LeftyJ

But they all have that ugly inlay on the 12th position Awesome news though! Even the 5-string version of their EB model

I thought of SEI earlier on, and now I'm certain. Compare it to this one (with a bolt-on neck though) at the Bass Gallery: [url="http://www.thebassgallery.com/product_details.cfm?ID=2670&type=Bass%20Guitar"]http://www.thebassga...e=Bass%20Guitar[/url] Looks very similar, same headstock shape and print too.

The pickups appear to be replacements too? They don't even use the screwholes in the original mounting rings, so they must be mounted directly to the body wood. Great and beautiful basses, but this one... I don't know. I think I'm with RhysP on this one.

[quote name='MoJo' timestamp='1390473535' post='2345724'] Yep.....Rickenbacker 4003.....huge disappointment [/quote] Oh. Completely forgot about that one. Same here. Bought one new in January 2009 right before they stopped building lefties, couldn't get on with the wide, fat neck (very square feel to it), the lack of a proper place to rest my thumb and the overall (lack of) ergonomics of the bass. I liked the tone of the bridge pickup, but hated the neck pickup (muddy, weak, non-distinct) and couldn't really find good in-between tones. I absolutely loved the look of it, and I love the tone some Rickenbacker players get out of theirs, but the one I got wasn't for me. I wonder if I'll like an older one with a slimmer neck better. I regretfully sold it after I totalled my previous car and needed the money for a new one, but I've never missed it afterwards.

I sold my first bass (an old Japanese-made Condor Jazz Bass with a plywood body and a great-looking all-maple neck with block inlays but no bindings) when I got my second one (a Yamaha TRB5II) and stopped playing the Condor alltogether. A few years letter I started regretting it, and contacted the guy who had bought my old one, but he wouldn't trade it for the world. So I sourced another one and bought that. IT SUCKED. It was just awful! Sold it again within two weeks, never looked back As for basses I've lusted after for a long time, I usually got it right. - I really badly wanted an Ibanez Musician without ever being able to try one first (very hard to find lefthanded, I searched for almost 4 years) and suddenly two popped up, two different versions, one in Belgium and one near me in the Netherlands. I bought them both and they exceeded my expectations. I recorded almost an entire album with both of them! - I've always wanted a Stingray 5. I once even drove to Belgium just to try out and possibly buy a lefty in teal green transparent. It turned out to be pretty beat-up, with a very poor setup and crazy high action, but I loved the feel of the neck and the tone so it just made my GAS worse. Something else crossed my path and I bought that first, and couldn't afford a Stingray 5 for the next few years. I'm glad I waited, because eventually the right Stingray 5 appeared on eBay in the UK and I couldn't be happier with it: incredible finish (Autumn Redburst Sparkle, never seen another one like it) with an all-maple neck, in perfect condition, at an incredible price. And rather than having to get it shipped to my door, the seller's band turned out to play 10 km from my house a month after the auction ended and he put me on the guest list so I could come pick it up there in person. Very pleasant surprise!

Maybe you'll like this one too. These guys are doing full band cover versions of some dubstep songs. Their bass player plays a fretless with a wicked drive pedal and an envelope filter hooked up to a Source Audio Hot Hand to control the envelope, and a talkbox to emulate those signature dubstep bass sounds, and it sounds really cool: [media]http://www.youtube.com/watch?v=oOysh1Y3ohE#t=4m50.5s[/media]

[quote name='BigRedX' timestamp='1390429940' post='2345493'] OK. Then put a mic on one of the speakers and DI direct from the bass. The mic records the sound you want to use and the DI from the bass is the purest signal possible in case you change your mind and can use it to re-amp either with your amp or with plug-ins, instead of having to play the part again. [/quote] This [quote name='roonjuice' timestamp='1390433778' post='2345541'] slash's guitar is Di'd. Fact (It is also mic'd but primarily di'd) Palmer Di's inbetween head and cab [/quote] Those Palmer units are awesome. My band doesn't always use cabs on-stage, but we do like to keep our own sound when playing live, no matter how big the venue is and how much we can lug, so one of our guitarists hooks up his Mesa Mk IV to a 19" Palmer power soak / DI unit, and it's awesome. It's got some great and very useful variable tone filters to enhance the sound to your liking, and it truly sounds very close to his guitar tone through a good cabinet (in his case, a Mesa Road King 4x12). I would never record with it, but for live DI'ing it's awesome and very useful.

[quote name='RAY AGAINST THE MACHINE' timestamp='1390394917' post='2344831'] Is this better than bass guitar into mixer.? [/quote] Are we talking about recording or live use? On stage, I usually just use my amp's DI-out, and if I can I will also mic my cab because a mic captures the tube drive of my Ampeg preamp in a much nicer way. In the studio, I like to have choice so I generally take both a DI in front of my amp, the DI out of my amp, and a mic too if I can. My bass directly through a DI into the mixing desk provides a nice clean foundation with clear and well-defined lows for low-end push. Then I take the DI out of my amp for 'my' tone. And preferably a mic too because the tube drive of my Ampeg just sounds nicer through some good bass speakers with a mic in front In my experience, most live sound techs are lazy and just want a good DI signal to work with.

[quote name='wateroftyne' timestamp='1390399455' post='2344945'] To be fair, a great bass amp with 'Fender' on the front of it is worth more to Fender than one with 'Genz Benz' on it. [/quote] Not to most bass players, I'm afraid. Fender guitar amps are legendary, and the all-tube Fender Bassman models are just as iconic, and nobody would dare argue the impact of The Fender Bass, but few people will remember Fender for the solid state and hybrid bass amps they've issued throughout the years, even if they were great. I don't really know why, some great amps were among them (think of the TB600 and TB1200 and the great TBP-1 preamp). Whereas Genz Benz have a solid reputation both for their awesome bass amps and their ported guitar cabinets.

I like my EBS NeoDrome 12 a lot. It's just a small 1x12 combo with a separate tweeter, and only packs a mere 150 watts, but it's rediculously loud for such a small package. I had a Drome 12 in the past that I gigged with a few times but somehow sold for reasons I can't remember. I now have its successor, the NeoDrome, with a Neodynium speaker, which is slightly lighter in weight and sounds great. I also owned an old EBS Gorm 350 2x10 which was also insanely loud and could effortlessly keep up with the Marshall TSL100 with 4x12 of the guitarist I played with back then. Unlike many combo amps out there, EBS does not outfit their combos with external speaker outputs and sends ALL the power to the internal speakers. You can argue whether that's practical if you also want to play bigger venues with the amp and really WANT to hook up an extension cab, but in many situations these amps with just the internal speakers will blow you away! What also helps is EBS amps naturally have a very tight sound with fairly little subbass frequencies that consume massive loads of output power. I had an Ashdown ABM300 2x10 combo that suffered from too much sub, I had to turn the bass EQ knob to 9 o'clock just in order to be heard! I'm also deeply impressed by Tecamp. They don't come cheap, but they pack insane amounts of power and volume in insanely lightweight and compact packages. Their Puma 1x12 combo weighs less than 2/3rd of my EBS 1x12, is more compact than my EBS and sounds awesome.

Reminds me more of the TC RebelHead series (RH450), with that handle on the side.

My first thought was Sandberg too, but the headstock doesn't match. The 'hook' bit is much more pronounced on this one. Tough one, could be anything! I was also thinking about Bacchus or Atelier Z for a moment, but most Atelier Z basses with fancy tops have a different 3+2 headstock design.

[quote name='RandomBass' timestamp='1390166406' post='2342279'] Make it Basschat.orgy and I might be interested [/quote] Nah. Too many ugly-ass dudes here, not enough beautiful women

I don't know, but there are two more videos from their appearance in Later with Jools Holland on Youtube (Rome Wasn't Built in One Day and Be Yourself) which feature the bass more prominently.

Should be fairly easily accomplished. You'd say a P-bass would be the perfect basis, with its splitcoil pickup. It shouldn't be too much of a hassle to separate the two coils and send them to separate outputs. A Wal pickup will also accommodate this, as each pole has its own coil - but who would be willing to cut up his fairly rare Wal electronics and mod the heck out of it? Manfred Mann and bass player Mark Griffiths have actually patented a similar concept, but I don't think it ever made it into production instruments: http://www.sidasante.com/markcv/stereo.htm http://www.platform-end.co.uk/html/downtoearth.html

[quote name='Alfie' timestamp='1389380267' post='2333710'] Has anyone ever tried a bass and then bought one from the extra stock, rather than the one they played? [/quote] Never, and I never would. No two instruments are exactly alike. If you like the display model you tried, that's no guarantee for the one from the extra stock. It may be lighter, heavier, the quality of the finish or the fretting may not be as nice, the wood may not be as pretty, or whatever other reason you can come up with why the instrument may differ from a similar one and might be less good (or the other way round of course!). And if I really wanted a brand new, untouched instrument, I would make damn sure I could try the one from the extra stock too before I took it home

[quote name='sblueplanet' timestamp='1388763804' post='2325783'] Cool rare lefty Ibanez Musician on ebay at moment. Im way too small for one of those though. [/quote] Isn't that HADGE from this forum? He was also selling his Warwick Streamer LX Jazzman. Those Musicians are indeed big basses, the lowest notes are pretty far away. But you owned a Thumb, you should be used to that . They're also really heavy. I love mine though. I also have a later version with ash body wings instead of mahogany with ash veneers, which is a fair bit lighter and slightly more ergonomic and compact (the bridge is placed a fraction further backwards). Awesome basses!

[quote name='BigRedX' timestamp='1386936089' post='2306562'] LeftyJ, Can you please explain the advantages of Bandcamp because the site themselves seem to be so rubbish at doing it.[/quote] In my opinion, the main advantages are:[list] [*]You can offer your album both as a download (in many different file formats) and on CD; [*]You can easily set up preorders for fans as a means of crowdfunding your release; [*]It's fairly easy to personalise your page or integrate your webshop into your website and vice versa, and onto your social media pages; [*]You can generate free download codes for promotion of your album and for sending to various media. These can only be used once, and not be passed on, so this is a fairly safe method and has served us well for reaching reviewers. Bookers on the other hand tend to do absolutely nothing with them, they generally can't be arsed to go through the effort of downloading anything; [*]You can easily pass around discount codes; [*]Fans are free to pay more than your asking price, and you'll be surprised how many fans actually do. We were! [/list] [quote name='BigRedX' timestamp='1386936089' post='2306562'] Even physical sales can be just as easily done from my band's own website and that way we get to keep a larger percentage of the purchase price, and because all the band's merchandise is on the same page, someone buying the new EP may well decide to get a T-shirt as well while they are there - something that you don't appear to be able to do from Bandcamp.[/quote] [url="http://evesfall.bandcamp.com/merch"]You can[/url] . And on Bandcamp you get most of the price. Bandcamp just takes 15% on downloads and 10% on merchandise and physical CD's, and then there's the PayPal transaction cost of course. All in all we get to keep about 75-80% of sales. [quote name='BigRedX' timestamp='1386936089' post='2306562'] I'm also not a fan of physical distribution deals without having a proper record company to back them up. IME they take a lot of time and effort to set up, it ties up a proportion of your stock, and you'll be very lucky to get the all money and any unsold stock back at the end of the deal.[/quote] I agree with you on that, but there are more options here. The way we do it, our album is in consignment with a distributor. They requested 50 copies for their stock. They send us a monthly automated email with our sales for the month, and we can send an invoice as soon as the combined sales reach €160. It's easy, it barely costs us any time, and they only needed 50 CD's of our stock. I agree that without a record company backing them up and promoting your release, a construction like this will not do much for your sales. We also made a bit of a mistake here: we were offered a great purchase price for our CD's, but this leads to excessively high in-store prices being charged for our album! We didn't think of that beforehand, we just thought "Oh great, big profits!" For example, we sell our CD for €10 at gigs and on Bandcamp (we're free to ask whatever we want, no limitations here from our distributor), but in the largest record webshop in the Netherlands it'll cost you €18,49... [quote name='BigRedX' timestamp='1386936089' post='2306562'] In the end selling through an Aggregator is mostly vanity selling unless you get lucky. My band sells about 10 times as many copies of our two EPs at gigs then we do from our web site or as downloads combined.[/quote] Same here, our sales revenue through CDbaby is just about double of what it cost us to set up the account. Bandcamp revenue on the other hand is about equal to our sales at gigs!

Whatever aggregator you choose, ALWAYS sell through Bandcamp as well! None of the digital distribution sites require exclusivity, you are always free to use a different in-store distributor and/or your own webshop or Bandcamp simultaneously. It works like a charm! My band uses CDbaby, Bandcamp and we also have our album in consignment with an in-store distributor that operates in the Netherlands, Belgium and Luxemburg (Sonic Rendezvous). I wrote out a whole 8-page comparison of several aggregators and Bandcamp for my band when we were in your position a year ago. I wish I could share it here, but it's all in Dutch! I looked at Bandcamp, CDbaby, Rebeat, Songflow and Tunecore. We chose CDbaby because they've been in the business the longest, have a good reputation, a large network of retailers, they can sell and distribute physical CD's too, and their rates seemed fair. In the end we didn't use CDbaby for physical CD's, because they only stock 5 pieces at first. The shipping costs would get very expensive if we'd have to send them just small numbers of CD's per mail every time. Shipping to the USA is expensive! Personally I'm very happy with CDbaby so far, but if I were to do it all over again today, I'd probably pick Rebeat. Their list of retailers is HUGE, their computer application appears very easy to use, and they charge a one-time fee of €99 and after that it's only €1 per song, €5 for a barcode for your album or single, and €1 per song to request an ISRC-code which seems fair. If you're planning on doing more than one release, that's fairly affordable. Only downside is they require a Credit Card to charge all your payments. No PayPal or bank transfer or whatever! They do pay you by bank transfer though. Bandcamp just requires a PayPal account for all payments, and is very easy to use. What's very cool about Bandcamp is that you can also offer your album on presale, before the actual release date. You can offer any number of tracks for immediate download at purchase, and you can ship out the CD's later. Bandcamp will release the other tracks for download as soon as you've manually confirmed the release date has been reached. That way, you can more or less use Bandcamp for "crowdfunding" too! Most of our sales (aside from CD sales at gigs) went via Bandcamp

Interesting SSI to the far left, I've never seen one with dual splitcoils!

Hey, that looks very similar to a Daion bass somebody I know owns. Might be related?

Riiiiight. So basically they're just saying "F*** you, go get a right-handed one and flip it" and even assuming you're going to do that anyway, as they're asking for your serial number already

Pretty cool, needs some tidying up but looks like a lovely player given the right amount of TLC

[quote name='TraceAmp' timestamp='1373520492' post='2138485'] [/quote] Awesome collection! I use the SVP-CL and SVP-PRO too, love both of them.

Forget it, they're not going to... Maybe save up for a Schecter Hellcat VI?