Lfalex v1.1

It was some sort of co-operation between BMW's US design bureau and Musicman. Apparently they tried "alternative" materials for the body, but ended up back at Basswood 😄

I'm sure there's more to pick on than just the CAR...

🤣 But the Ergonomics are (oddly) excellent. And I think a guy called Rolf Spuler is to blame...

My back is still OK. I use my legs to lift, and for longer distances, I strap everything together and use a dolly board. My Schroeder cab is lighter than the Trace 1048h I used to have, but that decision was driven by circumstances and power handling. I could get a diminutive head, but I like good old Class A/B Watts, so the head is relatively heavy.

I'd never seen a (Real) LPB one before, mainly Shoreline Gold and the Burst. Saw a Black one in some footage from the US once

Don't know what you mean....

If it follows the real RosBeck, they should be series/parallel/neck-most single coil...

The Trans White finish looks nice, as does the Metallic grey.

Been looking for a real one for ages... I wonder how close this gets?

Had it and already spent it! Bought a Two Notes Le Bass preamp pedal. Once you get the hang of what it does best it's great. Best dirt / preamp pedal I've had.

We really need posters to list the basses they own at the bottom of their posts to see if they fall foul of their own prejudices...

There was a Silver Bongo in FS a while back that covered these 3 nicely..

I was standing well off-axis, not wishing to be right in front of the drummer (force of habit!) Maybe I'll try and get more in the firing line of the PA next time.

Much of the kit sounded fine. It was mostly the boomy and mid bass- heavy kick. That seemed to be occupying a lot of the sonic space that most of us would allocate to BG. That's why I pushed the upper mids (even) more, to try to put some definition back in.

He's certainly not a luddite. But he did call my amplification "old"... A slight criticism it was all too willing to correct. "Old but good" was obviously what he meant.

Ah, it'll be kit #3 (An old "regular" kit) for live work.. The E-kit is too extensive.

Did an audition last night. Nice guys. Good Drummer. Except... he was using an expansive V Drums set into his own IEMs and out via one of those Bose line array/sub ensembles. Maybe it was the patch he was using, maybe the EQ, but the kick sounded like a cannon and I ended up pushing my upper mids and cutting the bottom end to stop the ensuing mush. Also, all the drums look the same! So there was a major disconnect when this diminutive unit (in the "wrong" place!) started sounding like a floor tom! Was there a smidge of latency vs a real kit? Maybe. I think the fact that the sound was emanating from the PA didn't help- it's very localised compared to a real kit. On the plus side, it helps keep SPLs down, so no ear protection needed, and I can still hear today. Has anyone else had similar experiences playing along with E drums?

I don't like Gibson 3-point bridges. A single coil at the bridge is almost always drowned out by a neck humbucker unless there's a VVT arrangement to balance it out. Signal level jumps when switching between series/parallel/single coil are unacceptable. Musicman got it right with the SR5 (H). Some manufacturers just don't seem to bother. I own an Epiphone Blackbird. That's how I know I don't like 3 point bridges.

Crikey. Nearly as complicated as an Ibanez EDA900. That has six trim pots, all governing the piezo- electric bridge; One for each string, one for global piezo level and one for piezo bass trim. The 905 gets another one for the extra string!

(Not that I own one a Lakland, but I do own a bass with a preamp trim pot...) Personally, I've adjusted the preamp gain so the output level when it's flat = passive mode. That way, there's no perceived volume jump if you switch mid-gig / mid-song. If you don't do that, or never use passive mode, it's less of a concern.

Hope it sounds better than my Markbass Head when the input/gain stage clips. Note the use of "clips" not "starts to clip" It goes from clean to loud piezo- electric buzzer straight away!

Doesn't that allow the potential for noise* to creep in at lower levels? *hiss, noise caused by fan motors, RFI, anything else that wants to sneak in with the signal...

Chevelle Ra Suzanne Vega QOTSA Supertramp Mainly because I'm playing along..

On stage, I think it was my Warwick Infinty SN4 through a Hartke HA3500 and 4.5XL. That wasn't even my rig. It was the venue's. Singer/Guitarist in a band I was in maintains I produced the best bass tone he'd EVER heard with a 2004 MIA S1 Jazz through an Ampeg SVP-PRO into my little 80w 1x10 Combo... in the drummer's front room! 🤪 In the studio environment, the Vigier, straight into the desk has given consistently good results. There's an undeniable directness and clarity, in spite of any processing after the fact. Otherwise, I'm getting some nice noises from most basses via a Two Notes "Le Bass" preamp, a Markbass S450 and Schroeder 21012l. I really do need a band rehearsal/ audition to use it in anger, though.

Works for me. Except I don't own any Fenders or Squiers... Virtually all of the basses I own make me adjust my approach at least a bit. I find it helps to keep things fresh and appreciate the strengths/ shortcomings of each design. It also means whatever I buy next has to be quite different/ special just to get a look in!