Chris2112

I would expect there to be very little noticeable difference in the tone over a solidbody, particularly at any sort of level where the room acoustics start to affect your tone.

I'm one of those who loves a midrange control so I can gently push the upper mids when I need to. I very rarely, if ever, boost the bass control over flat on anything, unless the room is extremely poor. Regarding the response of the Sadowsky preamp, I haven't tried it, but there are few if any active systems that come to mind that would soubd good with the bass boost at more than a quarter turn. Modern bass amps will easily amplify those excessive low frequencies into an unpleasant boom. The secret is midrange, always midrange.

Hi Gallery dudes, I bought this Bogart from you a couple of months ago, absolutely love it. Glad I checked the website when I did.

Reminds me of an old Basschat/Talkbass user, Bassybill, who had two really cool Warmoth jazz basses, blue one and a green one IIRC. They looked mint and he loved them but admitted their monetary worth was far below their value to him. I haven't seen him post in a while. I hope he is well. The name on the hesdstock counts for a lot these days. Anything with a parts catalogue history takes a massive hit. Warmoth and Carvin were prime examples of this. Those Farida basses look brilliant. If they are as good as you say, hang on to them.

It's really cool that this bass has a magnetic pickup hidden away in there. I've always liked the exotic appearance of these extended board fretless basses, but the lack of a magnetic pickup in the majority of them rather puts me off. I find piezos to be a novel sound, but I wouldn't want a bass that can only do piezo tones. Furthermore, a lot of the time I see piezo equipped fretless basses being played like an upright, with the player plucking softly around the 24th position. That's not a great sound to my ears. The magnetic pickup in this Shuker affords great tone and exotic looks.

They look like a good couple of basses, lads.

Very smart. That finish on the back looks very good.

The Ibanez has finally went, ending my procrastination. In the end, it came down to an offer being on the table and my acceptance that despite being a lovely instrument, it would always be the last to come out of it's case. I'm determined not to just plough the money coming back in into another bass, as tempting as that might be. If I was in a position where something as good as the Ibanez is the least likely to be played, it doesn't make much sense to buy another bass, at least for now. I might just put the cash towards a new computer but I have been thinking of buying a synth or electric piano for my daughter once I've got my music room sorted out. I wasn't sentimental about basses in the past, but given that this bass got me back into playing after a few years messing round with guitars, I hope it continues to give enjoyment in new hands.

SR's are great basses. I've just this evening boxed up my SR3006 Prestige for shipping on Tuesday after three years of ownership. Before I got that, I'd always liked the SR but that bass was was the lightbulb moment for me in terms of why they remain so enduringly popular. Just a superb mix of amazing playability, great tone and great construction. There is an SR for everyone, at any budget.

I can only imagine how good a Warwick with Alembic pickups would sound. Mike Flynn's old Thumb NT with the Schack preamp also sounded great, his tone was never better IMO.

That nut looks a bit shonky but it could just be the photos.

I just find that the wenge accentuates the upper mids more than ovangkol. The ovangkol does sound good but it's not as 'tight' sounding to my ears as wenge. No Thumb is lacking in midrange but the specific frequencies which each wood accentuates differ. I say this as a connoisseur of Thumbs. I adore them. I can't walk into a room with a Thumb in it without picking it up. I fancy that I might own an NT 4 in the future - wenge neck plz! The best Warwick I've ever played was a 1990 Streamer Ltd Edition that I owned a few years back. Bartolini soapbars, solid birdseye maple wings and a maple thru-neck. It had a lot of Spector quality in the tone. An exceptional bass.

Yes, they are excellent used buys. Check out the guy who took a total bath here recently on a Masterbuilt Stuart Hamm Streamer for a sobering read. Circa £5000 new, couldn't sell for a third of that a few months later...

Pedulla Buzz, of course.

I don't think they have ever been through a rough patch, but the post 2000 period was probably a low point for them, because... 1) The JAN II just wasn't good enough. I don't think I have ever seen a used JAN II model that didn't have the tabs on the side of the nut snapped off. That's easily sorted these days but at the time, it was clearly inferior. 2) The move to ovangkol necks away from wenge. The wenge necks looked better, sounded better and felt better. The ovankgol necks not only sounded worse, but they were cut much fatter too. I had a 1998 Thumb BO 4 string with a wenge neck and a 2005 or 2006 BO 5 Broad Neck. The sound and feel was remarkably different. I once played a violin-honey colour Corvette FNA Jazzman at Howard's and it had a disproportionately massive, clubby neck and miserable tone. I can get on with most any neck so it takes a real stinker to stand out. I never found any reasonable explanation as to why Warwick shifted from a slim C shaped neck to a fat D profile. Perhaps the ovangkol couldn't be cut as thin as wenge. Whilst Warwick have clearly upped their game, they're still in a bit of a range-mess. Aside from the master built stuff, I'm not sure what's German and whats Korean. Their prices have ballooned but they still tank in value massively on the used market.

I've listened to Lateralus plenty over the years but I've never listened to it all the way through. Like any Tool album, it has it's share of dud tracks that I just wouldn't revisit. I love Tool, it has to be said. But given their low work rate and the duff tracks on each album, I feel as though you could take the handful of amazing songs on each record and compile them all together into the ultimate Tool album. That would surely be one of the best rock albums of all time.

I should have bought a Pedulla Pentabuzz years ago. I played one when I was 18 and decided there and then it was the fretless bass of my dreams, but I faffed on for a decade with a couple of other fretless basses that came and went. Ten years later, I bought finally bought a Pentabuzz. I should have just shelled out back in my early 20's but I'm glad to have one now.

It sounds like I need a Focusrite Scarlett for my home recording and a DI for everything else! Although looking at the Fishman Platinum, it doesn't seem to have the high pass filter that I was interested in. The search continues!

Evening lads, I'm currently looking at getting a DI box to record to my computer. I've never owned one before but my plan over winter is to buy a decent gaming PC with some recording functions built in (so a decent soundcard will be a must). I was after a DI to add to my signal chain. First of all, I wanted to add a high pass filter just to add that extra layer of control to my tone and to cut out some of those articulation and power-sapping subsonic frequencies. I see that some pedals, like the Fishman Platinum, have that feature. I could use it for day to day playing, live use and recording at home. That said, beyond the Sansamp Bass Driver, I don't really know much about DI boxes. The Fishman Platinum looks appealing as it seems to have a good look, which looks pretty well made, and it has good features. I've never used any Fishman stuff before but I know they are well regarded. What else should I consider?

Bloody hell, they're very good.

I can't say that there has been any change in any of my basses, despite the awful humidity and high temperatures on seemingly alternating days. My Bogart I would expect to be fine, but its my wooden basses that suprised me. My Pedulla Pentabuzz, my Ibanez SR3006 and my Cort Rithimic are all set up for very low action and haven't moved at all, despite the conditions! I keep a close eye on them in weather like this.

Did you sell a Leduc Logabass recently? I've always wanted one of those.

I think these double-course basses always work best with a pick. It seems to make the thinner string ring with more presence and clarity than just playing with fingers, so Dave Ellefson should get excellent results from it.