lozbass

"I would recommend you play with your ears and not your eyes!" 'Wish I'd read this many years ago - it would have saved a lot of frustration.

"I'd like to think the original purchaser requested this. Otherwise, if it had been me, it would have been straight back in the box to Fender..." I don't want to get off-topic here, but absolutely right! AFAIK, the original purchaser did spec 'on the line' dots. The bass turned up with 'between the line' dots and various other cock-ups (non-correct machine heads for a '64, not drilled for ashtrays, ashtrays not present). He sent it straight back (I won't list the price here but you can imagine) - corrections were performed but there was apparently nothing that could be done (invisibly) about the dots. Also, when the bass came back across the ocean, the ashtrays had been screwed on too tightly and the ultra-thin and soft nitro finish had been slightly marked - almost unbelievable! At this point the original purchaser had seen enough and off-loaded (personally, I'd have sent it back again and insisted that Fender got it right). The dots really don't bother me - a bit of a conversation piece - I've stopped looking at the board (I finally learned after many attempts with fretless that 'looking' was where I was going wrong). I've had the bass for a while now but only recently took it in for - what is in reality - a minor finish repair. It's a lovely bass (two tone burst - a particular favourite) and plays absolutely beautifully following the Gallery (Martin's) set-up. When it returns (restored to original glory), I'll post a few pics. Back to topic - JLC - I'm pleased this anomaly/quandary appears to be sorted out!

Headless is about to make a comeback for me - I took my old Status Series II out of its case for the first time in ages last week and was astonished! Compact, light, really easy to use, amazing sustain, amazing tone.

I took delivery of some Newtone strings on Saturday - first impressions of the strings and company are excellent. I'd had a real struggle finding strings for a 30.75" scale (with a couple of inches to be added from bridge to string retainer). After using a hybrid of two sets to get the length and guages I was looking for (an expensive option requiring acquisition of custom made brass gromets to accommodate the small ball end on a couple of strings from a baritone set!), I went to Newtone for a solution. I forwarded a very detailed spec for unusual guages, length, custom winding and custom silking (both ends of the string) and two sets were delivered within around three weeks. They appear to be beautifully made with fantastic attention to detail (I could even select the silking colour). Of course, they're not cheap but not really much more expensive than standard high-quality strings. I'll have set fitted in a few weeks and post again...my first impressions are extremely good, but who knows until I get to play them! Does anyone else on here have any experience? I'd say that the company is definitely worth a try if you have very specific requirements or a problem instrument.

Not sure this adds much at all...but...of the lined fretless basses I've had, the note has been on the line not between it. My current fretless (Jazz) is unlined but the dots are in the standard positions for a fretted bass. When I took it for a re-string and set-up recently, the luthier initially thought it needed a new bridge as it apparently wouldn't intonate properly - he's assumed that the dots were 'on the line'. When informed that the dots were indeed in the standard fretted (between the line) position, the bass intonated beautifully. The between the lines dotting was apparently one of many cock-ups when the bass was Masterbuilt by Fender. (Maybe a bit off topic but beware if buying a custom Masterbuilt - I wasn't the original purchaser but you may not get what you expected/spec'd. I'd think it pretty unusual for an unlined fretless to have dots in the standard fretted position.) You could try re-intonating the Ashbory - this may be the source of the problem. However, my own experience with fretless basses leads me to believe that it's better to avoid looking at the board. I try to play by listening and feeling alone and have had much greater success than when watching what I'm doing.

I certainly wouldn't want to discourage you but there are a lot of valve amps with different sounds/inherent tonal characteristics. A hybrid might be a good idea (as suggested earlier). If you have a chance, try as many examples as possible (in shops, rehearsal rooms and at gigs if you can - I realise this might not be easy, but it's probably worth travelling if you're to avoid wasting money on a sub-optimal solution). You might be surprised at the variation, and at differeng abilities to cut through in gig situations. Some valve amps don't really add a lot of grit, just warmth.

Go for it, the Wizards are fantastic IMO. However, don't sell the G3!

Some useful comments and experiences - to quickly respond to a few: Neckdive - I honestly didn't find this a particular problem on the examples I tried (neither did/does my friend's son), that said, I've been playing a Ripper for much of the past thirty years (on a variety of straps) and may have adapted my posture/style a little; 3 point bridge - again, not a problem to me but I've used one for years. In fact, I find them to be very useable and reliable once you get used to them - I tend to have quite a lot of pro re-strings and set-ups too and haven't had a luthier/tech complain. I didn't really compare the newer 3 point with my older one but it didn't look/feel flimsy and I quite like the solid fixings; Muddy sound and lack of versatility - I tried a few examples and had some serious time with the EB3 in Music Ground (the bass at the Manchester shop was nicely set-up at my request). To my ears, the bass didn't sound like the Gibson EB0s and 3s I've played over the years. The sound was much more refined and clean and the bridge pickup soloed was surprisingly compressed and modern. With a bit of tweaking of the controls and some variation in right-hand positioning I was able to get a really useable and varied palette (had this not been the case, I wouldn't have recommended the bass for a beginner); Prices - I had a good look around: in-store price is around £270 (with a cash discount) but you can get an EB3 for about £180 online. Pros and cons to each, however, I'd be more likely to opt for the online purchase and spend some of the savings on a decent set of strings and a good pro set-up.

I was checking out some Epiphone EB3s for a friend's son around a month ago (alongside various Squier classic vibes and VMs etc.) - I was generally very impressed by the quality of materials and construction (set neck etc.) Playability out of the box was a bit of an issue but the staff at Music Ground in Manchester were happy enough to do a quick set-up/rod adjustment and the example I played in there was excellent (thanks Music Ground - credit where it's due). Tonal variety is suprisingly good - the clarity of the pickups is much better than the old mudbuckers IMO. I was able to get a very poky, refined and compressed sound out of the (soloed) bridge pickup - the bass sounded like something that cost 4 or 5 times as much. I think shop prices are around £270 and online around £180 - a bargain in my opinion but play a few - the neck isn't the thinnest and I wouldn't be massively surprised if there was variation across individual instruments. Factor in new strings and a pro set-up and I think you'll get an excellent instrument for the price.

Steve Robinson is excellent in my experience, as is Ged Green: [url="http://www.gedgreen.co.uk/"]http://www.gedgreen.co.uk/[/url] Steve is in Sale, Ged in Cheadle (both South Manchester)

PMd

I'll be there again - excellent last year - a much better venue than hitherto. Will uncle Bernie be playing very loudly again among the trade stands for 6-8 hours? An unexpected treat. There are some excellent and reasonably priced bars in the area - there's a particularly good Czech bar about 100 metres away (out of the main doors of RNCM, and walk down to your left).

It's good to see a Ripper on here - massively underrated in my opinion. I bought mine after hearing Patrick Djivas ('that how you spell it?) of PFM - it was incredibly well-played in for just a few years old in '79. I spent much of the '80s having it rodded - that's what we did back then. If I can find the camera...

I know the guy from whom you're buying this - one of the most friendly and honest people I've had the pleasure of dealing with. If he says its as new, I'd wager that it is. I saw the auction and was tempted - you have an incredible bargain.

[quote name='jamesf' post='290245' date='Sep 23 2008, 07:00 PM']I'd personally love a singlecut design, but would worry about the weight of it - anyone know if this is an issue?[/quote] I had a Sei Singlecut 6 (series 1) and weight was definitely not an issue - the bass weighs around 9lbs and is beautifully balanced for playing both stood and seated. I'm a big fan of singlecuts and for me, Sei (series 1s) are the most elegant and beautifully constructed (the sculpting of the heel and carving of the face into the neck and body is exquisite)

As with 4000, I'm a big fan of the Sei shapes (especially the Flamboyant) and some of the Alembic shapes (especially Series) - for me the Omega and Heart Omega are just gorgeous, particularly so with the extended stringer - very elegant

I have endless fun on a Danelectro Longhorn (re-issue) - fast, easy, low action and ultra-low string tension. I even string it with D'Addario baritone strings (e, a, g and c from the set)

I'd certainly try a Status S2 - they do have a characteristic Status sound but they're extremely versatile, incredibly fast and very well balanced. I have an old Series II that was my main gigging bass for years - I used it in everything from rock, soul/funk, pop through to functions bands - it really can do anything (with aplomb) and is extremely reliable.

That looks gorgeous...I'm just popping out for a couple of tee shirts love...

I've been thinking about scale length, string spacing, action, string tension and neck width and neck profile a lot recently (I'm playing mainly shortscale now). I'm of average height (5'9"), have long arms (I'm possibly not as evolved as many contemporaries), and reasonably long fingers. I find that I'm significantly more comfortable on short-scale instruments with very narrow and fairly to very shallow necks. The more I think about it and the more basses I play, the whole selection issue seems to be down to personal taste, technique and playing style. My advice would be to try a lot of basses and find the one (or some) that suit(s) your preferences and requirements with respect to comfort. I'd agree with other posters that string spacing (and other factors - tension, action, profile etc.) can be at least as important as scale length. Experimentation is probably the optimum solution - it's also fun, especially if you have access to a lot of music stores. If you don't have such access, it's probably a good idea to invest in a train ticket - investing a few quid in a ticket and time in finding something that you feel comfortable with could save you a lot of money in the medium to longer term.

"If it was a singlecut that's my Sei." I don't want to hijack the thread, but it was a 'melted' singlecut 33" scale - 4000 if that's yours, I'm really envious - it's absolutely gorgeous! I was very close to buying myself but was looking for something shorter. Back on track - as others have said, I think Andy (Wizzard) will wind to your spec. This isn't cheap but it's not too expensive either. The Wizzards in the Sei Jazz are a custom wind but I don't know what was specced when they were commissioned (the bass has had a few owners and I didn't fit the Wizzards). To me the pickups sound very even across the range (B-G), open and articulate - they're also very full and clean (the ciruit is a Bartolinin 9v - this obviously has a major impact but the pickups sound great with the bass in passive).

A Ripper was my first 'expensive' bass (around '79) - it had been well used since birth (about '74) thus was extensively rodded/re-finished (by Ted Lee) in the 80s and I still have it now. It is absolutely gorgeous - there's something about these that I find really cool. Mine lost its original sound (bo**ox) in the rodding process, but still sounds amazing (if different). I hope you enjoy this - they're massively underrated instruments in my opinion and most play amazingly well. Any idea what the bridge pickup is (it doesn't look original) - also, it appears that the four way chicken head selector switch is missing (does that explain the toggle switches)? Enjoy the Ripper - a forgotten (nearly) classic!