lozbass

[quote name='99ster' post='247454' date='Jul 25 2008, 12:44 AM']So as Clarky says - as popular as Basschat is - eBay gives you access to a MUCH bigger potential market... and although there may not be a buyer here, there is very likely to be a good potential purchaser on eBay. As John says: "The world is bigger than Basschat after all"[/quote] Absolutely right - I just bought from a guy with one of the most jaw-dropping bass collections I've ever encountered: he'd never heard of Basschat (but he does use ebay)

I swap from one to the other frequently with no problem with respect to positioning - I love both headed and headless basses! If you're thinking of a Status, try one/several first - they have a unique feel and sound - if you don't like it, it's an expensive mistake (having said that, I love the look, sound and feel so no problem for me).

Weird...'read half the thread and decided to contribute a one word answer (i.e., 'room'), only to find bilbo had beaten me to it with an apparently definitive response

I agree entirely with 6stringbassist - the Epi is incredibly versatile. It's not like any non-valve amp I've used - there's an inherent warmth (not dirt or grit) that I've experienced with only a very few amps, all of them valve-based. Epi is real quality gear - there's a premium price tag but I think the tone is really worth it. I forget about the cost when I hear the amp - the Epi is lovely and extremely versatile. The eq (and channel selection) is a bit more complicated than the Ampeg, however, the tone controls are sensitive but really useable. Also, the straight sound (eq flat) is just gorgeous - really solid, articulate and lush. A trip to the Gallery is certainly in order! I have a ul502 (thanks Kevin!) - it's about 16lbs - a back saver (quite a consideration for me!)

I haven't used a 359 but I believe they weigh about 50lbs (not really a lightweight alternative to an SVT!) My real experience with Aguilars extends only to the 750 (43lbs!) I find it very articulate and present - there is a great deal of warmth but I've never had an SVT type sound out of it (not a bad thing for me as I'm not a big fan of SVTs.) I've heard a few people say that the 750 is nothing like an Ampeg - I agree. The 750 simply doesn't seem to break up even when driven very hard. I've been very pleased - for me (and others) the DB750 simply the most pleasing and easy to use plug'n'play amp around. It sounds great with the eq just flat.

Again, thanks to all - the explanation for the dull D is certainly contained in the knowledgeable replies (further investigation indicates I almost certainly have a 4+2 in the bridge position). The Q-tuners sound like an excellent option but with possible extra routing etc., it's probably not viable. After playing the six for a good few hours following an (excellent) set-up, I'm beginning to think it's maybe time for us to part company. The slightly dead D apart, it's a beautiful instrument, but some of its characteristics and specs are maybe just not for me. I'll give it another couple of weeks and if one of us doesn't adapt, then an amicable split is on the cards. Thanks again for all the help and inputs.

Picked up a mid 70s Jazz on the bay a good few years ago (early '76 pre logo change) and following a good set-up it honks like crazy - I really don't dig in at all, but it's not necessary on this! I have a Sei jazz too - the Barts were swapped-out for Wizards and it has tons of honk (moreso in active mode) but of a modern variety (if that makes any sense...more drive and hifi but lacking something of the classic thin honk of the Fender)

Hi all, brilliantly helpful and informative as ever! I've checked the Bartolini site and the pickups appear to be of the G6 narrow soapbar type. I suspect strongly that there's an in-line humbucking 3+2, 3+3, or 4+2 (it appears to be the latter) inside the case - I'm a bit loathe to take the pickups out just now as the bass has just received a lovely set-up (Ged Green here in Manchester - highly recommended). I'll ask Ged if he noted the number on the underside of the units whilst he had the bass apart. It's interesting to note that others haven't suffered the same problems as myself - maybe there's been some change/improvement in production in recent years. Cheers!

Hi Kev, thanks for this - I suspect the problem arises as the pickups are (as far as I know) an early attempt at doing a sixer. I wouldn't be surprised to find that more recent models (for instance those on your Sei) are a single continuous coil rather than a 4+2. It's not easy to tell what's going on inside the pickup case as a lot of higher-end pickups appear to be sealed (with epoxy or something similar). I'll have to try to find some older sixers and see if they have the same problem as mine. Incidentally, I've been using Wizard customs on a recently acquired five and have been massively impressed. If I find it difficult to live with the quiet D on the six, I may approach Wizard to build a couple of new pickups (probably cheaper that replacing the old Barts with newer ones!) I hope the new Sei is all you'd hoped for (I suspect it's more than you'd hoped for - it looks absolutely bloody gorgeous!) [quote name='6stringbassist' post='226930' date='Jun 25 2008, 09:14 PM']I have Barts on my Sei, I don't have that problem, maybe it's just a fault on your particular pickup.[/quote]

I was having my hand-built six set-up a few days ago when the tech (a renowned luthier and builder himself) noticed that the D string (the bass is strung B-C) was relatively quiet. No obvious reason for this until he passed a polarity tester over the Bartolini pickups - it appears that inside each cover are two pickups arranged end-to-end, one 4 plus one 2 (...err...equals 6). As a result of the slight gap and the polarity change across the two coils, I have the quiet D. Not a really big deal, but not exactly brilliant. The bass was built around six or seven years ago (I'm not sure if the pickups were a custom wind...or a custom assemblage...) - has anyone else come across this kind of arrangement (and if so, were you similarly dischuffed)? Hand-built, high-ends eh...'just love those idiosyncracies!

Depends on technique of course, but I find that the rest (in the '75/'76 position, i.e., above the pickups) impedes slapping pretty badly (and I don't use if for finger style playing - thumb on the neck p/u).

Try this (I'm hoping to): [url="http://www.acguitars.co.uk/index.php"]http://www.acguitars.co.uk/index.php[/url] ACG EQ02 - excellent review of an earlier variant (with sound samples) on the BC review page

Hi, I'm sorry there's not much I can do as I don't have a Precision at the moment (...now if you'd asked four months ago...) I have a Jazz but that's a bit more complicated. I'm sure somebody on here must have a precision, a pencil and a sheet of paper. Good luck!

I buy most of my cables from lava (http://www.lavacable.com/) - excellent service - fast, friendly and a very broad choice of cable and connectors (good information on the site too). I have a few Evidence Audio cables (not from lava) - the quality is excellent but the cable is very stiff. Maybe good for studio but a bit more of a challenge for gigs.

Don't get hung up on it - at least you're thinking about it (a very good sign!) I won't be so arrogant as to suggest something in relation to the line that you mention (and I don't know anything about the context), however, I'd recommend that you just sing the passage to yourself and see what comes up (I've been doing it with your sequence and enjoying myself!). Don't force it, just play around with ideas (and have a think about syncopation and beat structure if it would help). Good luck, it's not always easy but it can be fun

Everyone has a different approach and there's no doubt that experience, technique and knowledge of theory are a big help. However, I would suggest that you think carefully about the music/songs/lyrics for which you are providing (or creating) a bassline. Personally, I find it very difficult to devise lines in a rehearsal setting. I like to sit quietly, usually without a bass, and just think about a piece of music/song in its entirety an in its component parts. What is the music about? What does it mean to me? How can my part (i) complement the music sympathetically or, (ii) add something, take it off into another dimension, underpin the fundamental, provide an intriguing counterpoint? What I try to do ('not for me to judge how successfully!) is imagine the bass line (or bass part) into being before I try to play it. I just mess around with ideas in my head (often humming!) and try to create lots of different approaches and versions, always bearing in mind that I'm aiming for a sympathetic interpretation and a line/part that will complement (or nuance, re-layer, re-orient, extend) the music into which it will fit. I see some great bass players - people with astonishing technique - however, I'm frequently surprised that their technique is apparently allowed to take precedence over interpretation. I'm a big fan of (notionally) dischordant and atonal composition (as well as conventional composition), however, I get a bit turned off when a technically stunning line crashes across the music in which it sits (or rather doesn't sit), and it's clear that the player hasn't given the first thought to the music and its performance as a whole. I hope this makes sense and wish you the best of luck - I know that what works for me won't always work for others, but it may be worth a bit of experimentation - let your imagination run riot.

I've experienced some dizzyness, especially playing for very loud rock bands - crashing cymbals (at head height and often very close proximity for bassplayers!) were a trigger, high-pitched harmonica notes too. As with benwhiteuk, I quite liked it too - 'first few times were a bit disconcerting but I started to find it quite cool (all this was some years ago, not sure I'd be too keen now)

Some great comments here - one of the most informative and informed threads I've read. 'Not sure I can maintain the standard but (and to reitarate comments above)... Amp - I recently sold my Series 6 AH200 and regret it (massively) - nothing wrong with the amps I have now but they don't do the Trace sound. For what you'd get for the TE head, I'd say hang on to it and experiment - I'm sure it can do what you're looking for (but if you do sell, sell to me!) Bass - I think that either of the Sei Jazzers on here would be an excellent choice...however, the Barts would need to come out. If you can stretch, an alternative would be a nice '70s Fender Jazz (probably expensive, but should hold its value). Strings - before doing/selling anything, I'd try new strings. Personally, I hate Elixirs (and Rotosound Swing Bass, whilst very bright, hate my frets and fingers). I've been using D'Addario XL nickels and find them very piano-like and punchy on a Jazz. They seem to have decent life-span but for regular playing/gigging, I'd say change every two to three months (I'm always amazed at the difference after re-stringing). I know that guage is a very personal issue, but for the tone you're seeking, I wouldn't go under 40-100 (or 120). Cabs - for me, this is the area in which we've seen the greatest progress in the past ten years. I've been very pleased with an Epi ul112, but any of the modern, small, lightweights should fit the bill (the only high-end cabs I really haven't been impressed by are Markbass - it's probably just a personal thing). If you've made it this far...probably the biggest issue is strings - I really wouldn't do anything without a bit of experimentation - a good set-up with nice, shiny new strings can be as good to me as a complete change of rig! Good luck with it all...oh and if the AH200 is going...

Thanks BassBod and Musky - your responses are very helpful and accord with the bit of research I managed earlier (I didn't think of Talkbass before posting the question). It appears that nitro was used on the headstocks (to avoid transfer cracking) but poly elsewhere. As you suggest, what I'm probably seeing on the worn parts of the body is the sealer under the poly. According to views on the Talkbass site, the poly used in the 70s wasn't the same as that used today and can exhibit softness, significant yellowing and susceptibility to wear etc. I'm still not sure that my Jazz hasn't had an overspray, but it seems more likely in the light of what I know now that the yellowed clearcoat is the original poly. Thanks again - any further inputs very welcome!