Kiwi

[quote name='7string' post='789059' date='Mar 29 2010, 12:58 AM']Spector's have to be one of the classic bass designs. I know I've asked this before (and I have a mind like a sieve), but how do the Euros compare to the USA's ?[/quote] Apart from the fingerboard and preamp, there's not a lot of difference between early NS5CRs and NS5XLs. Later Euros had a 35" scale, alder and walnut laminate body wings and there are some early Euros (around 2000-2001) that are a transition between the two.

Here are mine (past and present) These are two NS5CR's. The sunburst one is 98 I think and has a thicker neck profile than the natural one. Also sounds a little brighter. Both have 34" scale and the EMG's were replaced by Wizards. The preamps were replaced by a U-retro and a Noll 3 band parametric. The Wizards are much clearer and flatter overall, and I asked for a frequency hump right at the low end of the spectrum so I can get a nice fat B string. The pickups have coil splits which mean I can get a range of sounds including a very convincing Jaydee tone on the bridge coil! And I sold this Euro 6 last year Didn't sound as focussed as the NS5CR basses so I sold it although it was my main gigging bass for a while.

[quote name='Pete Academy' post='787444' date='Mar 26 2010, 09:57 PM']I've played and owned a fair few basses in my lifetime. I've always loved Jazz basses but have only recently taken the plunge and bought a 79. Best purchase ever. It does everything. Anyone else agree?[/quote] So what you're saying is that its your favourite bass? I like mine well enough but all the jazz basses I've ever played sound very mid scooped to me. Makes hearing them difficult on stage and I can't feel them as well when I play. So I'd never make one my main bass.

Its a jaydee series 1 on both pickups. Nothing else apart from slightly dead strings.

The problem could be down to either pickups or wood. Barts can sound woolly, unfortunately alternative pickups will cost to try out unless a luthier has a spare set lying around that will fit. If the wood is the problem, fitting a new set of pickups isn't going to make a lot of difference. You're not going to be able to realistically change the neck woods and new wings will be expensive and relatively ineffective. A new fingerboard from maple or ebony might introduce more 'snap' though, along with stainless steel frets, again costly. I think you need to be really clear on what the cause is before you spend money though.

She seems nervous during the intro to Endangered Species...or is that pretension? Hard to tell.

How on earth has she learned to sing and play such complicated timing on both bass and vocals with such control?

I think I've just fallen completely in love.

[quote name='The Bass Doc' post='781451' date='Mar 21 2010, 10:28 AM']I think the perception of the guitarist's timing may be down to the inevitable delay in listening to the choon in New Zealand. [/quote] Is that where you send him to rehearse?

Nice playing Doc, you pinned that choon to the wall. The tone of the guitar, bass and brass all sounded authentic too. Your guitarist had a shaky start though timing wise, didn't he?

Its one of those classic turnaround progressions isn't it? I have the track on vinyl somewhere...

Chris told me he designed these basses because he liked Ken Smith's instruments.

[quote name='dumelow' post='775025' date='Mar 15 2010, 11:59 AM']Mmmm, salad-like distortion[/quote] OMG YES!! With extra bacon bits!!! And those little sachets of dressing that require the strength of ten men to open before they rupture and send their contents flying across the room towards the nearest cleavage.

If Lee Sklar is playing, chances are it will be a Yamaha TRB.

I'm not into using distortion at all, but I tried a Danelectro FAB tone distortion pedal and it was really nice. Raw, crisp and no mush.

Basschat isn't going to be encouraging more guitarists to join.

My 3rd Symphony, 4th Movement, Prelude in Dm with a cockney twist at the end, Bill Bailey style.

he definitely didn't make any mistakes that affected the final price!

[quote name='Jerry_B' post='705818' date='Jan 8 2010, 05:51 PM']The bass player from Desmond Dekker's band once borrowed my old cheapy fretless bass for a gig when I was at poly'. He actually quite liked it and was a nice bloke in general.[/quote] I used to be in a band with the keyboardist from the same band.

Nope but I haven't given up hope yet. At least I have a one that sounds perfect (and a couple more that are close) even if the ergonomics are only 90% there

[quote name='bubinga5' post='769513' date='Mar 9 2010, 06:08 PM']and the doctor calls... CK, do you have any recommendations of what i should look out for? what sort of winding/design, give a low end resonancy peak..im in awe of some BC'ers knlowledge [/quote] If its technically possible, Andy at Wizard will know how to do it. There are little tricks and things that can be done using switchable resistors to alter the impedance so its not just down to wire and magnets. Give him a call and don't be afraid to ask for exactly what you want. In the worst case scenario he will be able to tell you what can be achieved and put you in a position where you can choose what trade offs you're prepared to accept.

All pickups have a resonancy peak, that is to say a hump where some frequencies are more prominent than others. The centre of this hump and the degree of prominence and width is controlled by the overall resistance in the windings and the voltage of the pickups output. Coil split pickups can have a lower voltage than single coils in split mode, if they're designed to be roughly the same loudness as a single coil when in humbucking mode. That might be why the nordies sound like they lack low end maybe. With a single coil pickup you have one fixed design. With coil split pickups there's a compromise of sorts, either the pickup is designed to make humbucking OR single coil mode sound better.

I'd suggest that most of the time most semi pro players won't actually need or use the features on offer in that Markbass unit. How is someone going to use a USB programmable eq in a real situation? Are they really going to have enough opportunity at soundcheck time to use their laptop to tweak the eq for the stage acoustics? Are the rest of the band going to play long enough just so the bass player can get their sound right? I seriously doubt it if there are deadlines involved for setting up. For what its worth though, a Behringer Ultracurve does the same job of flattening out the response curve.