B.Flat

I forgot to say that both the Warwick and Vigier are standard production models, no bling or fancy timbers,, both in very good condition for their age, Warwick with Rockbass hard case, Vigier with non-vigier flight case in good condition

OK y'all ! Happy New Year. Thank you for the views and advice ! I am about to pull the trigger on the px deal, Warwick for Vigier Passion II. I have a final question, which is what do you think are the comparative values, in £s, on each bass. This is not all important but I am working on the idea that if the Vigier does not work out for me I could maybe px it again to retrieve a Wick $$, does this sound in the bounds of reason? As a retiree I do not have much disposable income and this possibility would take some of the chance out of the operation; I will be interested to see the response, if any , to this. I have scoured the net to make my own mind up on this but there seems to be a wide range of asking prices for both basses.

Hi. Anybody out there with a Hipshot M4 D-Tuner surplus to requirements ? I need one in chrome finish to complete my Vigier Passion II

Thanks for all the replies and advice so far. Main prob. for me is that I can't play the Vigier before I buy and the Warwick has to go in p/x. Would Vigier owners say that the 'modern' side of the intrinsic sound can be eq'd down, or out, with a parametric preamp ? I have a Noll three band, fully para; preamp I could install.

I am looking for advice from anyone with experience of these basses. I have a 2008 Warwick Corvette $$ and have the opportunity to aquire a 1988 Vigier Passion 11, carbon fibre neck. Which way to go ? All advice and views on this welcome.

I don't know if this is relevant to the thread but can anyone tell me if the neck profile of the 'Ray has changed with time ? I ask because my '77 ( purchased in 77) was stolen in 2004,, and now fifteen years, and several instruments, later I have bought a '91. which I like very much but I don't know if my memory is not accurate any more, or my old hands are not as nimble, but it does not exactly feel like the neck from heaven I remember ! To my mind it feels a little fatter from nut to about fret four. OK splitting hairs I know, but I would like to know if the old skunk stripe profile was as I think I remember it.

That is interesting. Another point is when I look at the underside of the pickup the poles are are pristine metal, and also the edges are radius-ed, not shear cut like the visible ends when mounted. I am sure non of this affects the performance but I would like to know why it happens. I have tried to clean the end of one pole with some fine wet and dry, which did remove some of the discoloration, but also reveals that the metal is not smooth but pitted.

OK, thanks for the reply. Now I did own a 1978 S'ray for 30years, until it was stolen (heartbreak) but the poles never discolored. Can anyone with some knowledge of metallurgy/physics explain why these later pickup poles do this ?

I have just bought a 1991 Stingray. The pole pieces appear "blackened", some more than others and most not so under the strings.(see photo) I cannot decide if this is natural ageing discoloration or if the poles were originally black. I seem to remember seeing photos of other Stingrays with blackened or non-silver poles. Can anyone shed any light on this for me please?

Thanks for info mcnach

Anyone got a white Stingray pickup cover surplus to requirements ? I had one but sold it thinking they were easy to get hold of...........WRONG !! If you have one you could make an old man very happy (do I hear the twang of heart strings..........roundwound..............?)

Does anybody know where I can obtain a white Stinray pickup cover ? I bought one some tine ago from Strings and Things, who seem to have evolved or dissapeared, but foolishly sold it thinking it would be easy to get another. But NO, can't find one anywhere. Anyone got one surplus to requirements or have tabs on a supply ?

That is exactly what the registration marks on the back are for, this is a decal for factory production use. But they only work if the decal is face down, i.e. the back of the decal on the head of the instrument, the backing paper above it.

Points taken but the why is the decal reversed? You cannot easily slide it off the backing onto the surface, as with normal waterslide decals, plus the registration marks are on the opposite side. I have refinished many instruments, and used waterslide decals on numerous occasions, but the way this decal is presented suggests some other modus operandi. I think I will post on the TB site, might find a retired MM worker !!

Hello. This is really a question for experienced luthiers/builders. I am in need of a bit of technical advice for a refinish job. Many years ago I had a problem with the finish on the head of a pre-eb '78 Stingray. The good people of Musicman responded by sending me a new head decal. Before I had chance to get the job done the bass was stolen, never to reappear. I now own another S'Ray, and again I want to refinish the head. Problem is, when I look at the decal it is printed in reverse, by which I mean the back of the decal is the topside, visible on the backing sheet, (photos attached). There is also a registration line printed on the backing to obtain the correct positioning on the head, all of which suggests the method of fixing is to lay the decal on the head, backing sheet uppermost, positioned with the registration mark and then remove the backing.I am thinking that maybe this operation should be done onto wet varnish, and then wet the backing to remove it when the varnish is dry. I seek opinions and advice as I only have one shot at this, hopefully someone out there has had to do this previously.