Shedua511

Check this out too: http://www.rmcpickup.com/fanoutbox.html I have a 6-string bass with a built-in GK pickup: it doesn't really work that well with the VG-88 and the VG-8, which I use with the melody strings of the Stick. It works very well with my V-Bass though (I have the old version). Here's my bass: http://www.biarnel.com/liuteria/akme/akme5.html

The Ferrari analogy is a good one. I commute 40 km daily, maximum speed in Norway is 100 km/h and only some highways... I think a Ferrari is a thing of beauty, but it would make as much sense to me as having a grown lion as your pet when you live in an apartment. Incidentally I did see a Ferrari (white... yuk!) today, driving veeeery slowly: at one point it accelerated slightly and emitted a roar that sounded like "release me!". Poor thing. Come to think of it, I've heard similar sounds also from some Foderas

I do play one and enjoy both playability, sounds and looks. Will only post a link, not to offend those who hate the esthetics [url=http://www.biarnel.com/liuteria/akme/akme5.html]Biarnel Akmé[/url] Why play one? Why not?

He he, no: 1/2 Norwegian 1/2 Italian living in Norway. I guess it's my father's fault, he always referred to pastic foil as glad wrap

I use a waterproof Mono case these days, but in such situations I've put glad wrap all along the middle where the case opens: dry and fine!

Maybe I'm old fashioned, but I would think that to put a your signature on something you had to be alive... AC is very much alive, but he does give the impression that for a reasonable fee he will put his signature on anything, which kind of negates the whole idea of being behind a product. The whole marketing thing with signature instruments is kind of sad anyway, the idea being that the consumer is so stupid that he/she will believe that getting the same instrument as their hero will make them sound the same... besides, in 99% of the cases it's not the same instrument at all, it just looks the same.

[quote name='mrtcat' timestamp='1414773329' post='2593200'] It's a doddle. The pre in my stingray didn't require any soldering as it had little screw connections. Just take your time and follow the simple yet detailed instructions and it'll be fine.[/quote] not even for the battery? I'm a JE fan too, though I never had the pleasure of meeting him. I have a U-Retro, a P-Retro and a 2-band installed in different basses, they all sound wonderful! Thinking of getting a 3-band for my Classic 5 Stingray, hence the question above

While Bobby did play with Tower of Power while Francis "Rocco" Prestia was indisposed, Rocco is the man behind "Whati is hip?" and pretty much the bulk of ToP catalogue. Not to take anything away from Bobby, he is an amazing groove player: there are some videos on YouTube that will leave your screen oozing with fat and funky grease

[quote name='pfretrock' timestamp='1412788065' post='2572083'] Close (almost). http://www.daddario.com/DaddarioFAQ.Page?solutionid=37 [/quote] Actually, if you pronounce it in Italian, which is we're the family name originates, the first one is correct

I have been very happy with Warmoth, but my favourite necks would be Status Graphite.

Have you considered a Kala U-Bass? It doesn't get more transportable than that and they sound really nice. I have a fretless spruce top and get compliments on the sound every time I use it. Being an upright player too, I cat tell you traveling with the U-Bass is at the opposite en of the comfort spectrum

The drummer will probably not need the keyboard in stereo: I used to play in a band that had backing tracks and a click track. The backing track was sent in stereo to the PA, I used a wireless IEM that had two inputs, one for my monitor mix and one for the click track, with separate volume controls. A a rule of thumb: for live sound, mono is the way to go

My Stingray family, from left: 1977, 1978, 1979, 2012. Love the 'Ray

This is my battered upright. It's from Hungary, made in the 40's, part of a largish stock of instruments destined to schools in Norway. Absolutely everything that can be broken on an upright bass has been broken at some point, neck included (2 places!). Still, it sounds great, very punchy. The only part that is intact is the Troll microphone (It's a microphone that lives under the bridge, hence a Troll... he he he)

[quote name='NancyJohnson' timestamp='1396706090' post='2416613'] I don't doubt the guy has talent in abundance (even though in the early days you'd have said he stole most of his chops from Mick Karn and Percy Jones)[/quote] I'm very familiar with the work of Mick Karn, Percy Jones and Pino Palladino: you're saying that an orange stole from an apple and an ananas. Three completely different styles of fretless bas playing. In fact I'm surprised you didn't put Jaco in there too... Personally I can't say I love Pino with NIN, because NIN never were my cup of tea... but Pino makes it interesting, in fact Pino could make elevator music sound interesting, he's that good!

I guess the final word would come from Rob Green himself: the way he pronounces it, is the way I will pronounce it

Being a snob, I pronounce it in Latin: stat-oos

Had it been a 1980 neck and a 1977 body I would have tought so too, but I don't see a body from '77 breaking and needing replacement. Maybe somebody owned more than one stingray and matched the favourite parts?

You will find a lot of info here: http://musicmanbass.org/ Still, the only definitive way to know is to separate body and neck and open the electronics to see the pots. Some bodies and necks don't have date stamps though, the people at MM were apparentely a bit sloppy... These are great basses though: I have three preEBs and never bothered to find out the exact DOB of bodies and necks, I just play them

I saw TL live with Crimson ProjeKct recently: I'm pretty sure his bass side is standard tuning, perhaps the melody side is lower. He does indeed detune for elephant talk (lazy bastard ) The beauty of standard tuning, or at least keeping the same interval between string sets (I'm tuned a whole step lower on both string sets) is that the dots have musical meaning. If you play on the lowest string on dot 1, you'll have the same note four octaves up two dots up on the highest melody string! The interval from dot to dot is a fourth on the same string and it goes on like this. On the bass side, go up one dot on the adjacent string and it's an octave up. Do that on the melody side and you hit a unison. Makes much more sense musically than the dots on bass and guitar, wich are only position based.