LeftyJ

Can confirm the same for the switch from bent-steel bridge to (brass?) BadAss II, sort of. I'm not sure if it's actually less bottom end, but there definitely is more of all the higher frequencies so it can easily be perceived as less bottom end, relative to the mids and highs.

I'm not so sure. I changed the classic bent-steel Fender bridge on my '75RI Jazz to a BadAss II, and you'd be amazed how it affects not only the tone but definitely your conception of the decay of played notes. The tone used to be thumpy and a note would die out fairly quickly. Now it is harmonically richer, tighter and definitely appears to ring out longer. But maybe that's just "feel", due to the richer harmonics.

My EBS NeoDrome (not really a tiltback combo, but can be tilted slightly with an additional handle underneath the combo) has a monitor input that can be blended with the bass signal, but does not go back out through the XLR. Works like a charm!

Stop getting us lefties all excited about a bass, only to find out you mirrored your webcam

Awesome! I love those quirky Streamliners. Looks pretty neat in white.

True, but the damage does not look that bad. These are 1050 Euros new (at music-store.de, who own the Fame brand. No lefty in stock at this moment, but they have a righty fretless at 1049). This is a steal, even accounting the few dents and the little crack.

Crosspost from the White Bass Porn Thread, so feel free to moderate accordingly if I'm not supposed to. Here's my white Status S2 Classic, with beautiful Buzzard-style white epoxy Roman numeral inlays, and a black sparkle S2 Classic 5-string. Both have bolt-on necks. The white one is an older model, with the old Hyperactive pickups and a board 300 preamp (which is wickedly LOUD, and the pickups have a brilliant sizzle to them). The 5-string has a board 303 with a small trimpot in the back to temper the output level. Both basses have belonged to other Basschatters before, the white one was Alan's (Whynot?) and the black one belonged to Rob (Bonin-in-the-boneyard), with whom I traded my Stingray 5 for this beauty. He has owned it from new since 2012 I believe, and I've had it since last August. The white one appears to have a small issue with the balance pot or the pickup wiring. With one pickup soloed, it has massive amounts of treble and top-end sizzle. However, with both pickups combined, it is a good deal less loud and loses most of its brightness. I'm not sure why this happens. Wrong pot value? Pickups connected out of phase? Has anyone else experienced this with Hyperactives and the Board 300 combination?

Here's my white Status S2 Classic, with beautiful Buzzard-style white epoxy Roman numeral inlays (with a black sparkle S2 Classic 5-string as an added bonus ). It's an older model, with the old Hyperactive pickups and a board 300 preamp (which is wickedly LOUD, and the pickups have a brilliant sizzle to them). The 5-string has a board 303 with a small trimpot in the back to temper the output level. Both basses have belonged to other Basschatters before, the white one was Alan's (Whynot?) and the black one belonged to Rob (Bonin-in-the-boneyard), with whom I traded my Stingray 5 for this beauty.

A LOT of bass for very little money: Fame Baphomet 4 neck-through with active EMG's, made by the craftsmen of Mayones in Poland, for a mere 150 Pounds! https://www.gumtree.com/p/guitar-instrument/left-handed-fame-baphomet-4-string-bass/1281422128

I suspect that circle looked a lot like this prior: That could make it an older Stagg B300.

Enjoy!

My pick would be the Streamer too, I'm not a fan of the Corvette / FNA bodyshape. I play a 2003 Streamer LX5 with a hefty piece of ovangkol for a neck, and despite being rather fat and almost square in places, it's really comfortable to play. I love the punch and growl too! I would like to add a Jazzman 5 at some point, if I can find an affordable used lefty.

I own an Ellio Martina Forza 5-string with Ellio's handwound large singlecoils and with an Aguilar OBP3 added. It has been my go-to bass ever since I bought it used in 2007. The neck is super comfortable, and the range of tones it produces reaches from classic Jazz Bass to modern boutique basses. It does look a bit dull and understated, with its natural ash body and maple/purpleheart neck with maple fingerboard. Visually, there's not much going on. But the tone and playability are just perfect! Service is great too. I've visited Ellio a couple of times at his home workshop for adjustments and some work on another bass of mine and he's a great guy, friendly and knowledgeable.

[quote name='stevie' timestamp='1508238576' post='3390694'] Here's a very entertaining YouTube track that features an ATK quite strongly (no idea about the model): https://youtu.be/tJzlHBN3BT4 Extraordinary musicianship throughout that band. [/quote] Looks like an F-Bass VF4 to me.

[quote name='NancyJohnson' timestamp='1507616592' post='3386724'] I have a soft spot for these. The design and build is top-notch but for one thing; a distinct lack of rosewood board availability. There never seemed to be any in black with a dark board. [/quote] I beg to differ. Meet the Indonesian-made ATK310: [IMG]http://www.californiamusic.fr/images_produits/2452_grand.jpg[/IMG]

[quote name='sblueplanet' timestamp='1507472770' post='3385679'] Fender Jazz MIM bargain https://www.ebay.co.uk/i/322813983940 [/quote] Your link leads to a righty Squier Precision that is no longer available.

I'm open to offers ;-) I only have the 5-string from my avatar left though, I've sold both my ATK300's.

Cool find, I love ATK's!

[quote name='Urban Bassman' timestamp='1507118629' post='3383412'] Beat me to it! Behold The Wal triple neck. Lock the thread... [/quote] Well... Not mine, but I once got to play this beast. Take a notoriously heavy instrument, and make it double... It's ridiculous!

My Aria SB-1000 is ridiculously heavy, but never left the house. I did gig my Ibanez MC924 a couple of times, that comes pretty close to the SB (the early model 924 with the mahogany wings with ash top and back). Have never weighed any of my instruments though.

I once installed an Audere in my Jazz, and I liked the tones I was getting, but somehow I found myself gradually stop bringing it to gigs and rehearsals. I think I even stopped playing it at home at some point, even though it used to be one of my favourites. I just wasn't getting along with it anymore, and disliked all the control options and unnecessary bells and whistles. Now I have it restored to passive again, with a regular passive tone control but with a rotary switch where the jack used to be that activates a subtle 6 dB bass boost, and it's all I need really. I can get all the classic Jazz Bass tones and that nice active sizzly Marcus Miller tone with the boost engaged, and I couldn't be happier! That being said, I also have basses with active EQ's I do like and use, subtly. On my Stingray 5 I used it a lot to make adjustments inbetween songs, and I have a bass with an OBP3 that I use a lot too. Usually I only boost some lows and cut highs when I use the onboard EQ. I don't really know what it was about the Audere that I didn't like. But I'm glad I changed it back! Sure beats fiddling with the amp controls inbetween songs.

I saw them too. The maple one is a bit overpriced, and the rosewood one isn't stock. They were never produced with rosewood fingerboard. I thought the frets looked rather high and wide too, and the double dot on the 24th position looks different from the rest. So I guess the entire fingerboard has been replaced at some point. I have one in sunburst and it's a lovely instrument with a wide and chunky neck, but still quite comfortable. Interestingly, mine doesn't have the covered quadralock neck bolts but a regular Fender-style neckplate with four big woodscrews.

Crap, now I need to start saving!