Ed_S

[quote name='S9_S12_Bass' timestamp='1354520832' post='1886810'] It is lovely, the blocks on the neck I think finish it off! Is it a poly finish and how does it play? [/quote] I'm pleased somebody else appreciates it - thank you Yeah, it's poly - quite thick compared to the current MIA standards but well applied. The neck is poly glossed, too, but likewise well done. It's taken a bit of getting right (the stock BBOT bridge was terrible - looked like it'd been hewn from the sheet metal with an old pair of false teeth, the stock pickup was fine but uninspiring and there wasn't a single shred of shielding under the guard or in the cavities) but it's always been worth doing because it plays as clear as a bell and with the Pro-Steels on it, it really does have that 'piano tone' they rave about on the pack. The BAii is just a really solid and easily adjustable bridge (no illusions about difference in sound) and the Delano looks great and sounds good and lively. Overall, it looks apt for my heavy metal exploits and has a tone that goes from quite expressive with fingers to quite capable of knocking nails in when picked!

[quote name='guybrush threepwood' timestamp='1354441540' post='1885893'] I'm not usually a fan of the Badass, but here it really works! I think it's the Delano pups with blocks and binding that do it; it looks badass! [/quote] Yeah, I'm really happy with how it's turned out! It's nothing I'd do to my MIA standard, but as it's already a bit of a 'marmite' bass given the relative popularity of black blocks on maple, I thought sod it - go for something a bit different. After all, I get more funny looks than it ever will [quote name='S9_S12_Bass' timestamp='1354477118' post='1886469'] lovely, what model is that? [/quote] Thanks! It's a 'Classic' series 70s from a year or so ago.. one of [url="http://www.fender.com/en-GB/products/70s-precision-bass"]these[/url] as it was when it was stock.

Guaranteed not to be to all tastes, but I've just got this one the way I like it, so thought I'd share...

[quote name='Jacqueslemac' timestamp='1354356253' post='1885064'] My only real issue with it is that the body is quite deep front-to-rear, so I found it a bit of a stretch for my right forearm, which ended up resting on the edge and was a bit uncomfortable after a few songs. [/quote] Oh yeah! That too

I had one not long ago and came to the conclusion that: + It looks nice + It sounds nice on its own + The J neck is really comfortable + It's light to carry round in a gigbag + It sounds pretty authentic when plugged in + The built-in tuner on the preamp is handy but... - The neck-dive is monumental when stood up - The body is small-ish so the unplugged volume is minimal (moreso than most I've owned) - Unless hard-cased, the tuner on the preamp turns itself on in transit and completely drains the battery - The room-volume before feedback is pretty low, so you need a sound-hole suppressor ...and as soon as you have the feedback suppressor in and you're DI'd to the desk, it sounds pretty much exactly like a P-bass in the mix! So, given that it was always for a side-project and was a big chunk of instrument to try and store when not in use, I came to the conclusion that it had to go, and I'd just use my P-bass.

Yeah, I'm looking forward to it arriving! I've already got a Super 12 so I reckon I know what I'm in for, which is why I didn't mind selling the Eden prior to its replacement making an appearance; I'm confident the Midget will do everything I asked of the EX112 and then some.

I had one for a fair while (just moved it on a couple of weeks ago actually) and found it to be a nice little cab for the money. It feels well constructed, it's surprisingly loud when you throw some wattage at it and sounds quite neutral yet bright due to the coaxial speaker design. Unfortunately, there's no attenuation for the 'tweeter' element of the speaker, which may or may not concern you. The only other possible downside is the single recessed jack socket; no speakons unless they've changed the design since. Why did I move mine on..? I ordered a Midget.

Why not go out and get that 2013 USA Precision on the day, then keep the copy of the day's paper along with the invoice etc. but rather than store it, actually use the bass and make sure there are plenty of good photos of you both on its journey. That way, when you finally choose to let the secret go that it shares a significant birthday and hand it over, there are some memories and extra significance to go with it, rather than it just being a nice 'thing'.

[quote name='4 Strings' timestamp='1351416410' post='1850871'] "The main ingredients in fast fret is white mineral oil.." [url="http://www.epinions.com/review/Ghs_Fast_Fret_String_Cleaner/content_597182811780?sb=1"]http://www.epinions....7182811780?sb=1[/url] (but then the writer notes being made in the US as its main attraction, so maybe the source isn't so reliable!) [/quote] Sorry.. I'm not sure what you're driving at there, mate. WD40 is about 15% light mineral oil with a white spirit base to allow it to penetrate and a secret blend of other stuff that may or may not have any place either on a fretboard or in constant contact with skin, whereas Fast Fret is just light mineral oil soaked into a cloth stick. I have no objection to Fast Fret / light mineral oil (have used it on my rosewood boards, though I don't like the feel of it on my strings); it's the white spirit that I object to because I feel there's a good chance it could damage some finishes and dissolve some glues, so isn't worth the risk. This is, of course, just my feeling on the matter, and you're free to use whatever you like!

According to the data sheet WD40 out of the can is mostly white spirit so whilst it's probably fine for the strings, depending on the finish and consruction, I wouldn't have thought a good rub down with thinners would be all that much good for the bass. Maybe I'm wrong, but I wouldn't do it to my gear. Once the spirit has evaporated, it's basically just light mineral oil, so why not just use fast fret?

[quote name='4 Strings' timestamp='1351371947' post='1850673'] Why? [/quote] Because as much as I'd support anybody in doing exactly what they want to with their own possessions, if those possessions were about to become mine and had been subject to non-standard 'care', I'd want to know.

[quote name='Coilte' timestamp='1350899685' post='1844713'] This topic always brings out the most varied of responces. My own preference is "Fret Doctor" [/quote] I use Fret Doctor too - it's great stuff, isn't it! To those who use slightly more left-field products (Pledge, WD40, GT85, Trex etc.) would you disclose that in a for-sale thread? If I received a bass that somebody had routinely sprayed with WD40, I'd go absolutely postal; specifically straight back to the sender

[quote name='51m0n' timestamp='1351164490' post='1848076'] Wow [b]massive[/b] overuse of the VLE and VPF in here. [/quote] [quote name='LawrenceH' timestamp='1351180207' post='1848342'] Totally agree! I always start with these off. [/quote] I always finish with them off, too! With a LMII and S12 (no tweeter), I've just never found any better sound in the mix than the EQ all at 12 o'clock, both filters fully off, gain set to match the output of the bass and volume set to match the output of the drummer!

You look a bit like you're expecting the width of a 5 or 6 string neck in your hand and only finding a 4. Considering you have a 5 and a 6 in your sig, is it possible that it's a wrist position you've developed that way?

My BEAD bass is a Squier VM Precision, but I use heavier strings than you're suggesting (60,75,95,125). It's about the right price and works really well, though, so thought I'd mention.

[quote name='Lozz196' timestamp='1350377561' post='1837896'] Yep, weight/carrying/transport issues aside, I`m yet to play through a smaller setup that has the same "feel" and depth of sound as standing in front of an Ampeg all-valve amp, connected up to an Ampeg 810. And I don`t mean volume, as I don`t run amps particularly loud. [/quote] Shame more people don't realise that last bit. At the weekend I went to a gig in a moderately sized venue (couple of hundred capacity, maybe) and ended up getting blasted by an Ampeg SVT whatever-pro (5, I think) and two 8x10 fridges, one either side of the drummer. There was no such restraint in terms of volume, and whilst the Precision / Ampeg was pretty awesome to behold for the first few bars, it was ultimately just ridiculous overkill and ruined the gig. I think what I'm saying is that I'm all for appropriate.

I don't think it's unusual; I went from 5s to 4s a couple of years ago and have no regrets. I wanted a lighter, shorter and more comfortably shaped bass than the ones I was wielding, so got myself a 4-string Precision and luckily, in doing so found 'my bass'. I still have one 5-string but I've never been tempted to go back to using it live; I keep it to play for my own entertainment at home and just in case I need it for recording or a very prescriptive dep gig.

[quote name='Panamonte' timestamp='1350109452' post='1834599'] but bear in mind that it's active without an active/passive switch which may or may not be what you're after. No harm in trying one though :-) [/quote] Agreed.. I play P's just about exclusively and as much as I tried to love my American Deluxe, it just wasn't right; it was too complex to actually be a proper P, didn't sound like a proper P, and the preamp was pretty bad compared to others I've owned in the past so what it did sound like wasn't all that great or versatile. I put a glockenklang preamp in it which sounded better and had a passive switch, and that helped but it still looked wrong with too many knobs and switches. In the end I sold it (taking a £700 drop in the process because you can't shift 'em) and got an American Standard V which, incidentally, if you don't like wide necks, you should avoid like the plague... But I love it Sorry.. rambled a bit there.. Back on topic, if you want a P with a slim neck and a touch more versatility and visual interest without being stupidly complex, I can thoroughly recommend a Blacktop Jazz.

After a very speedy sale and a couple of weeks in thoroughly amicable talks to arrange the fine details, Mark travelled all the way up to Sheffield today to buy my 410 cab. He's a true gent, and as such took the long journey and my somewhat interesting directions in his stride and arrived with a smile. He even reminded me that I might actually want paying, which I admit, had momentarily slipped my mind! I'd ask how it sounds with those two big ol' Ashdowns belting out, but I think I'll probably hear it from here.... Thanks, Mark - it's been a pleasure to do business! Ed

I refuse to play in anything that's not a standard tuning, but which one it is makes no odds to me; as long as the intervals between strings are 'normal' and it's not so low that the strings are floppy, I can play. I can't think in 'drop-x' (just one string dropped) etc because that's just "out of tune" to my non-reading, non-theory-knowing brain! My main basses are tuned down half a step because that's what the guitarists in my band use and our singer is comfortable with, so its easier to join in and all have the same lowest note, but I don't bother to tune back up half a step to play along with stuff in 'standard' when playing at home. Likewise, my 5 is in 'standard' and I wouldn't bother tuning that down.

Most of my basses are down half a step (but used to be down a full step) and one is in C standard, so I know what you mean about cheap tuners not registering on the low notes. I find they're usually better if you have the option to take them off chromatic mode and tell them to listen for bass with a specific number of flats, but even then some don't work. Obviously the more professional pedal and rack tuners do their job, but in terms of small, lightweight and cheap, the only one I've never had any problems with is the Boss TU-80 tuner/metronome.

I opened up my classic series jap precision last weekend to find that there was no screening at all.. no foil on the guard, not even the black conductive paint that gets everywhere. Dunno if that's a usual find or not... but I digress.. I lined the cavities using some aluminium tape I had left over from the last guard I fitted, and made a 'tube' out of tin foil (wrapped it round a screwdriver) to go between the cavities, which the pickup wires went down just nicely. Continuity checks out and it's quiet, so... maybe an option for you?

The done thing on the originals circuit round here is either the venue to provide the bass rig, or the headliner to leave theirs on stage all night, so when we're not headlining I regularly do exactly what you're suggesting and it works well. I have a very simple pedalboard set up with my wireless, tuner, compressor and sansamp, and plug into either the front-end, fx-return or power-amp-in of whatever I'm borrowing. The Sansamp makes it easy by having switches for both the jack and xlr outputs to select between line or instrument level on each, so you're rarely (read: never) stuck for a way to connect in, and setup takes all of about 5 minutes including tweaking the sound to compensate for the difference in rig.

I've had my 2012 MIA Standard Precision V a couple of weeks now, and am happy to report that the B is absolutely fine. To say that it's a 4 with an extra string added rather than a specifically altered design would be pretty fair and accurate, but it works for me... I like it!