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  1. Mastodon2

    Rare Basses

    I was not! It does have the smallest neck of any four string I've ever played, it's effortless to use. You've got a purple Palaedium haven't you? Probably even rarer than the orange colour. I sometimes wonder how many are out there, I'd be surprised if Peavey sold more than a few hundred worldwide. I doubt there's more than a handful in the UK.
  2. Mastodon2

    Rare Basses

    Peavey Palaedium, the Jeff Berlin signature. This is one of the US basses, I think it's a 1993 model but I can't look at the serial number at the moment as I'm away for work. Jeff didn't stay with Peavey for all that long and signature basses never shift in huge numbers, especially for a jazz fusion player, so I doubt Peavey sold a huge number of them. They are fantastically made and worth next to nothing these days - Peavey have never commanded huge prices outside of their US-made Cirrus line. I got this for less than $300. I love Peaveys of this vintage. I'd buy a Rudy Sarzo signature or a TL-6 if I saw one for sale. A B-Quad is on my dream bass list too.
  3. Mastodon2

    Joe Hubbard Warwick signature

    Aren't we talking about the Streamer?
  4. Mastodon2

    Joe Hubbard Warwick signature

    Better? I think that's stretching it a bit. Warwick didn't and still haven't overcome the inherent flaw in the design, the dire upper fret access - although they did make that malformed Stu Hamm model which was meant to be better in that respect. Warwick certainly have a different take on the basses to Spector, but "better" depends entirely on who you're asking.
  5. Mastodon2

    Joe Hubbard Warwick signature

    I don't feel any neck dive with my Thumb 5, but I do wear it high so the curve of the body locks in with the bottom of my ribcage, I guess this is how the bass was designed to be worn. I also use a wide strap with all my basses. My Spector Euro 5LX had a curved body too (and is obviously very close to the Streamer in shape) and I didn't have any problems with that either. The only ergonomic issue I see with the Thumb is the way it sits the first fret quite far off to your left, not an issue for me but if you're short or have a bit of a kite on you I can see how it could cause a problem.
  6. Mastodon2

    Joe Hubbard Warwick signature

    What a ringing endorsement for Warwick 😮
  7. Mastodon2

    Examples of great P tone.

  8. Mastodon2

    Spector fans!?!

    I had a Euro 5LX that I purchased from another member on here (although I purchased through a shared Facebook post and only found the ad on here later) and it was superb. Incredibly even sound across all the strings and a really good, solid low B. I prefer the models with EMGs compared to the rather darker Aguilar pickups they come with on some models now. I think the best thing about it was the finish, it had clear gloss all over including the neck but it was so smooth and perfectly applied that it could match a satin finished wood neck for playability. The finish on the body was like a mirror, just perfectly applied. Two things that did annoy me about it though, first being upper fret access, it is poor. That said, I've got a 6 string bass with superb access so I don't really need all my basses to have amazing upper fret access though it did annoy me on the Spector. The second issue was the bridge, which wasn't wide enough to thread certain B strings through. It absolutely needed to be strung with taperwounds, as I found when I couldn't get a .135 or a .130 B string through which had the windings all the way to the ball end. A known issue with the Spector bridge, the solution I saw suggested was to take a file to it and widen the opening - I wasn't brave enough and worried about damaging the finish. It was fine with taperwounds but obviously limited the choice of strings it could be used with. I'd love a Euro 4LC with the EMG P/J combo and will probably own one of those some day. I wouldn't mind owning a proper US 5 string either although they're the thick end of £5000, they are superb.
  9. Mastodon2

    Who uses factory set ups?

    Factory settings are really just a starting point to make the instrument half playable. I can't remember any guitar or bass I've bought where I've stuck with them. A lot of the time the instruments are sent to the retailer not even in the recommended manufacturer specs, they're just in whatever state they happened to be when the QC inspector glanced over the thing. Generally, I like my neck straighter and the action lower than they come from the factory.
  10. Mastodon2

    I thought Schack weren't making basses anymore.

    Those headless designs still look gorgeous, good to see the brand still going.
  11. Your thumbs don't matter, it's all about personal preference.
  12. I love a flat radius board, or a very shallow radius. For me I find it helps with faster playing more than anything as the consistent spacing and the way the strings are laid out (in a line across the bass, rather than an arc) it helps my hand find the next string very consistently and easily. I'm sure the net difference on bass is fairly small, it's a comfort thing as much as anything - with no radius to worry about, the neck can be nice and thin. If anyone plays electric guitar, try playing something with a fairly heavy radius like vintage Fender or one of their modern "retro" models and then play an 80s Ibanez RG, you'll feel like you've jumped out of a Ford Granada and into an F1 car.
  13. Mastodon2

    Summer of 69? Drop D?

    I use a 135 for a B and a 105 for an E on a 35" scale bass and 105 for an E on a 34". I do have another bass with some light strings on. The issue with hollow bodies isn't the string feel but the note reproduction, they do lose some punch over a solid body. I could see how a hollow body in D without a really tight string could sound flobby and loose.
  14. Mastodon2

    Summer of 69? Drop D?

    A bass set up for E standard then dropped down to D sounds superb to me and I don't have any problems with note definition at all. I find the slightly lower tension on the D really lets it growl - have a listen to Tim Commerford on the first RATM album for an example of how it gets just that little extra snarl and bite, it's lovely. Of course, your mileage may vary, particularly if using hollow bodies, or you like super high tension to stop the strings from breathing a bit. Also to answer a question earlier about hipshot detuners "shifting" and not flipping perfectly between tunings if used repeatedly, I find mine to be completely reliable on my Yamaha Attitude LTD II. Check the E, if it's out then you flip the lever to drop to the lower tuning, adjust the machine head and close the lever to raise back up and check again. Once the E is in, open the lever and check where the D is, then close the lever and adjust the little tuning wheel, open the lever and check the D. If it's still out, close the lever and adjust the wheel again until you get both of them bang on. Once it's set up, as long as your E doesn't go flat your D will always be perfect. Once you understand the process it adds maybe 20 seconds onto tuning your bass, it's very easy to get it right once once you know how. There is a video from Hipshot on how to do this on Youtube - ironically not on their own channel, but easy to find. They could be a little clearer with the instructions on their website. If you try to tune the E with the lever closed (so you're in the higher tuning setting) every time to drop to D and raise back to E it will go flat and then the D will go out of tune also. It's a little counter-intuitive, you tune the E note while in the D setting, but once you know what you're doing they're 100% reliable. I don't think Michael Manring's music would even work if these Hipshot gadgets were not 100% accurate when used correctly, his tunings would be flat and sharp all over the place and it would sound terrible.
  15. Mastodon2

    Band issues, what would you do?

    They sound like they're mugging you off tbh, I'd have a frank conversation about your position in the band and be prepared to walk if they won't put you on their level.