LukeFRC

[quote name='Bassassin' timestamp='1482007045' post='3196977'] Very nice, always liked these. Makes me wonder about prices of Yamahas from that era & actual differences in the model range. I had a BB400S which, apart from being fretless, lacking a scratchplate and being a few years later (83, I think it was) looked pretty much identical, build & components-wise. These sell for about £150 - £180, on a good day & don't appear to be much less scarce. Wonder why there's such a massive difference in value? [/quote] there actually are Yamaha collectors who go for the early ones. Yes really!

[quote name='AutomaticWriting' timestamp='1481815868' post='3195406'] Hey guys hopefully I can reply to all of these in a concise manner haha. So I'll answer a few things, I really appreciate everyones input, it's definitely made me look from a few different perspectives. Okay so I should point out we are all at university together and will be for the next 3 years. I don't think I've done anything unprofessional, I was available 24/7 for the singer, the only deadline I missed was one that wasn't even important and I missed it due to doing other things for the singer and having to do my university work because it was exam week. But other than that I've pretty much done everything for them. The setup was I'd be handed some chords played roughly on keyboard and a rough vocal part. Then I would chop this up, re arrange the song how I saw best, say what worked, what didn't, then after this I would produce the entire song and wait for a vocal part. After which it would go to rehearsal where we would work out a live arrangement for the song, again normally left to me. I'm mainly a bit gutted because I haven't played bass in a band before so I was very excited about finally getting a chance and whilst I'm not the greatest bassist to walk the earth I don't think I'm bad either. The songs were pretty straight forward pop numbers anyway. I think I will just move on, there's been a few strange decisions with this singer recently not just involving me. So I think it's probably best if I cut my losses and move on to the next project, I have a few other artists on the radar that would be interested in working with me so hopefully there's some light at the end of the tunnel I hope this thread actually helps some other people who will go through the same issue! I don't want it to just be me complaining... Cheers [/quote] Three things I guess... 1- the guy sounds like a bit of an idiot, unless he's got Dylan like genius or something you don't need him. If he does have Dylan like genius then that would come across on the demos, and bluntly he doesn't need you. (You can substitute dylan for whichever musical hero you have btw) 2- He's a young singer songwriter, he meets a guy at uni who does production and plays a bit of stuff on it and he does a good job. So much so that he lands one song at some big venue. Now I don't really know what kinda strange gig is only one song, but in that situation from his POV he's seeing it as a big chance to impress. If you were him andhad to choose between the producer who had never played a gig as a bass player or someone who had played lots of gigs... it's not an utterly stupid idea he's had from his POV. Say you carried on played bass with him, it's clear he doesn't really view you as an equal in the project so you work out, what, you get a split of the profits? So in the future say this guy becomes massive, he's going to have a manager there asking him why they've got this good-but-not-exceptional bass player who has got half a mind on production projects is in the band as you cost more than getting in a contracted pro. ... 3. You must be good at the production side, and presumably young and at the start of your career. Well done you've just avoided having your time at uni tied to one person's ego. Go find more music to make and play. Find places where you're seen as an equal. Start things yourself. and think next time the singer songwriter rings wanting production, as well as needing to talk about your pay structure you'll have to talk about your schedule and when you can fit him in. Oh and don't neglect the studies. As an aside, when I was at uni we formed a band, in one year we went from forming to playing fairly big venues and getting lots of good press. It was amazing how many other bands were striving to 'make it', and how this was poluting their decision making, behaviour and music. We took what we were doing seriously but we were very much doing things cos we thought they were fun/interesting - and it was amazing how much that stood out in a sea of derivative blandness. Beware people who's egos are set on "making it"

Isn't flat on one of them not centre on the bass control?

Warwick tend to put the pickups in similar positions and they don't have a reputation for being too 'jazz' - I've used that preamp too and it's very clean it doesn't add much tonally. Stick a more coloured preamp in there and you can add that colour to the existing pickups is where I would start. Actually new steel strings and raising the pickups as close to the strings as I can would probably help too

Next time you're spending that much on a bass overwater, ACG shuker or similar will build you a jazz bass and let you choose whatever wood you want

. Or: match your budget to whatever Yamaha model is closest

Fender Roscoe beck is one of the better regarded passive 5 strings I think? Not tried one

why don't they put a HPF as standard on bass amps?

I can kinda see Blue Arran's response - someone buys a driver, bolts it into a home-made box and then uses an unknown (to them) amplifier with unknown compression or effects added to make live bass guitar noise and an unknown number of gigs and load-in and load outs..... there are so many variables there that I can understand their reticence to make it their problem. Just a wee question - the driver is rated for 350w, and from reading the bass cab build thread the cabs built with it have a flat response and a surprising amount of low end. In a gig situation IME, unless you have brilliant sound tech, and good stage noise dicipline, that flat response and bottom end gets lost a bit. From the sound desk turning up a mid freq to let the bass cut through, cutting bottom on keys, and guitars and making sure the kick and bass arn't compete in is how I would solve it. But from the bass players position it makes sense to not be able to hear yourself and turn up a bit. If you respond by turning up you make the mush worse and work your speakers harder. How much power do you think you've been putting into the speakers? Stevie says you can put 350w through without problem. Reason I ask is looking up the spec sheet of the amp module in your amp it's rated for 8ohms at 500w [size=4]@ 1%THD+N typical. With class D would we expect the burst power figures to be higher than that? If the amplifier is loud enough to start distorting it puts out typical 630w [font=Flama]@ 10%THD+N. Now that [/font][/size][font="Flama"]doesn't tell us what limiting Fender have added and I don't claim to fully understand spec sheets - but is it possible you were just putting too much power into it? [/font]

[quote name='EBS_freak' timestamp='1478651696' post='3170702'] Thought as much. [/quote] No idea, but bagpipes has been at the top of this forum for weeks and fancy seeing something else d&b or otherwise

[quote name='Lw.' timestamp='1481018595' post='3188933'] Ok - I know the one you've got now! I really fancy one of the mid-late 80's ones with the wenge neck & one piece bridge - a couple came up on here for bargain prices a couple of years ago but I just didn't have the funds :-( [/quote] if you have the funds now message warwickhunt - he was selling one not so long ago. I've an old thumb with the one piece bridge and carved headstock - that's nice too

[quote name='Lw.' timestamp='1480955975' post='3188389'] Nice - I do love a streamer, played a few in the past but am yet to own one (one day though)! 91 Streamer - is this the Wenge neck with cherry (?) body or had they changed to mostly maple construction by then? @jazzjames - that very much depends on the year of manufacture, they go from jazz-style thinness right through to full on baseball bat! [/quote] early is wenge neck with cherry laminates and cherry body Then came wenge neck with maple laminates and body The came maple neck with wenge laminated and maple body what I've got Then they stopped using wenge so it's a allmaple bass with a synthetic wood as laminate Then - I don't know wHat they use now as they are way outside my purchasing power

[quote name='Jazzjames' timestamp='1480946488' post='3188264'] Good for you! A guy that I sent to college with used one of those. He sounded fantastic, and really liked the bass. I however, can't get on with Warwick necks, and find them uncomfortable to play. [/quote] they change with era - early ones tend to be really thin. It's when they stepped up production in late 90s and 2000s the necks got bigger.

[quote name='felixxx' timestamp='1480934637' post='3188095'] They are amazing basses. However, I can't help thinking that if your post was about p or j bass you would get like 50 responses so far. [/quote] probably! But only if it were sunburst

Was playing today - DI straight through the PA, my IEM - and everything set up perfectly... (for once) and I love this bass - my Warwick SS1, barts and a silly ACG preamp, tone stacks... set then leave... blend control... set then leave... just move my right hand and I've got everything from big deep woody sounding, punchy P bass sound, naisal snappy jazz like burp and everything in between - just by moving my right hand up and down... To have a bass that is just so so so so so responsive to playing dynamics is really a great thing. Just wanted to share that, that's all. Bass forums are so often about wanting something new and lusting after some new bass sound (or just saying that Leo got it right second time and all we need is a Precision bass) and it's good sometimes to reflect on the really cool things that we actually own and use. L

...And make sure you've not the tip connector of the jack socket touching the edge of the cavity. That will lead to no sound. ... might be obvious but make sure you've got the thing turned up!

Your warwick barrel jack and the ACG jack will (99%sure) be a stereo jack with 3 contact points. The[b] tip[/b] is the signal from the preamp. the [b]base[/b] is the ground - you might have thin wires in your warwick preamp going everywhere which is also the ground. The [b]sleeve[/b] is the negative from your battery - when you plug it in it completes the circuit and turns it on. Unpluged it doesn't drain the battery. Have a look at your ACG jack. Even if it's got 4 wires my bet is that two of them go to the same place on the jack. The sleeve should be the black wire from your battery clip. Now the one difference between your bass and mine is the active pickups, I've got passive barts on mine. as you know your pickups need power... if you follow the instructions from ACG you've plugged the red power from the battery terminal into the preamp. You need to have that power going to [b]both[/b] the pickups and preamp. The easiest way to do that is to put both the power wire from the pickups into the pickup. You've said you've done this - so I think it will be the jack wiring that's the issue?

I've stuck a ACG EQ-01 into a 1991 SS1... so should be able to help!.... hang on a mo

I think what's telling about Bravewood - is that give or take one exception - you never hear anything but good things about them. And people hold onto them, they're not that regularly available for sale.

[quote name='TrevorR' timestamp='1480726238' post='3186817'] It amuses me that I grew up with the perceived wisdom that 70s Fenders, esp 3 bolt ones, were shoddy rubbish and to be avoided at all costs. But now they're old enough to be considered "vintage" and are therefore desirable and commanding a premium price... How times change. [/quote] Was the way when I first came on basschat a few years back - now they command silly money. Odd.

[quote name='dyerseve' timestamp='1480684388' post='3186389'] Actually there are German built Warwick Streamer Basses that have neck thru construction and not labelled Stage 1 or Stage 2. I have 2 of them so they cant be that uncommon. [/quote] my guess is they are early ones

Anstruther, Fife? Edinburgh is town sized and not bad.

Saw a Gibson Ripper from the 70's on gumtree last night - in wakefield for £650 https://www.gumtree.com/p/guitar-instrument/gibson-ripper-bass-guitar-circa-1974-1975-for-sale.-made-in-the-usa./1202400480 doesn't seem a bad price if someone on here is looking for one

maybe see if Rick's Fine '52 will give his tuppence - he's got a fine collection of very old fenders - and has made and commissioned his own replicas of them too. Me I would go for the cheaper replica... why? cos i'm not sure 3k of vintage fender would be good for throwing around a gig - whereas a bravewood or similar wouldn't be more relaxing to play!