LeftyJ

I use the Mono M80 flightbag with my headless Status basses, without the rubber sole but only with some studded rubber pads at the bottom. No issues with that one.

I like a burst that's done well, with a nice colour fade from natural to black. I hate the kind that's just yellow with a red ring and a black outer ring, like 70s Fender target bursts. These days I prefer solid finishes or bare exotic woods though.

They're very similar in many ways, and you can't go wrong with either. The most noticeable differences will be the neck finish (matte black lacquer on the RBX375 which will quickly polish to gloss from playing it a lot, natural satin on the TRBX305) and the control options (the TRBX305 has an added switch with a few preset EQ options). The guitarist in my band has the RBX375 and it is easy to play, looks great and sounds great, but I find the neck feels a bit plasticky. Personally I would much prefer the satin laquer on the TRBX neck.

They're essentially the classic NS model though, so it was just a matter of glueing some other woods together than usual and feeding them into the CNC machines to sculpt them to the usual specs. Shouldn't be too expensive to produce a limited batch based on an existing model that way. Producing a small batch of an entirely new model would be quite something else.

Oh man, that thumping tone on Operation:Mindcrime

Find a hot J-sized stacked-humbucker! A humbucking pickup will blend great with any splitcoil, as they're both in series and will compliment eachother nicely. The blended positions will also be fully humcancelling with this combination, unlike a splitcoil coupled with a true singlecoil. The series wiring also makes its output just that bit hotter. It's exactly the reason why the Fender Ultra P mentioned above works so well: it has a Fender Noiseless J-pickup, which is also a stacked humbucker.

For me, it's someone playing an iconic signature bass of another iconic bassist Martin Mendez of Opeth and his Fender MIJ Marcus Miller signature were one of my main reasons for picking up playing bass. His playing and his tone on the Blackwater Park album really struck awe with me, especially that rumbling bit of overdriven slap bass in the title track. I had been playing guitar for a few years when that album came out and I think I had just bought my first bass (but I'm not sure, it's been 21 years!) and this album inspired me to play it a LOT. He and drummer Martin Lopez brought a unique groove to the band that's been slightly lost since Martin Axenroth (no, I don't think being named Martin is a prerequisite to join, but it definitely seems to help) took over drum duties.

Can imagine. I briefly owned a B2A a year ago (but sadly had to sell because of funds, after one of the cam shafts in my Volvo broke) and it was fun, but the ergonomics really are something else. The string spacing was not unlike some of my 5-strings so that kinda worked for me. What troubled me most were the strap button positions. With the strap attached behind the 21st fret, it hung in such a way that the first position was awkwardly far away. I was surprised by how good it sounded though, with the active electronics engaged. Switched to passive, I think it sounded muffled and dull and lacked life.

How much more 80s than a headless S1000 could one ever need? It doesn't get more 80s than that! Well, maybe a Steinberger...

Wow! That must be a real rarebird. Very cool, very eighties, and probably very heavy

Yes, all perfectly normal. Welcome aboard 😉

Technically I'd say it still counts as a bass guitar, but it's definitely unusual: It's a Longbow "American Classic" fretless 2-string, but in the one band where I had a use for it it was affectionately known as the "IKEA table leg". While it may look very crude and rough, it's actually pretty nicely made. It's an oil-finished piece of flamed maple without a truss rod, with a bone nut and two generic tuners. The two monorail bridges are recessed, and even strung through-body (below the strap button are two ferrules). The pickups are two custom made stacked humbuckers, roughly in the P-position. By request they would also fit the pickup in the Gibson EB-0 position, which they called the "dub" option. It's incredibly uncomfortable to play since the beam of maple used is almost as thick as it is wide, but wherever I whip it out I can be sure to get a reaction. The manufacturer recommended a rifle bag for transportation, which will raise some eyebrows when you carry it in residential areas. The one pictured is a righty, but the one I still own is a proper lefty. I've owned two, one righty 30" from the original batch and one lefty 32" that I ordered new during their brief resurrection years ago.

I would stay right clear of that Streamer. That's a first generation Rockbass, identifiable by its one-piece bridge (later models had the two-piece Warwick bridge) and the Strat-style jackplate. These were nothing special, and are often offered for far more than they're worth because people take the newer Rockbass series as reference, when in reality Thomann were basically giving these away for 99-129 euros depending on the number of pickups when they were discontinued. It's not going to be as nice as your LTD, and it's got none of the typical Warwick features the brand is known and loved (or hated) for. I don't think it would be a fair trade, considering the LTD cost roughly €600 new at the moment.

Wait, not so fast! Nobody has mentioned Wishbass yet, or master luthier Mark D. Phillips and his stunning PGsGC creations!

This was posted on the Dutch bass forum I frequently attend, and was apparently made for the bass player of a Macca tribute band to cover both his Höfner and his Rickenbacker era. As much as I appreciate the attention to detail on this, I think it looks ugly as all hell!

Mine is without a doubt Dredg - Live at the Fillmore. With the late Chi Cheng (Deftones) on bass. Awesome album of an awesome show.

If you mean the AFR, the bridge fits perfectly. It's the lever of the D-tuner you're seeing (also designed by Rolf Spuler) Here's a similar one on an SR3000:

"Are you feeling the dad vibes?" Hell yes. Fred Durst looks like the Bad Grandpa from Jackass

Haven't tried it on my S2 Classics, but I'll follow this thread with keen interest

Hi back from the Netherlands

That's lovely! Not even Warwick themselves use these Schaller bridges anymore. All Warwicks, with the exception of the custom shop models, now feature a "fake Warwick Bridge" made to their specifications somewhere in the far east with lower quality standards. These are used on both the Asian-made Rockbass line and the German Pro Series. The custom shop models feature machined brass bridges these days, with eye-watering prices. Very cool find, and at an absolute steal! Lovely bass.

With EMG, 35 simply refers to the width of the housing (3.5") and DC indicates Double Coil. There is indeed a 35JA (without the DC prefix) which is a Jazz style pickup in a soapbar casing. Are the magnets strong enough to be able to feel where in the housing they are, maybe with a small screwdriver?

I've gone straight into my amp for years, but have always loved to tinker with effects pedals at home and have owned several multi-FX to get familiar with various types of effects and their parameters. I've especially always loved drive pedals, but never really used them live. I like the mild tube drive I get from my Ampeg preamp and it's usually been sufficient. Almost two years ago I got a gig with a doom metal band, and wanted to mimic the bass sound from their previous album as closely as possible live so I dusted off my Darkglass B7K and brought that with me on stage and LOVED it. I got loads of positive responses from other musicians too, both in the band itself and from the other bands performing that night. I have since bought a Pedaltrain Nano and a TC Electronic Polytune 3 Noir and added a compressor and a chorus that I already had laying around, and it serves me well! It's powered by a simple 1-Spot and daisy chain, and I'm using EBS patch cables with very flat jack plugs.

Really? It appears to be nowhere near the bridge end of the B string, and it doesn't even appear to align with the B-string. It would also completely defeat the purpose of those Dingwall taperwound strings. Edit: here is a picture to illustrate the above. This is the back of a Z3 5-string, with a different type of bridge that has mounting screws on the back. A ferrule to feed the B-string through the body would have been below that furthest mounting screw, and not so close to the battery cavity. More pics of this particular bass If anything, it looks like one of those recessed Dunlop strap locks but the position seems weird to me so I'm really curious and hope @Bobthedog will chime in

The quality of the current Warwick tuners is a wellknown problem and gets discussed on the Warwick owners Facebook group regularly. If I'm not mistaken, @FDC484950is right about the Hipshots being drop-in replacements. I've seen several people on Facebook succesfully replace their broken tuners with them without issues or modifications. My 2001 Streamer LX still has its stock tuners, and my 2003 Streamer LX5 had its worn gold hardware replaced with original black Warwick hardware in 2013(ish) and they're still going strong, but the tuners don't feel very solid. The 2003 also had a JAN II like your Infinity, but both the guide tabs on the outer edges had broken off or disintegrated so I replaced it with a Tedur JAN III. The 2001 has a brass JAN I. Both are great, but the JAN III is far easier to adjust and has the strings laying slightly closer to the edge of the fretboard, which I like.