy's signature bass. That sounds almost perfect! I'll have a solid orange, somewhere around Candy Tangerine would be awesome. And a fiver with the same specs too!

...except the ad fails to mention it was stripped of its Dark Stain finish. The area around the serial number still shows the original colour of the back of the neck. It was completely refinished ssve for that little bit on the back and the front logo. There are no lefties in any other finish than Dark Stain. I've owned three of these and know my Musicians Whoever did it did a beautiful job, but it's not original and incredibly overpriced.

At home, either my EBS NeoDrome 12 or straight into a Yamaha USB mixer with two KRK V4 Series II monitors. Both sound great, but I usually favour the EBS.

Quick question: how do the SVT-IIP and the SVP-PRO compare, tonally? I know the PRO has somewhat more tone shaping options and the addition of useful added connections like an FX loop, tuner out, and a bright switch rather than a bright input. I have the SVP-CL and SVP-PRO and love both (but only use the latter). I've been looking at the SVT-IIP as well, either as a backup or as my home recording / practice setup.

LOL, you were just in before the edit

Well MY audience prefers the bridge pickup in the 70s position. Kidding, of course. However, I regularly do have other bass players (either in the audience, or from the other bands we shared the stage with) comment on my tone. While I definitely don't play for the bass players in the audience, their comments are most valuable to me

It is not often that I buy something twice, but at one point I had two Ibanez ATK300L's (and an identical 5-string ATK305) and three MC924's. I still have a tendency to get a 4-string and 5-string of the same model - I have a Warwick Streamer LX and an LX5, and a Status Graphite S2 Classic 4-string and 5-string. The ATK's are all gone, and only one MC924 remains.

It looks different enough from the regular Star Bass, with its offset waist and cutaways compared to the symmetrical design of the regular Star Bass, and it has a proper forearm contour. Those are some major improvements over the standard model, and really set it apart. Very nice! I don't like the contrasting forearm area on the German custom shop models (or the 10k price tag), but the regular model and the Rockbass version look sweet.

Warwick says hi. I really like the concept of these torzal guitars! I think Lace made some too at one point, I think I recall the Lace Helix with a torzal twist neck.

Melodic doom metal with Dutch lyrics (in the case of this song, inspired by the courage of the Ukrainian people standing up to their suppressors). Not gonna happen.

This. I'm like this too, I have basses sitting in my rack that I never ever play but they would be incredibly hard to replace when seller's remorse hits. At the same time I have to admit that out of the 70+ guitars and basses I have owned there are only about three that I actually miss. And there have been a few instruments that I just wasn't ready for, and which I would appreciate a lot more now than I did when I owned them. One was a very high-end Human Base that was built for the now-gone German bass store "Mr.Bassman". They had two bass models based on regular production models, one being a Clover Slapper with some custom features and one being a Human Base Base-X neck-through with a rosewood top, Bartolini soapbars and 2-band electronics. They called it the Mr.Bassman "No Sweat" and I would love to have it back. It looked like this but lefty:

I forgot all about those EDC's with the ATK pickup and electronics! What a beast 😎

And an Affirma, the "original" on which the EDA was based, designed by Rolf Spuler!

"Wow, that guy's bass looks and sounds awesome, but I don't recognise the headstock!" "Me neither. I think the logo is... drawn on with sharpie? And the tuners are mounted in this supercool fan pattern! I want one."

I play in a band that plays melodic doom metal, with three guitarists. As far as gear is concerned, they're very different. One doesn't really care about gear and has stuck with the same Ibanez 7-string and Engl Fireball halfstack for well over 10 years because it just works for him. He uses just a few pedals, most importantly a digital reverb with a blend knob so he can dial out the dry signal entirely. One uses a 7-string through a Hotone Ampero II and a Friedman FRFR speaker as a monitor, and it's brilliant. Compact, lightweight and sounds great. The third guitarist plays a Jazzmaster through some analog pedals to shape his tone, and will just plug into the input of any clean amp that's available to him. During rehearsals that would be my small 20 watt 1x12 Koch Studiotone combo, and for gigs we'll often bring that along too.

Me too, but the element of surprise had lost its effect by the time I reached the 5th post

I like to use relatively thin B strings. Someone once recommended I try a 0.125 and I haven't looked back. It has a faster attack than a fatter string, it feels less rigid, and intonation improved across the board because of the reduced rigidity. It still sounds plenty tight as long as the neck of the bass is rigid enough - I get the best low B from my graphite-necked Status, with Status' own taperwound stainless steel Hotwire strings. I use non-tapered strings on all my other basses. None of my 5-strings are currently passive though, but I'm not sure how that would make a difference. One of them has an active/passive-switch and sounds equally good in both settings. The Status always has the EQ engaged, and my Warwick only has an EQ bypass but has active pickups so it's never truly passive.

That's OK, they take up little space.

No nicknames for me, I usually just call them by their model name - my Jazz, my Musician, and so on. With the colour or the number of strings added if I have more than one.

I like when big manufacturers build something out of the ordinary for an artist, rather than just make a version of a bog standard model that just has a different finish or some subtle difference. For example, the Fender Roscoe Beck or the first Stu Hamm Urge (when it was still medium-scale) are really cool and unique twists that are familiarly Fender-shaped enough, but still the RB is not quite a Jazz and the Urge is not quite a Precision 😎. That said, I really like some more conventional models too that were based on the artist's actual favourite, like the JMJ or the Miller Jazz.