Lfalex v1.1

Just personal preference? On the other hand, the bassist from Snot de-tunes his 4 to C or C#, as do many others in the genre. Why don't they play fives.... Also, it might be worth considering that whilst they play in metal bands, they might play other material too, which needs the low B. They then get to like a certain bass, and just use that for everything?

(If you have the choice) It does depend on what genre you're playing, and the pub/locale in question. Thrash Metal in some dive = take a cheapie Sophisticated Jazz Soiree in upmarket wine bar = Roll out the good stuff

Jazz Bass? Every home should have one. Like, before you buy a cooker...

Sorry about that! What were the strings, and what is the bass? ( I know how you feel,I've re-strung my Warwick Fortress Masterman V with Elixirs (45,65,80,100,125plain) and it's great.The Streamer LX VI is next...)

Yes, but I read the thread title, and immediately thought; "[i]And I feel Heavy Metal[/i]" "[i]Woohoo[/i]" "[i]And I've pins and I've needles...[/i]" (Song 2 by Blur for the uninitiated)

[quote name='bertbass' timestamp='1342110702' post='1729796'] Been there and suffered that, don't 'alf hurt, I just carried on but didn't move my left arm as much when playing and definitely no windmills. It got better after a few months thankfully. [/quote] My concern is that work (whilst [i]bearable[/i]) will slow the healing process.... Thanks to all, (esp musophilr) for the contributions so far. I guess my next step is GP/Physio if there's no sign of improvement in the near future.

[quote name='4 Strings' timestamp='1342113625' post='1729875'] Everything on a Stingray is better than a Fender (except the bassist when its in my hands). And 'proper' Rays are string-through so makes no odds. [/quote] Except for the "weak" G-string and some with evil dead-spots, that is!

Unfortunately I suffered an injury at work. I lift (a lot!) at work. Often several tons over the course of a day. Because of good technique, my back is still fine and I've plenty of core strength. I'm right-handed, and my elbow simply went "Pop" The symptoms seem to echo people's descriptions of "Tennis Elbow" Whilst it's painful/awkward at work, I can work around it without painkillers. With bass-playing, it's seriously hampering my playing as the required inward/upward movement for the correct forearm position to reach the strings is painful to maintain. I've tried lengthening the strap/s, and using different basses and R/H positions but to no avail. I play exclusively fingerstyle, and using a plectrum would probably be excruciating. I refuse to use painkillers, as they only mask the symptoms, and I may be risking further injury/damage by pushing it. Yesterday (day off), I did as little as possible requiring the use of my right arm, and did quite well until I picked my daughter up.... then it went back to square one. Any ideas (besides going lefty)?

[quote name='Glengarry' timestamp='1342031586' post='1728508'] Oh, wouldya look at that. The Bass Gallery isn't on Denmark St - I was thinking of the Bass Centre. Glad we've got that cleared up [/quote] Which wasn't either. That was in Wapping High St, and then moved to Brune Street. I think you mean the Bass [i]Cellar[/i]?

I have circumvented this minefield in proper BassChat style... Have one of each! 2 Jazzes- 1 Maple bodied, maple necked, BadAssII 1 Ash bodied, rosewood necked, BBOT strung thru-body, s1 switching

I usually look at the neck for big changes, otherwise I tend to keep an eye on the rest of the band.. Just seeing what they're up to, what's coming next and so on. I don;t like being in bands that don't "communicate" on stage. If you can see that everyone's on top form and enjoying themselves, it lifts the band's performance that bit more (IMO) Oddly, I'm not that concerned by the audience. It's enough to know that the band's firing on all cylinders - If the audience don't appreciate what that looks/sounds like, the band were never going to win them over anyway.

Thinks.... Active pick-ups have a built in amp to increase the level prior to the pre-amp (with tone controls) right? My experience is that all-passive instruments are more immediate sounding still, but this is masked in comparisons with active instruments by their pre-amp voicings and (sometimes) hotter output. Could it be that the length of the signal path and the components in it are "time-smearing" the signal? The OP mentioned an SB 1000. Aren't they a single pick-up model? I've always found that single pickup basses have a stronger attack, and had attributed this to the fact that these give a more coherent/less "phasey" interpretation of the string's motion. Just kicking some ideas around... Don't all jump on me/burn your Jazzes/rip out your pre-amps. Besides, they give us loads more tonal options...

Lz: how many more times? Bs: Paranoid!

[quote name='Bass-Thing' timestamp='1341503205' post='1720176'] Ok thanks for that Chris. I understand what you mean but do you know HOW he was forced? IE Did somebody put a gun to his head and give him a sledgehammer or was it just a court order which he has said he complied with? I would have thought also that regardless of rights to any means of production, you can't destroy or have somebody destroy their own property without compensating them financially. Of course if Rob did accept any such compensation, it probably means he hasn't just buried them under the patio after all . I wonder if HP Wilfer has a video of the moulds being broken, that he uses to cheer himself up occasionally. You don't fancy asking him personally do you? [/quote] I've conversed at length with Dawn (Green) about this. They [i]were[/i] required to destroy the mould by Warwick. Warwick (irrespective of the rights and wrongs of the matter) have a great deal more financial (and, therefore, legal) clout than Status do. Given the choice of "Do what you're told" or "We'll sue you to the point of ruin" there's little real option for an otherwise financially viable operation.

Marooned is what they should be. On a distant planet. Without any air.

[quote name='cocco' timestamp='1341429987' post='1718978'] Feeling a little 6 string curious these days, but I don't want to buy one and not be able to play it/not like it. What can I do? Anyone fancy temporarily trading a 6 er for one of my stable? [/quote] Shame you're in Cardiff... I've a Warwick Streamer LX 6 that I'd have swapped out against a T-40... but I'm 300 miles away.

Second hand on here might well get you more bang for your buck....

[quote name='discreet' timestamp='1341336833' post='1717331'] But I'll only (only?) get 2 X 400W in Stereo Mode (8ohms each channel) ... [url="http://cpc.farnell.com/jsp/level5/module.jsp?moduleId=cpc/626381.xml"]http://cpc.farnell.c...=cpc/626381.xml[/url] [/quote] Buy two more 8Ohm cabinets. Then you'll get the 2x650w into 4Ohms and your band mates will be running for cover. Just like the suspension in your car/van...

[quote name='OutSpoon' timestamp='1341493788' post='1719969'] I guess buying another neck is an option... what sort of price for a '70's fender jazz neck? [/quote] As much as a s/h Squier VMJ and a decal? Then you could put the '83 neck on the VMJ body, too.

The day someone tries to dictate what I wear on stage is the day I leave the band. Remind me again why I',m not in a band.....?

[quote name='OutSpoon' timestamp='1341490955' post='1719907'] continue the journey it has had, and make it personal... [/quote] This

Now I don't [i]normally[/i] get all excited about basses. Sure, I [i]like[/i] them, but I've seen/owned/played so many.... .... However, that Dutch Black/Maple one is not only unusual, but looks "of a piece". I definitely like the lollipop tuners.

If I one turned up, I'd have it. (We are talking about the 5 string, 15 fret one, tuned EADGC, aren't we?) I have a feeling that the bassline to "A Horse with no name" by America was played on one, as it's difficult to articulate correctly on a 4.

I've a VM jazz. Made in Indonesia. I've put a BadAss II on it and some DRs, which have made it even better. Neck is lovely, overall, it's a bit heavy, and the pick-ups are only okay. Better electrics would make it superb.

Good string choice (quality/type) and a good set-up can help a lot. Good construction helps too. Only one of the fives I've had has a "weak" B, and that's my Hohner B2a V. I attribute that to the cost-cutting in the electrics department, and the fact that the instrument is simply too light! My Stingray 5 was fine, but their QC/construction is good. The Vigier sounds the best, as it sits well tonally with the other 4 strings The Warwick Fortress Masterman is a bit OTT, but that's in keeping with the rest of it Even the OLP is reasonable, and the bridge on that isn't that great. I wonder if it's down to the rigidity of the neck, and the joint with the body?