geilerbass

I've been seriously considering a 5-string Jazz of late... Yours looks like a beaut - any idea what the string-spacing is on it?

Monday morning bump!

This is still available folks - feel free to make me an offer if you're interested.

[quote name='Conan' post='1302111' date='Jul 13 2011, 11:20 AM']The V-type amps contain varying numbers of valves, rather than the non V-type ranges which are all solid state. The amps are pretty sought after and often go for high prices when they come up.[/quote]

Without wishing to sound too pedantic, the non V-type amps are not strictly all solid state. I have an AH350SMX from 1995 and it has a valve pre-amp, with blend knob to combine valve and solid state input. Means you can get a nice warm edge to the tone, if so desired.

Even though my amp came after the revered Series 6 era, I still think it's a stellar head. Very versatile with a 12-band EQ, dual band compressor and lots of punch. Even at just 350W, it's been very loud through all the cabs I've tried it through. Never needed to have the volume set above half, regardless of the venue size.

Bump...

[quote name='flippyfloop' post='1296886' date='Jul 8 2011, 10:17 AM']I have a maple Ibanez SR905 plus cash your way ?[/quote]

Thanks for the interest. Ideally, if it's an Ibanez, I'd be looking for something like an SR3005, 4005 or 5005. That said, I'll consider it as I know the SR905's are great instruments and it could be useful as a back-up to my SR20th.

Also, I've just seen a couple of basses in the For Sale section here that are very tempting, so I'll see if there's any interest in a straight purchase.

[size=4]****SOLD****[/size]

For sale is my Ibanez SR1016 6-string.

Specs: -

Body: Mahogany (Stained-oil finish)
Neck: 5-piece Wenge/Bubinga
Fretboard: Rosewood (abalone inlays)
Pickups: Ibanez DXP
Controls: High boost/cut, Low boost/cut, Vari-mid parametric mid-range, volume, pickup blend
Bridge: Single-piece die-cast
Scale:34"
String-spacing: 16.5mm

This bass showcases the skilled workmanship of the Fujigen Gakki factory in Japan that now only make Prestige range instruments for Ibanez. Back in the 90s Ibanez still had their high-end, non-Prestige models made there and this is one of them. The serial number (F98xxx) indicates it was made in 1998 and old catalogues (see [url="http://www.ibanezrules.com/catalogs/us/1998/index.htm"]Ibanez Catalogue 1998[/url]) show it was the next model down from the top-end Prestige range.

As you can see from the pictures, this is a classic example of the slick contours that are the trademark of the Soundgear family of basses, very similar to the popular SR506. It has a slim, slender neck that plays as well as any bass I've tried and even makes 6-strings easy to navigate. With a small mahogany body, the bass is incredibly light, particularly for a 6-string. Anyone who has played an SR506 will be familiar with this kind of feel, though for me, the fit and finish of this instrument is noticeably superior to the more recent SR mid-range instruments.

The pickups are Ibanez DXPs, which I find give a mellower and clearer tone than the branded Bartolini MK pickups that are standard on the SR5xx's. The other feature that sets it apart from those bases is the vari-mid parametric mid-range control. This was only generally found on the K5 and Prestige models and offers a huge range of different sounds, with a fully sweep-able mid frequency control and cut/boost in a single stacked control knob. The controls can be quite sensitive and I've found that subtle adjustments can often make a big difference to the sound.

The pictures show that the bass is in very good nick - the body has the odd very minor ding - something that's difficult to avoid with stained-oil bodies. Apart from that, I've had no issues with this bass. As far as I know, it had only one careful owner before me (our very own delberthot), who should be able to vouch for the quality of this instrument.

My reason for selling is that I just don't have any need for a 6-string anymore and really need to replace it with another 5-string. My main bass is an Ibanez SR20th 5, which is virtually the same instrument, just with different pickups and a few other fancy extras.

I'll stress again that this is rare instrument - I've not seen another one on sale anywhere, either over here or on Talkbass - and is a level above the comparable SR5xx range.

I'm looking for about £500 for it (I believe these retailed a bit over a grand new), but would consider trades for 5-strings - let me know what you've got.

I'm based in London, but without my own car, it would be difficult to deliver so I can only offer either collection, a meet-up within access of public transport or courier - for the latter, I'm not sure how much that would be, but can find out if required.

Please let me know if you have any questions.

Thanks for reading!

[attachment=84185:BodyClose.jpg][attachment=84183:BodyBack.jpg][attachment=84186:FullBody.jpg]
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[attachment=84189:Serial.jpg]

I picked up one of these around Christmas time and have found it to be incredibly useful. I generally use it in place of an amp - either DI-ing or going through the effects return on amps for monitoring - so have spent a lot of time playing around with the amp modelling functions. These are incredibly extensive and versatile and, with enough time, I'm fairly confident that you can create almost any kind of sound you could want. The addition of the separate, second signal chain (an addition to this model vs its XT predecessor) further increases the range of options.

As for using it just for effects, you can turn off any item in the signal chain, so could switch off the amp modelling completely, using just FX. There are possibly some limitations as to how many effects you could apply at once - for example a lot of effects are classified in the same group on the signal chain, meaning you can only apply one of these at once. You have Stompbox, Modulation, Delay and Compressor groups and only one of these each can be applied at once. Distortion pedals are classified under Stompbox, so for example, you wouldn't be able to apply two different distortions on the same signal chain, but you could apply distortion with flanger (Modulation) and delay.

I'm probably making things sound overly complicated - really, you just have to spend a bit of time with one and then it all starts to make a lot of sense. I think it can be used fairly simply - like an out of the box mulit-fx, but you only really see it's true benefit if you invest a bit of time in experimenting with different sounds.

I personally think the effects do sound great. Possibly not up to individual high-end stompboxes, but definitely more than good enough to my ears.

There are a number of options for outputs, in terms of what you're outputting to and the Pod adjusts the signal accordingly. Depending on whether you're DI-ing, going into the front of a combo, power amp etc, there are different settings to account for this and ways of tweaking further.

Hopefully that's of some use - please let me know if I can answer any other questions about the Pod.

I'm fairly certain that most SRs follow the same size and shape and are all 16.5mm string spacing - though if you want to check for sure, such information should be on the Ibanez website for newer models. For older models, there's loads of information (and photos) on the Ibanez Register website ( [url="http://www.ibanezregister.com)"]http://www.ibanezregister.com)[/url] - look for the 'old' gallery page.

I'm a big fan of the SR range and have an SR1016 and an SR20th 5. They generally have a huge range of sounds and are for me, by far the most playable basses I've encountered. The necks may not be everyone's cup of tea, but I find them ridiculously fast and smooth to play. Particularly those with wenge necks - now becoming a rarity.

I've tried out SR500's, 600's etc - i.e. the recent non-Japanese made ones - and these all play great, have nice sounds and appear to be very solidly constructed. You can pick them up second hand for only a few hundred, which to me seems an absolute steal - a lot of bass for your money.

However, the recent Japanese-made ones (generally the Prestige range of SRs - the SR1000/5/6e, SR3000/5/6e, SR20th, SR4000/5/6 and SR5000/5/6 amongst others) for me are a class above. The sound and quality leaps out immediately and these feel almost like boutique basses. These are modelled on the older ones like the previously mentioned SR1200 range, which were also made in Japan. Unfortunately, these all come with a higher price tag new, which I personally feel is a little steep.

For some reason, high-end Ibanez really don't seem to keep their value - I guess it's maybe to do with the quality of their cheaper basses, meaning most people can't justify the additional cost for a disproportionate increase in quality. Great if you want to pick one up second hand, but not so good if you get one new and decide it's not for you.

In terms of cons, Ibanez electronics have a reputation for being a bit temperamental - something I've experienced. Though I've not found repairs to be costly - and it's probably something that you could sort yourself with the right know how and a steady solder hand.

I've also found them a little neck-heavy, mainly because of the slim and lightweight bodies. Generally the SRs are very lightweight, but the tend to naturally hang horizontally, rather than at a slight upwards angle, which I prefer. This is particularly notable on the six string models, where there is more neck wood.

For up to a £1000, you will easily find a decent Ibanez. If it was me, I would look for one of the Japanese made ones second-hand, either one of the current or recent SR Prestige models, or one of the older ones like an SR1200, SR800 or SR3000e.

I just bought a Pod X3 Live from Dan - a very easy transaction and a great chap to deal with. He even gave me a demonstration and tutorial on the use of the Pod - really helpful.

A pleasure to buy from - you should have no worries whatsoever if you're thinking of buying from Dood.

I've got an SR20th5 and an SR1016 6-stringer, both built in the Fujigen Gakko factory in Japan.

They both have the classic SR body shape - thin and streamlined - and are therefore very light in the body.

The necks are possibly the fastest and easiest to play that I've ever encountered, but with narrow string spacing are probably not everyone's cup of tea. I have the action pretty low which is facilitated by the necks and this again increases ease of playing, though doesn't compromise the tone too much.

The SR1016 has Ibanez pick-ups with the Vari-Mid EQ. There's a huge range of possible tones, but as other people have stated, it possibly lacks a bit of punch or growl. Compared to my Warwick Streamer, I can sometimes get a bit lost in one of my bands where the two guitar mix fills up most of the frequencies. I've found I've managed to counter this by using a Sans-Amp BDDI along with my amp's EQ and compressor.

The SR20th5 has a the Vari-Mid, but with US Bartolinis. The result is a bit punchier, even given a decent slap tone and again, a vast range of sounds. Again though, it still lacks the growl of say, a Music Man, but I've found it has enough presence to cut through when required. Compared to the SR1016's Ibanez pickups, it has a slightly lower output (the SR1016 has a very hot output), but still pushes out a pretty fat signal.

In all honesty, I'm still looking for the perfect sound, but in terms of playability, I can't fault the SR's and have yet to find anything which is as satisfying to play.

I'm intrigued by the SRT range, since it looks as though they've retained the body and neck, but beefed up the electronics. And at the £700~ price point, they're relatively affordable. Will have to see if I can try one out...

A very sensible post.

I have a very similar approach, to the extent that I often irritate my band mates with how anal I am about leaving a vehicle unattended when it's full of our not in-expensive equipment. Maybe they're just not as paranoid as me, but there's no way I'd every leave instruments in vehicle overnight, despite their suggestion to "just park it so the back doors are up against a wall". That's really asking for it, in my opinion...

With load-ins, it's the same - a vehicle should never be left un-attended with gear in, for any amount of time. Like Bilbo, I'll stay with the car or van until someone else (preferably in the band or someone we know) can come and start un-loading gear.

I'm also often reluctant to leave our gear lying around in a venue. Unless I'm confident that there's a proper secure area, or reliable individual keeping an eye on it, I'm not comfortable leaving my stuff anywhere. If I'm heading out for food or something between soundcheck and performance, I'll often take my bass with me, just to be sure.

It can be a bit of a drag, but I'd rather the inconvenience, to the hassle of having to either replace something that has been pinched or trying to convince an insurance company to give me the money to do so.

Sutton!?!

Might try and get along, even so - would be nice to see Jimmy Johnson live.

The soundtrack to Twin Peaks Season 2. It never gets old. Particularly the Hook Rug Dance. Genius.

Yipes...

That's a serious collection right there. Astonishing!

I was going to ask if the Axe/Punisher come with a 'fake blood-resistant' glaze as standard, but it looks as though you use the Feline copies for live?

Thanks for sharing this with us!

Claypool was indeed awesome last night. I'm still not entirely sure exactly what it was I saw - the man is a true innovator.

I don't really know his solo material, so the orchestration was a pleasant and refreshing surprise to me. And what an amazing band! The percussionist particularly impressed me.

I didn't meet him last night, but I did get to meet him back in 2008 when he premiered Electric Apricot at the Raindance film festival. While I literally only said hello to him, he did come across as a very pleasant and down to earth chap.

I wouldn't be surprised to see him back over her after not too long, based on the reception he got last night.

I love the pragmatic, borderline-cynical response from the bass playing community! That once again goes to illustrate who, generally, are the sensible members of a band...

I have to agree with what most people have said. I'm also in a metal band and have had limited experience playing over in Europe - usually it's a been a few days or a weekend and never really across multiple countries.

Original metal bands who do not have a drawing name are immediately at a disadvantage because it relies heavily on there being a local scene to draw in a paying audience. And even where there is, that's not even the slightest guarantee.

It could be a fun and enjoyable experience for the band but, as everyone has said, assume you will have no income whatsover. If you can pull together the capital to pay for everything up-front and can treat the tour as, essentially, a working holiday, it could prove worthwhile as you could gain some valuable exposure. Though if you can't afford it as you are, probably best avoided. The fact that there is a 'booking agent' involved, makes alarm bells ring - sounds a bit of a rip-off, but without knowing the full details, I wouldn't want to cast judgement.

As suggested by others, a smaller scale venture to 'test the waters' would probably be advisable before heading straight into a 20-date tour, particularly if you've never toured abroad before.

Konnichiwa!

Welcome to the forum - great to have someone from Japan posting on here. I hope you find it useful and fun.

I have 2 Japanese-made basses - both Ibanez from the Fujigen Gakko factory.

All the best!

If you don't want to wait for a week, if it's really painful and irritating and if you've got time, you could try going to your local A&E or walk-in clinic and complain about excruciating pain in your ears and hearing loss. You'll probably have to wait a while, but they're more likely to clean them out there and then rather than forcing you to wait.

I've heard from several sources that in-ear monitors/earplugs etc can actually be quite damaging if not used correctly. The problem is that with most amplified music, there's really no choice, if you don't want to go deaf. Unless you want to wear ear-defenders to rehearsal, which actually probably isn't such a stupid idea...

It could be simply that the earplugs you used have compacted wax in your ears - obviously I'm no expert, but I have been told by doctors in the past that something like that can account for temporary hearing loss and tinnitus.

It could also be an ear infection - possibly caused by the earplugs introducing bacteria into your ear. Again, I'm just going on what I've been told before, but the pain, tinnitus and hearing loss can be symptoms of an infection.

In any case, seeing the doctor is the right thing to do.

I think it unlikely that the louder ringing in your ears is due to the foam earplugs being less protective than your ER-25s (which I also use), since the attentuation of foam plugs is generally higher than the etymotic ones (25-30+db for the foam, vs 20 or 25 for the etymotic ones). The advantage of the etymotic plugs, from what I understand, is that they block out sound more evenly across all frequencies than the foam ones.

Hope you get it sorted.

On my AH350SMX, I don't use the pre-shape (a bit much as someone has already stated), but have the 12-band in a kind of 'm' shape, centred on 600Hz. I find it gives me lots of clarity and sharpness, but also plenty of punch to cut through.

The other thing to consider is that the Ibanez Register focuses on the US range. I could be wrong, but I'm pretty sure I've observed variations between the ranges available in the US, Europe and Japan, when looking at the respective Ibanez websites. It's possible that it wasn't released in the US and so, if you can find a 2001/2002 European or Japanese Ibanez catalogue it might be in there.

A long shot, but maybe worth a look.

There's nothing on the Ibanez Register that matches up exactly.

I believe that the model number is sometimes stamped on the inside of the neck joint - if you're prepared to remove the neck, you may be able to find it there.

Is there a serial number on the back of the head stock? The first character should be a letter, indicating the factory at which it was made, with the two numbers following it, indicating the year of manufacture (e.g. C02...., means it was made in the Korean factory in 2002). That might point you in the right direction.

Edit: You got your post in just before me! That means it was made in the Japanese Fujigen Gakko factory in 2001.

I have one of these. The power supply connector is the same size as 9v supplies, but obviously it needs to feed off 18v. I think Diago do [url="http://www.diago.co.uk/component/page,shop.product_details/flypage,shop.flypage/product_id,39/category_id,3/manufacturer_id,0/option,com_virtuemart/Itemid,206/"]an adaptor[/url] for this, but it's a bit pricey.

You can use 2x 9v batteries to power it, if getting hold of an 18v supply is a problem.