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Ed_S

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Everything posted by Ed_S

  1. Ed_S
    Nah, only charged me once. Don’t know whether or not they would have realised eventually, but right’s right so I just rang them and told them - asked for a return label to send one back. The post office isn’t far away, but for some reason the staff aren’t fond of boxes that size. 🙂
  2. Ed_S
    Well, I decided that for the sake of £165 I'd give the Fazley a try. Have to admit my first impression was mostly confusion that they'd sent two of them instead of just the one I ordered, but I took the opportunity to choose the one I wanted to keep - call it compensation for having to mess about sending the other back. One had a more interesting grain pattern in the neck and fingerboard, but also a few finish glitches. Most importantly, though, that one was a full half-kilo heavier than the other (4.3kg vs 3.8kg) so I've kept the light one with the boring neck, and will now set about bolting bits and pieces to it. All looks pretty decent for the price anyway, in the spirit of the thread.
  3. Ed_S
    I'm facing the same decision over the same cabs and am almost certainly jumping the other way. The short version is I already had a G2 Super12 and Midget, but then received a One10 as a gift, so bought another to go with it and took the pair to live at the rehearsal studio. Wrapped up in the excitement of new toys, I decided they were the best thing ever, so bought a Two10 to use for gigs. As the honeymoon period ended, I started to notice that I was forever messing around with my EQ and 'never seemed to be completely happy with my sound these days'. Out of interest I took my Midget along and instantly realised that whilst the 10s are undeniably great bits of engineering, they're just not what's best for me. I'm currently steeling myself to take a thumping loss on selling all the 10s and probably order a Super Compact for gigging. Whilst I know they're about as loud as each other, the Midget is coming across so much more authoritatively in the room than the pair of 10s that it's hard for me to accept it's not substantially louder.
  4. Ed_S
    My personal view is that HBs can be good fun for modifying provided you acknowledge that a £120 bass with £240 of parts added will still be worth £80 trade-in. Mine's a PJ and a 5 string, but still essentially a budget P-bass. Turned out really quite well now it's finished, and I play it a lot more than I expected to. Before (stock image) After (badly lit image) I really want a white one that's just a single P, and I keep looking at the Fazley equivalent and wondering whether to do it all again. I know I'd probably be miles better off just buying a Sire P5R-5 and leaving it alone, but that's not as interesting.
  5. Ed_S
    These are pearlescent but they never had gold hardware, and of course I’m a different Ed S - just a passing Ibanez owner adding my 2p to confuse things! 🙂
  6. Ed_S
    Looks to be one with just a small headstock ding at a shop in Germany if you fancy a shot at the dream and don't mind a player. I can confirm they're nice, though there's so much variation in the colour of the boards, you'd think mine were different models. Edit: just noticed they also say discolouration to the back of that b-stock. They do have a bit of yellow-ish-ness in them, so perhaps I have that to look forward to!
  7. Ed_S
    SR1105B in pearl white (PWM) finish, maybe?
  8. Ed_S
    As I quite liked the stock strings on my new Stingray I bought a couple of sets of the same regular slinky bass 5s from Amazon, but when I was fitting the first set I noticed that whenever I touched the strings there was an eggy, sulphurous smell coming from them. So many jokes, so little time. They didn't smell in and of themselves, but clearly the bit of sweat on my fingers was causing a reaction with something on the strings that shouldn't have been there. I tried the other pack and they were absolutely fine, so I contacted S&T and asked about the strange set. They confirmed that I was playing authentic, and although they seemed a little incredulous at what I was telling them, sent me a replacement pack which were also fine. I then bought another couple of sets from Thomann to pad out an order and get free shipping, one set of which has also turned out to be eggy. I couldn't be bothered with the back-and-forth over another set, so just binned them and won't bother buying any more.
  9. Ed_S
    However I try to justify this it's going to be the 'too many' option, but I choose to see it as 4 rigs... - Markbass 1x12 combo for those jump in a taxi type gigs. Probably all I strictly need as it would cover most gigs I play. - Barefaced G2 Super 12 and Midget as either a 3x12 stack for anything big, a 1x12 for anything small, or a 2x12 for anything medium. - Barefaced One10 (x2) for rehearsals as they fit in a lockable flightcase that I can wheel into the studio store and leave there. - Barefaced Two10 because I wanted a one-hand-portable version of my rehearsal cabs to keep at home, ready for medium-small gigs. And then a few lightweight amp heads to use with the cab combinations. Though I'm currently considering moving the combo and the 2x One10 stack on, and just using the Midget and Two10 in their respective places as they're essentially the same things. Could be down to 2 before long!
  10. Ed_S
    I used to do this with my very first amp - a Park B25 mkII - so I could jam with a couple of guitarists after school in the music rooms. I used a Boss GEB-7 with the EQ left flat and the Level control pushed up, but it sounds like near enough the same idea. From memory I'd say my first bass was set up pretty well (late 90s Yamaha, straight out of the box and un-messed-with) and the pickups didn't need to be any higher; it was just on the polite end of passive and there was only so much output level available, so pushing the preamp with a pedal was a reasonable fix and never hurt anything as far as I'm aware.
  11. Ed_S
    Just a 5 string black P-bass, no more than about 3.5kg in weight, 16.5mm string spacing, roasted maple neck with a plain ebony board, and big stainless frets with perfectly rounded ends.
  12. Ed_S
    Next, get yourself a Cali Central - it's got a P thing and a Ray thing going on at the same time
  13. Ed_S
    I'd go with "£50 - post cash through letterbox" - somebody will usually 'steal' something they think has value much quicker than they'll take something labelled as having none, and the less time it's out there, the less chance that somebody will come along and just destroy it for fun and leave you to clean up the mess. My faith in humanity is perhaps a little worn, but I'm rarely disappointed.
  14. Ed_S
    I guess history has proven out that for me it'd be a superstrat type. I haven't played properly in a long time now, but at the point where it fizzled out I had the ESPs in these pics so they are what's available for the very occasional noodle. The tele in the first pic was really nice but not at all 'me', so it moved out when the stupid black shred machine in the second one moved in. I sold the last of my amps, cabs and effects in the recent cull so I could probably sell up completely and move on happily enough, but these two aren't eating anything in storage so I figure it's probably more cost-effective to just keep them than get into a sell/re-buy cycle every time the delusion resurfaces, as I'd never be able to justify anything close to their quality again.
  15. Ed_S
    When I switched back from 4s to 5s I sold my Precisions to a local shop. Had they been rare or unusual it would have made infinitely more sense to list them here and await a discerning buyer, but in the event I decided to sell my utilitarian instruments in a befitting manner and avoid all the negatives that come with private selling. Can't speak for anyone else, but that's why you didn't see mine for sale in the marketplace.
  16. Ed_S
    Did you end up with https://www.jimdunlop.com/dunlop-deluxe-guitar-stringwinder/ instead of https://www.jimdunlop.com/dunlop-deluxe-bass-stringwinder/? It's the bass specific one I have, and I'm yet to find anything it doesn't work with.
  17. Ed_S
    Using your fingers isn't massively difficult to begin with, but everything's relative and in my experience it is significantly easier using a tool designed for the job. It's easier still if it's a good example of that tool, so when the best example I've discovered only costs a fiver I can't see any downsides to using it.
  18. Ed_S
    I’d recommend the Dunlop one without any hesitation - had mine over 6 years according to Amazon and it’s the best I’ve found. Had a fair few over the years and whilst I’ve never broken one, I’ve binned plenty for being useless.
  19. Ed_S
    I do really like the Warwick two-piece, especially when you follow their setup guide to follow the curvature of the last fret, but I'd probably make a mess of the routing to recess the baseplate of the bridge section. I'm good with a drill and might even award myself 'nifty' with a soldering iron, but I'm much more Cisco than Bosch when it comes to routing 🙂 I considered dropping the bridge on mine back a bit and filling in or covering (or just dropping a couple of decorative screws into) the existing front mounting holes, but it wouldn't get me much more than 1/4" before the intonation became problematic on the higher strings, so I decided against. Reckon you're definitely on the right track with the separate tailpiece. Switching the 10mm grub screws for 8mm ones that sink below the surface instead of scratching my hand was a small but significant step, though, and well aligned with my modding and tinkering capabilities.
  20. Ed_S
    For the 5 string miKro, it's a shame that Ibanez went with the '3 over 2' headstock layout common to the cheaper models, instead of the '2 over 3' layout you get on the premiums. Switching to the other template would have shifted the tuners for the thickest strings back an inch (measured roughly but consistently-so using GSRM25, SR655, SR1105 and SR1305) and probably solved a good few of the string choice problems related to the scale length. As it stands, I'm going with Dunlop super-bright short scales as I use the long versions on other basses and like the feel of them, and they seem to fit well enough with only a bit of the tapering - not the full thickness of the string - going round the peg on the B. That's the same as the Ibanez set which I found really rough, so not really losing anything by ditching those. Now I just need to order some NPS as I could only find plain steels in stock to test with.
  21. Ed_S
    Can obviously only speak for myself but I find deep bass on stage really unhelpful as it just makes everything harder to hear and mix, so if my stage/amp sound is my room sound then both will be a bit lacking in deep bass. Where the amps are just for stage monitoring I provide a lightly driven and moderately EQ'd signal from my Sansamp to the desk rather than a clean DI, and I work on the basis that if the FoH engineer feels it needs the low EQ boosting a little more for the room, they have that option. If the stage is big enough that the amps are just visual props and there's a monitor desk/engineer I'll always ask for my low EQ to be reduced in the foldback and it's never been questioned so I've always assumed it's not uncommon. I suppose that if you're stood right in front of the stage you might have a less bass-heavy experience than if you're more under the influence of the house PA.
  22. Ed_S
    I did actually have a short scale Talman a while back but it went along with the rest of the 4s. In terms of mods, it was an early one with a standard BBOT bridge so I put a nicer looking one on it, along with a PJ set of quarter pounders and a rewire. It was a nice bass, but it was just missing a string. If I'd kept it, I was contemplating getting a pearl guard made for it to match a 'berg superlight I also had at the time. At one point it had chromes on it, but it was a set of EXL160S that really made it come alive.
  23. Ed_S
    Not really a full pimp-out of a cheap Ibanez, but I just did a bit of reverse-logic purchasing and ended up with a GSRM25. I had a 'cosmo black' Ibanez B305 bridge, matching Gotoh GB707 tuners and a set of knobs left over from a past project, and instead of just selling them on and getting some cash back I decided that I'd get something cheap and different to use them on, so now I have a short scale that should fit in a guitar bag. It felt chunky to begin with, and feels even chunkier now it's got the new hardware fitted. I'll get it some matching (or black) strap-lock buttons at some point. The fretwork is nice but the finishing on the body is absolutely woeful up close. Still, better it be that way round; a mirror gloss finish and an unpayable neck gets you nowhere. And then there's the strings - the ones that came on it were cut far too short, and the new set of Ibanez made-for-the-bass ones are so rough they'd be more at home fitted to a tile saw. But having played it for a while I do like it in a funny sort of way, hence being in the appreciation thread. I guess I'll start researching suitable strings!
  24. Ed_S
    I have my LM2 and LM800 in Gator G-MultiFX-1110 bags, which are about £25. They're a snug but just about perfect fit, and I think your 250 is the same size chassis. They're not live-in bags like some of the official ones, though.
  25. Ed_S
    For electric bass in an acoustic band, D'Addario EXP Reds used to be my favourite as they were copper coated and had a suggestion of acoustic bass strings in their sound. Sadly they're not available any more and I've not seen anything similar coming to market of late - though I'd be interested to know if anyone else has. Of the strings that you can still get I personally favour Dunlop Super-Bright Nickels as they have quite a light and flexible feel, they sound nice and clear, and I find them comparatively easy on my fingers. I like the sound (and the feel - some people don't) of Ernie Ball Cobalt Slinky flats, but it seems that every time I put flats on a bass I end up selling it within a year as I'm just not using it any more.
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