Lfalex v1.1

[quote name='SteveK' post='1361574' date='Sep 4 2011, 10:14 AM']And if your drummer says, "I don't want to play East of London". Your guitarist says, "I don't want to play South of London". etc etc You see what I'm trying to say here? You're part of a unit - this means occasionally you'll be required to do things, that perhaps, you'd rather not. To say, "I'm not doing the gig, 'cause I don't want to" is a bit lame.[/quote] IF lojo were a member of said band, that'd be reasonable. I've done many gigs I didn't want to do and played like I normally do- for the sake of the band. It comes across as lojo not being a permanent member of this outfit, so I guess he's not under the same obligation. Perhaps finding them a dep is a sensible halfway house?

I have two Jazzes. MIA w/bbot and rosewood board/Sunbeams strung through body. VMJ w/BadAssII and maple board/FatBeams toploaded Chalk and Cheese, though due to all the differences, not just the bridges.

[b]Current[/b] ---- Ovation Celebrity ElectroAcoustic '80s Westone Raider1 ---- OLP MM3 ---- Squier VMJ (modded) '04 Warwick Infinity SN IV '97 Warwick Fortress Masterman V '97 Warwick Streamer LX VI ---- Yamaha Attitude 10th Anniversary Billy Sheehan Signature '09 Status Streamline '96 Vigier Passion V (series III) '02 Fender MIA Jazz S1 ---- "Bitza" EUB [b]Previous[/b] '90 EBMM Stingray 5 fretless (sold) ---- Columbus Series II Jazz fretless (dismantled) ---- Ibanez SRX 700 (sold) ---- Zoot Chaser Custom prototype (sold at a hideous loss) ---- Ibanez EDB600 Ergodyne (destroyed) ---- Some old Aria or another (dismantled)

Aaaaagh! Each to his own, but... You've convinced me never to even [i]look[/i] at either a Kala or an Ashbory. Give me either a 34"(+) Fretless Electric-preferably a Jazz- or an EUB of the NS persuasion. I can't live without a degree of sustain. If I wanted that sort of sound, I'd head for some knackered flats and a sponge mute judiciously wedged under the strings near the bridge. (Did my mileage vary just then?)

£1300! Definitely buy secondhand! I paid just over £500 for a Fortress Masterman V, and it's everything it should be. I bought it as an intermediate "beater" for rough & tumble gigs, but it's usurped some of my favourite basses...

Warwick/Trace works well, and I had a super Warwick/Hartke moment once. All with Actives, but in passive mode, there's little/no difference to active mode w/ tone controls centred.

[quote name='steve-bbb' post='1358239' date='Aug 31 2011, 11:02 PM']ashbory ?[/quote] I thought that. Then remembered the "Traditionalist" part.

There's an interesting point someone once made. Surely a cable should have as little an impact upon the signal it is carrying as possible? The ideal being (in audio terms) the sound of "no" cable. The best thing to do with regard to cables is; Look after them (they'll continue to work correctly and not need replacing) Keep cable runs as short as is practical for any given application (It saves money and the impact of the cable in terms of capacitance, inductance, exposure to RF interference is lessened) That'll get the best out of whatever cable/s you buy (And rechargeable battery (DC) powered pre-amps have been manufactured in the wacky world of HiFi before. Just buy a passive one with 1 input and a volume control- they're even "better". And [i]quite[/i] cheap.

As the man says, it'll still do it. It does take a little longer, and make sure you wipe any sweat off of your (presumably) right hand, as the knurled adjusters can be hard to grip otherwise. Definitely no need for a TransTrem unit or similar, though.

I'd consider this to be on the heavy side Comes in just over 15lb. Caused by a combination of a solid Maple body and necessarily sizeable Wenge neck. Manageable (for me) with a hefty strap and by virtue of the fact that my job involves a lot of lifting. I wear it quite high and close to me-makes it easier and I agree with the post about lighter basses making you stoop. With this on, you have to stand as though you're in "Man 'O War" or it'll pull you over. I think if I were much taller than I am (5'10"), it might cause issues. It's a combination of factors, some of which may offset the weight of a heavy bass, not the absolute weight of any given instrument. I'd rather a heavier bass that didn't suffer from appalling neck-dive than a lighter one that did. YMMV, especially if you've sustained certain injuries, though.

[quote name='xgsjx' post='1357589' date='Aug 31 2011, 02:40 PM']You all seem to be missing the main point why these cables are so dear. They're made of pure snake oil. [/quote] You may laugh. I oiled a snake once. There ought to be a health warning.

I'm glad you've found a set you like and that suits you. Ive only managed it on 4 out of 10 instruments, and they're all from different manufacturers. Generally 40-100 or 45,65,80,100 (give or take a 125 here and there), though.

[quote name='Bilbo' post='1357487' date='Aug 31 2011, 01:27 PM']Sitting here at my Senior Pro[s]bation Officer[/s] desk, I am thrilled to discover that I am a pro musician. Does that mean I can go home now? [/quote] Sorry. My bad. I can't ever recall your mentioning a job and assumed you made a living out of playing I kind of fixed your response to conveniently reflect the unfacts.

[quote name='EdwardHimself' post='1357240' date='Aug 31 2011, 10:28 AM']I think you would have to learn to read music if you played the piano....[/quote] It doesn't seem to have held Tori Amos up too much.. [quote name='SteveK' post='1357311' date='Aug 31 2011, 11:24 AM']I wouldn't disagree with that... Problem is, by having no reading skills, learning and understanding theory will be a slower and more arduous task. Learning to read may not necessarily make you a better player, but it will make you more employable. Of course, that may not be important to you... If you don't read but you're enjoying your playing, then you certainly shouldn't feel guilty. If you enjoy it, then, there's a good chance that others will enjoy it. [/quote] [quote name='Bilbo' post='1357351' date='Aug 31 2011, 11:56 AM']I have alwasy felt that my progress as a rounded musician is tied in very closely to my reading. I play guitar and read guitar charts (slowly), I write charts for other musicians (inc transposing instruments), I arrange stuff, read theory books etc all of which would be that much harder without the dots. My guitar playing (which is fair) does not improve my bass playing, it improves my understanding of the bigger picture, musically. THAT is what improves my playing. I would also add that reading/playing through Bach Cello Suites has really improved my ear as well as my reading.[/quote] But Steve and Bilbo are "pros" (as in they make a living out of playing), hence their perspectives on such matters. Nice to see someone's content with it all at the moment. If I had more time, my priority would be sleeping more. And even if I could read, I'd still have to work on my interpersonal skills so I could stay in a rehearsal room or studio formore than2 minutes without wanting to kill the other musicians or myself.

[quote name='apa' post='1357127' date='Aug 31 2011, 07:32 AM']Hmmm well it looks like it they are the Stadium series but there does also seem to be an emphasis on 'DID' and 'USED TO'. Hmmmm now Im all for a bit of experimentation so DR's are even more tonal and rich? Well they should be for the money!! Which DR's exactly silddx? Might splash out on a set for my posh Jazz Im currently assembling A[/quote] Everyone has their own favourites on here, but the (very) general consensus seems to favour the following brands; (with caveats attached) [b]DR[/b] - Can be excellent, but with a question mark over recent quality issues. Expensive. [b]Elixir[/b] - Coated. Last ages. Coating wears, especially with a plectrum. Some don't like the tone/ feel. Some do! [b]Thomastik-Infeld (TI)[/b] - Relatively hard to get. Expensive. Flats are superb and lower tension than usual. [b]D'Addario[/b] - Seem well liked. Not heard many gripes. [b]Status[/b] - Good range. Relatively inexpensive, but availability can vary somewhat. [b]Rotosound[/b] - Polarize opinion. Very bright to begin with, but die quickly with lots of sweat etc. Some shops seem to have stock from 1960 still. [b]Elites[/b] - A brand once heavily connected to "The Bass Centre". Less so now. Cheap(ish) and cheerful. They seem/sound ok and last well. Until you try a more expensive brand. [b]Ernie Ball[/b] - Another one which polarizes opinion. Some love them, others.... don't [b]Warwick[/b] - Red label are cheap, bright and die young. Yellows are Nickel and are pretty ok, last a while and don't cost a fortune. Blacks are supposed to be really good, but I've not tried them. The pack of EMPs (coated) I had were a joke in terms of sound per pound. They were all dead before they hit the bass. There are loads of others; Many instrument makers have their own brand (from Fender to Ken Smith and back!) Picato, Newtone, Pyramid, and LaBella to name but few and plenty I've probably forgotten. The trick seems to be; [b]Find a brand that you like the tone/feel of[/b] [b]That reliably produce good quality strings[/b] [b]Which are readily available[/b] [b]That are manufactured in the Gauge and Scale you want[/b] [b]That work well with the instrument in question[/b] Including actually fitting it! [b]Which are suitably durable[/b] [b]And don't necessitate a second mortgage[/b] [b]Then all you need to do is find a retailer that rotates their stock and turns it over swiftly so you're assured of geting a fresh set[/b] And because it's so subjective, EVERYONE'S mileage will vary. To Quote JC (No. Jeremy Clarkson) "Really,How hard can it be?" Very. And frustrating. But when you get the right mix of Instrument/Strings/Pick-ups/Electrics/Amp, it all just "clicks"

[quote name='Doddy' post='1356790' date='Aug 30 2011, 08:23 PM']I like Victor Bailey,but I think he talks some sh*t....always has. He obviously cared about Jaco a lot-you can hear it in his playing. As far as him being on the best Weather Report albums,I think he's confusing himself with Alphonso Johnson. Although to be fair,the tune 'D Flat Waltz' from 'Domino Theory' is killer and up there with Weather Report's best.[/quote] +1 Alphonso was the man. In fact, he still is.

Some Elites are red/blue. The others might not be- have a sneaking suspicion they're the Steels you've got there.

[quote name='LukeFRC' post='1356461' date='Aug 30 2011, 04:13 PM'][url="http://www.willowsguitar.it/en/index.asp"]http://www.willowsguitar.it/en/index.asp[/url] european distributer...... with the tax added ontop[/quote] And suddenly not looking so cheap!!!

[quote name='thisnameistaken' post='1355811' date='Aug 29 2011, 11:12 PM']Everyone says Warwicks have baseball bat necks. I disagree, but it's the 'accepted wisdom'.[/quote] They vary SO much that there's nothing to base 'accepted wisdom' on! [quote name='fender73' post='1355904' date='Aug 30 2011, 07:39 AM']my yamaha attitude special, which is currently for sale incidentaly, has what is considered to be a fat neck. Cheers, Graeme[/quote] The neck on my Attitude is hefty indeed. Aren't they modelled on Billy's old/favourite P bass?

Can't the "unlearned" get their tone any way they want to, then?

[quote name='wateroftyne' post='1352912' date='Aug 26 2011, 07:23 PM']This. IMO, frets are like tyres on a vintage car.[/quote] Without reading your post, this was the precise analogy I thought of. You wouldn't take your 1963 E Type out on 48 year-old tyres. Have he strings been changed since '63? Are they the same as the originals were? Get it re-fretted. With the appropriate size of frets for the year/model (no Jumbos or Mandolin frets) Keep the receipt for reference purposes, and carry on playing and enjoy it.

The "Musicman" sweet-spot is responsive to playing position and dynamics, but the [i]overall[/i] response is determined by all the usual variables... There are significant additions to this layout on many basses to give extra flexibility. It's no coincidence that the 'Ray was among the first commercially available active basses, or that coil switching appeared on the Sterling, plus 3-Band EQs, piezo pick-ups and differing magnet materials (depending on model) I particularly like the (sadly discontinued) Warwick take on the Musicman - The Fortress Masterman. Captures much of the MM sound and blends it with the typical Warwick tone. Chuck in the ability to pan between the two coils an add bass & treble controls for each half of the pick-up (one per coil) and that's one flexible set-up that builds on a solid core tone. The Vigier Passion is another interesting one. Two single coils. One close to the bridge, and one in the mid position.Gives a kind of halfway-house between MM and Jazz. Two I'd like to try out of curiosity- HB/P/JJ (An Attitude with a JJ at the bridge) J/MM/J (An urge with an MM instead of a P, but I'd have the humbucker a little further back than the P should be)

Allegedly, it doesn't confer any advantages over the regular complement of 4 fingers and a thumb...

[quote name='Linus27' post='1353175' date='Aug 26 2011, 11:14 PM']That is gorgeous. See why dont Fender do more translucent colours, they look stunning.[/quote] Thanks. I think it costs more to do? If only because your timber selection has to be better when using trans finishes. [i]Some[/i] people (me) wouldn't approve of a 3-piece body, and you can't get away with weird grains, blemishes and even small knots like you can with a solid colour finish. Mine should've had a £100 upcharge on it. I was charged the MIA price, had my own case and didn't want any other stuff. £650. It's worth what I paid for it (IMO) YMMV, of course.

Makes me like my MIA Jazz all the more (Translucent Sunset Orange over Ash)