noelk27

Scout around and find yourself an SWR Redhead - £1500 new, but I got mine for £650 used. But if you can't find yourself one of those take a look at the SWR Working Pro range - the WP210C is the combo.

My only experience of cherry wood is in a 6-string acoustic guitar - back and sides, with a spruce top. Beautiful tone - a little more bass and mid range than it's rosewood sister. Now a little over 20 years old, and the finish has matured, darkening a tone or two over the years - now a beautiful deep colour with a red-ish hue. I'd certainly be tempted to try a cherry wood bass.

Well, given the rapid fall in the £ against the $ in recent weeks, you’d be better to factor on $1.75 to £1.00 - but remember that HMRC uses its own currency conversion rates, which are published on its website. The 21% is also more likely 21.5%. You’ve also missed the Customs clearance fee, which can be anything between £8.00 and £25.00 depending on carrier. And depending on method of payment, you may also have a surcharge to pay.

Very unlikely to be a Musicman pickup, although Fender have previously produce a pickup of this design. But if you want an original CLF something of this design, why not just buy a G&L L1000 or L1000E - either loaded or not, both of which look a hell of a lot better than this.

[quote name='CHRISDABASS' post='283145' date='Sep 13 2008, 12:17 PM']i was an elixir user for many years! i used to swear buy them! but i did always have issues with my sound that i couldn't seem to fix! there was a slight "deadness" to my sound that i couldn't get rid of no matter what amp setting etc! it was like a slight lack of clarity and "sparkle" that ive always searched for![/quote] The “deadness” is a consequence of the use of the polymeric material, which eradicates the voids created by the wrapping process. The word coating is somewhat misleading as the polymeric material is better thought of as a filler and not a coating - particularly with respect to Gore’s Elixir strings which have the superficial polymeric material removed by scraping. With this in mind, the deadening you perceived is a consequence of coated strings having an increased similarity to flatwound than roundwound strings, as the air pockets inherent in the wrapping of roundwound strings contribute to the perceived life of the string when it is new, and as these pockets fill with detritus the progressive deadening of the string over it’s playing life - in combination with other factors, such as surface damage.

[quote name='jcater' post='267844' date='Aug 22 2008, 12:45 PM']Thomastic ... I simply cannot imagine that there is a string out there that would convince me to change.[/quote] Undoubtedly a quality string. Perhaps you'll have already tried them, but my only other suggestion would be Junger GmbH's Pyramid Golds.

[quote name='ped' post='283099' date='Sep 13 2008, 10:03 AM']Hi Noel - Thanks for the correction. I thought the information I posted came from a top man at Elixir who gave us some free stuff to give away a while ago. Perhaps I have misunderstood. The animation here doesn't mention this though and is what I was trying to explain all along - a coating of the whole string, not the winding. [url="http://www.elixirstrings.com/whyelixir/czot.html#"]http://www.elixirstrings.com/whyelixir/czot.html#[/url] Cheers ped[/quote] Understandable. The source information you were relating has been filtered and reinterpreted for marketing purposes. Of course, all manufacturers are guilty of these presentational infractions, as when a speaker manufacturer presents a frequency-response curve to advocate the performance of their product - in isolation, completely meaningless in terms of providing information. The science of Elixir strings is quite interesting, but in no way original - Gore itself concedes this point in its patent, where an explanation of its process can be read in claims 15 and/or 41 (US6765136). Gore’s process of manufacture is somewhat innovative, but is only one approach to dealing with the treatment of wrap-core and wrap-wrap winding voids. There seems little doubt that Gore’s manufacturing process does allow for more of the inherent qualities of the wires utilised in the core and wraps of a string to dictate, and moves the coated string on from the positions achieved by the likes of D’Addario and Martin. Thereafter though, it’s entirely player subjective.

[quote name='ped' post='279703' date='Sep 8 2008, 12:59 PM']Worth noting very quickly that Elixir strings are patented - nobody else is allowed to make them by coating the string AFTER the string is wound (keeping out crap from entering the winds). Everyone else coats the string before it is wound, essentially meaning there is 'crap' - or coating - in between the winds from the outset.[/quote] Incorrect. Leave aside discussion of the different polymeric materials used in the various manufacturers’ processes, let us concentrate on the essential production aspect that differentiates WL Gore and Associates Inc’s process from that of other string manufacturers. The specific claim made by Gore for Elixir strings does not relate to when in the process the coating is applied, but is that after submersing a wound string in a bath of liquefied polymer, the string is then removed and any excess polymeric material is scraped from the surface of the string leaving only the interstitial voids filled by polymeric material. It is this process of scraping that differentiates Gore’s process, and Elixir strings, from those of other manufacturers. Indeed, in its patent of 2002, Gore specifically names D’Addario and Martin, and relates that their coated strings are manufactured by a similar process of winding followed by submersing to produce a fully coated string, referring to this coating as lacquer, before stating that such exterior coating wears quickly and is susceptible to cracking.

[quote name='BassManKev' post='281883' date='Sep 11 2008, 01:27 PM']its funny, i had a listing pulled for once for 'keyword spamming' withing hours, and it wasnt even spamming (my boss bassman pedal, i entitled it Boss Fender Bassman effects pedal, it was pulled for using Fender and Boss in the same title, despite that being exactly what it was!), but yet they don't do anything about this[/quote] I know the feeling, listing a G&L L2000 "by Leo Fender", to distinguish it from the later "Guitars by Leo" versions, exactly as the text printed on the headstock reads, only to have eBay pull it shortly after it was load for keyword spamming. Honesty and full description/disclosure are obviously not qualities eBay prioritise in listings.

[quote name='solo4652' post='281946' date='Sep 11 2008, 03:09 PM']So, something like a J-bass with a wide neck, or a P-bass with a J-tone. (?)[/quote] G&L Tribute L2000

I have to agree, that the provenance of this instrument sounds somewhat dubious. I’m sure it would be possible to validate the instrument’s heritage. But here’s a thought, would it be a workable idea to establish a thread on the forum where members could list stolen items – limiting content to musical instruments? I know it’s real needles in haystacks thinking, but having had much-loved instruments liberated from my domestic premises in years past I’d have found it something of a consolation.

[quote name='Shockwave' post='277873' date='Sep 5 2008, 01:43 PM']For some reason i just dont like the look of them. They also look quite heavy.[/quote] We all have our own tastes. However, having owned CLF Music Man, post-CLF Music Man and G&L basses I’ve not found there to be any radical weight differences - specific wood choices excepted. Balance, however, is another issue - but there again this is related to ergonomics and kinematics as much as specific design and aesthesia. For me there’s no competition, when it comes to Music Man and G&L 5-strings the L2500 wins, hands down. But, if you’re truly looking for a bass with a CLF heritage but a different sound, try to find yourself a G&L El Toro - the “mini-humbuckers” presentation of mid-range tonality is breath-taking.

[quote name='Mr. Foxen' post='276516' date='Sep 3 2008, 07:09 PM']In fact, gonna go look for a dimarzio model 1 now to make my p bass into one...[/quote] '69 Precision bass body with a '68 Telecaster neck, by any chance?

This must be one of those Marmite things.

[quote name='Deep Thought' post='274854' date='Sep 1 2008, 06:22 PM']Incidentally, my letter to Fender UK pointing out my displeasure at the pickup failure has had no reply.[/quote] Well, as you’ve placed the corporation on notice, by addressing your complaint to the customer services department in the first instance, and assuming you have a warranty or contractual leg to stand on, why I’d always suggest that your next letter should be sent recorded directly to the chief executive/managing director, outlining your complaint and your dissatisfaction with its handling. You’d be amazed at how often, and how quickly, this will get you a favourable outcome.

[quote name='D-COOPER' post='116077' date='Jan 8 2008, 09:51 AM']I actually already have an El Toro from the late 80's but its been neglected over the years in favour of a couple of "boutique" basses.I played it again recently and realised just how good the bass is.The bass control is more powerful than my other two basses combined and it just feels RIGHT!![/quote] For me, the El Toro has to be the best of all G&L basses - the mid-range tone of the mini humbuckers is fantastic. If anyone has an example of an El Toro they would like to dispose of, drop me a PM.

[quote name='benwhiteuk' post='271741' date='Aug 28 2008, 12:11 PM']What’s the story about the older G&L Tribute basses having “Tribute” in large capital letters on the headstock and bridge, but the newer ones only having “G&L”? Are there any fundamental differences with the older Tribute basses compared to the newer ones that have made G&L want to play down the “Tribute” badges on the newer basses?[/quote] Tribute Series instruments were originally produced in Japan, before production moved to South Korea and then Indonesia. (Both these latter facilities being Cort production plants as mentioned.) The logo change occurred during the time production was being undertaken in South Korea. According to a marketing release at the time, the change was implemented for brand recognition and association reasons, as a consequence of the favourable reception the Tribute Series instruments had received in the US and other territories. As to quality issues, being lucky enough to own Japanese, Korean and Indonesian premium examples, I have to say that all are of a remarkably high standard. However, the Indonesian example did arrive with some apparent quality issues - one of the bridge anchoring screws sitting proud, a mis-drilled hole for the string retaining tree and some less than adequately finished fret wires. Also, the rosewood touchboard appeared of an inferior quality to the others - partly why I had the Indonesian example de-fretted and touchboard treated with epoxy, to use as my backup fretless.