Lfalex v1.1

Not only but also.... You can use the "FX return" to turn your head into a "slave" power amp for any other preamplifier you may have. Works fine on my Trace SMX Head.

[quote name='Machines' post='1293401' date='Jul 5 2011, 01:52 PM']...Overall, I am astounded by the quality of the instrument at the price point, the only compromise I can find is the body wood (poplar) which is not reknowned as being a tone wood or being expensive, but in this case seems to be absolutely fine for the job....[/quote] EBMM have used Poplar for 'Rays/Ray 5s. I think only under solid colours (as it is kind of "Dull", grain wise) So it does have a precedent in its use as a tonewood. I don't think many people would readily diss a 'Rays tonal quality.

Cycle lots (without gloves!) and get a job entailing manual labour. That'll render your hands pretty tough. Otherwise, superglue.

[quote name='Johnston' post='1291459' date='Jul 3 2011, 09:09 PM']It's a magnet that agitates the strings to get them vibrating. Usually on a guitar they look like a humbucker but one of the coils is a magnet to get the strings vibrating and a single coil pup. Mate has one on a Jackson although it's a factory fit. I think he said the "Single coil pup" is actually the magnet. So it looks like a HSH but is actually HH and will keep notes going for as long as you can hold the string down.[/quote] Does it work/sound a bit like an E-bow, then?

This may be contentious, but here goes... Does a bass that doesn't sustain as well need to be played harder in the first place? Is that healthy/necessary/desirable? What if you play very lightly or use a great deal of dynamics in your playing? I don't think I'd want a bass which had these characteristics. If a bass with less sustain isn't smothering the dynamics/nuances of the player/song, then the note must be decaying much more quickly once struck/plucked, which at the extreme could sound very odd. Do those that [b]don't[/b] care for sustain bother to change their strings very often? If they do, then why bother? Are tone and sustain connected? You can't ADD sustain, so it's arguably better to have plenty that you can damp (either with technique or mutes)

I'd rather leave a band than be dictated to as to how I should spend my money.

The OLP I have has a non-standard bridge on it....

[quote name='Doddy' post='1289782' date='Jul 2 2011, 01:22 AM']Really? So at least every other song that you play is not in 4/4 then?[/quote] We had material in (predominantly) 4/4, 3/4 and 6/8 in equal measure, so plenty of scope for avoiding having them all in blocks together.. And not a prog band, neither. The tunes just came out that way!

[quote name='Blademan_98' post='1289591' date='Jul 1 2011, 09:27 PM']We tend to go for similar songs next to each other. Also looking for keys that are sympathetic. Always end a set on a good punchy fast song. If you have a slow song bury it in the middle of the set +1 on spreading complex songs as it gets a little weary playing them in a row [/quote] Er.. Sort of. [b]No songs in the same time signature next to each other[/b] [b]No songs in the same key next to each other[/b] [b]No tough "kills the singer" songs next to each other[/b] [b]Definitely bury the slow ones[/b] [b]Any songs needing re/de-tuning? Keep 'em together. PLAN in the frontperson's links to cover tuning or instrument changes[/b] [b]Tailor the songs to suit the venue/expected audience[/b] [b]Start strong, finish strong and have some strong material mid-set[/b] Not that we had much "filler" in the band in question. [b]Time the set in your pre-gig rehearsal. Then you'll know if you'll fall within your time allocation. If you don't, edit it until you do. Never overrun. You'll be asked back again if you're tidy, slick and professional, whatever level you're playing at, and it won't P*ss other bands off.[/b] [b]Have a really strong spare tune or two you can knock out really well in a tight spot. Helps if you under-run (unlikely if you planned it as above), but you never know.... [/b] And be able to play all your material in any order whilst standing on your head in the dark no matter what else happens (assuming that you're playing originals) That's how we did it in the best band I've ever been in. And it sure worked. We never played the same set twice. Keeps it fresh, makes you work at it, and can even surprise regular followers with your choice of inclusions/omissions. Assuming you have 20/30 tunes to play with and your sets are never over an hour or so long.

Before anyone else gets the chance... A... what? What does one use that for? [/ Runs off quickly]

[quote name='BigRedX' post='1288781' date='Jul 1 2011, 11:07 AM'].... Stig Pedersen's 2-string bass with the headstock-shaped body and body-shaped headstock....[/quote] I thought of that when I saw these. But Why....WHY?! Did they name themselves after a cross between a famous library filing system and a nudist colony?

[quote name='fender73' post='1289293' date='Jul 1 2011, 05:07 PM']now that i like.[/quote] Me too. Kind of a "PazzBastard"

...Reaches for tape measure... Warwick Fortress MM5 17mm Warwick Streamer LX6 16mm Vigier Passion 5 (S3) 17mm OLP MM3 19mm (and my 'Ray 5 was about the same IIRC) Hohner B2a (5) 18mm The first 3 have adjustable string spacing provided by the bridge, perhaps that's something to look for along with a neck shape/width/profile that suits your hands...

I currently own Bolt-ons, Neck-throughs, a set-neck and a monocoque (Status Streamline - It's all one bit!) I have a Yamaha Attitude which is a bolt-on, but has no heel at all thanks to the design. The Set-Neck is a Warwick, and like some of their Neck-throughs, the joint is concealed beneath the top, which looks nice and tidy. Upper fret access is as per through-neck designs. Neck throughs offer no immediate advantages over Set-Necks, unless you like the exposed multi-laminate look. The joints are a joy to behold, and "spread" into the body more than Set-necks, which are generally straight into the body. Tonally, Bolt-ons are [i]meant[/i] to be most aggressive sounding and respond better to staccato/slap, whereas through-necks are [i]supposedly[/i] smoother with better sustain. [i]Allegedly[/i] Set-necks fall in between. Except there are many other design/construction/electronic/player variables, all of which make a whole lot more of a difference than the way in which the neck and body stay together...

Bartolini have bladed (covered) polepieces in their MMHB. There'd be no issue with string alignment, and if that [i]still[/i] isn't wide enough, I do believe they will manufacture wider ones, too. It'd be a better aesthetic match for the neck "J", too... Those Squier Vs are quite good, I've tried a couple, and they're pretty ok for the money...

Wetsuit neoprene rubber... S&M Bass! I hope you're taking notes, Jens...!

I like your cat.... (British Blue?)

[quote name='Andyjr1515' post='1281582' date='Jun 24 2011, 10:13 PM']Hi The Jaguar is a Squier Vintage Modified... I will shamelessly steal your first idea but, like the Burglar Bill I am, the second idea is already well and truly stolen [attachment=83426:IMG_1501.jpg] Thanks for the feedback![/quote] Great Minds Think Alike!! And as for him... You only have to type about as far as "Burgl..." and he pops up 3rd on Google as it completes your search. Shocking!

Stripy Spandex!!!!

...And from the leftfield... Highway One and let nature take its course..

Some awesome handiwork on this thread. I'm particularly liking the way the grain is oriented on both the GSR and the (Fender/Squier?) Jazz... Here's an idea (or two) to steal; Lighter (coloured) veneers with coloured stains over "natural" bodies. Matching headstocks!!! Still awesome, even without those!

[quote name='BigRedX' post='1257584' date='Jun 5 2011, 06:48 PM']It used to be fairly straight forward. Short scale basses were 29½-30½", Medium scale was 32" and long scale was 34". Then came the extra long scale basses from makers like Overwater which were 36". However nowadays you can get basses with all sorts of different scale lengths. Birdsong basses are 31" and they class them as short scale. There's plenty of manufacturers making 35" scale instruments (usually with 5 strings) and there are at least a couple of BassChatters with 33" scale bass. And then there are companies like Knuckle Guitar Works who build 39.55" scale length instruments. These days I find it easier to ignore the old labels and simply refer to the actual measurement.[/quote] And then there's Rickenbacker....

[quote name='4 candles' post='1280216' date='Jun 23 2011, 09:43 PM']avoid women singers they are a f**king neusence![/quote] Without wshing to appear sexist.... Amen, bro! Advertise for a singer prepared to drive, lug gear (other than a Mic!) and (occasionally) sing... At least that way they'll be useful (?)

Yep. One and a half times. I regret not buying "that" Ken Smith BSR VI in the Wappng Bass Centre when I bought my Warwick Streamer LX VI instead. And I had the money, too... Moral of that story; Never take a money-grubbing (ex-) girlfriend with you when bass shopping. It was [i]only[/i] £2750 w/ a full flight case... And not buying one of the sister Yamaha Attitudes to my 10th Anniversary when I had the chance. I'd have kept the "better" one (if any) and sold the second for a tidy profit. Otherwise? Nope.

[quote name='xgsjx' post='1278752' date='Jun 22 2011, 04:58 PM']Could always get a 5,6 or 7 string bass if you need the higher notes but don't want 24 frets. I want one of [url="http://www.ritter-instruments.com/item_info.php?i=129"]these[/url] or [url="http://www.ritter-instruments.com/item_info.php?i=363"]these![/url] That way I needent worry about running out of frets. [/quote] Now I think of it, there aren't many sixers with less than 24frets. Perhaps the Fender Steve Bailey? I seem to manage alright, in spite of having had 20,21,22,24 and 26 in the collection all at the same time. I seldom get above 20, so I don't really miss the extras. 21 seems makes "sense" on a 4 string, as (assuming EADG tuning) the last (21st) fret on the G string is an "E" to match the open "E" 20 feels like an old and random convention. 22? Don't get it. 24 Double octave. Makes perfect sense. End of 26 Why? Next one that'd make sense is if someone fretted a Michael Manring Zon Hyperbass. 36! Edited for- Hi Marshall... Didn't even see you'd started this! What Fender V are you looking at? I liked the P Deluxe V (the old one) and the Roscoe Beck sig... Never really liked the Jazz Fivers- The Vigier's got that covered!