Lfalex v1.1

The whole thing is a conundrum, much of which can only be unraveled through experimentation, which is, at best, hit-and-miss. Two completely dissimilar cabs will surely present the amp with a differing frequency response and modulus of impedance even if the nominal impedance is the same. That said, they might sound great stacked one way, but not another. And then there are manufacturers who mix drivers in the same cabinet (looks at schroeder 21012L in the corner) How does that work if there's no crossover network (active or passive) and the drivers share an enclosure?

Two of my basses "plugged-in" sound suffer from an aspect of this. My Warwick Infinity SN is chambered. If I wear the strap too tight, it sounds dead. Loosen it a little and it comes alive. Similarly, the G&L SB-2 Tribute sounds squashed if I'm seated and lean on the body too much. In your case, although different, does the new bass lack the resonance you're used to (entirely possible) or is something damping it?

Can't say I watch Countryfile, but r/basscirclejerk can be quite funny sometimes.

Just had a try using my old Zoom B3 between an Ampeg pre-amp and the return of the FX loop on my Markbass Head. The Ampeg gets the lot, then the Zoom affects what the power amp stage gets. There's a little compression, and I'm using the Facsimile of the Fishman Platnum pre as an HPF which is -12dB/octave @ 40Hz. I tried running two HPFs to give -24dB/octave but it sounded over-processed. I've no idea what "order" the filter is. Maybe that's relevant. It's not working too badly at all. Especially for something that was laying unused. Might try it in front of the Ampeg, to see what that does...

I had an acoustic bass. It sounded nice through its pickup/ preamp. It was well- made and played as well as such things can. But..... It was a Korean Ovation, and I couldn't get a case for it. It would feedback in noisy environments. My acidic sweat annihilated the phosphor bronze strings almost instantaneously. The Unplugged volume was once drowned out by the sound of a pin dropping. I guess it was OK for noodling around the house if everything was absolutely silent. But that was it.

Definitely worth a try. Will give more useable levels if you can use an external preamp or pedal that can give you a bit of gain before the power amp stage in the Ashdown. Then you'll be able to hear what's going on better.

I'd like to try one, but I don't think anywhere "near" me regularly stocks them.

A Reverend. Mercalli? Or Thundergun?

I think mine were cast from lead.

Try practising on non-bass bits of wood first so you can get your technique down and see what results you get from different approaches/ materials.

I thought the Pro M was Warwick's attempt at a Stringray (?) My good old Fortress Masterman 5 sports the MEC Twinjazz (JJ) pickup. Controls are; Volume & Pickup pan Bass & Treble (Neck coil) Bass & Treble (Bridge coil) Almost too many options and tones.. (see also the Bongo 4- band EQ!) You're best off centering everything and making small adjustments. In spite of the close proximity of the coils, you can skew the tonal balance just by tweaking the pan pot. Then, if it sounds a bit thin or dull, just adjust the tone controls. Failing that, leave the pan pot centred, and it does its own rendition of the Stingray sound. Edit- There does seem to be a Streamer version of this with 3 stacked pots, suggesting the same configuration. There also seems to be one with 2 single pots and one stack (B/T?) I think I also recall a Streamer with a MM style HB, complete with 3 ears but no visible polepieces...

I had this issue with a G&L SB-2 Tribute. It came with a set of 50-110s on, and too much neck relief. The strings were absurdly stiff, so I dropped it from E standard to D standard, primarily to take the pressure off of the neck. It actually settled rather wonderfully, so I left well enough alone (for once!) I now just use a capo if I need any other standard tuning other than D standard.

Not if they're by-passed by some sort of group-switching midi pedal or a Boss LS-2. But I take your point nonetheless.

So about £3,250-ish when converted from the chf 3,500 (Swiss francs?) on the site. Looks nice, but maybe not that nice...

That's interesting. How has it improved your playing?

I know they're not all the same application, but; The Ebony 'board on my NS5 CR is lovely. The phenolic 'board on the (fretted) Vigier is great. I think it and the S/S frets contribute to the speed of attack and clarity. The phenolic 'board on my Status Streamline started to de-laminate. That and many other issues led me to sell it as it was such a massive disappointment. If you made me spec a "dream bass", it would have an Ebony fretboard / fingerboard.

Precisely this. If it were a truly exotic, big ticket item and in Northern Europe (a day's travel from the Channel ports) I'd probably drive across with an empty old flight case, collect it and take my chances at customs on the way back.

Bass > Lead > Amp for me. Four things lie behind this; Expense of FX, boards, power bricks, cables etc. etc. Mess/ complexity. I can never seem to quite get them to do what I want. I feel marginalised by manufacturers' insistence on using strange names for their devices; I might actually find the new "Electromatics Spider-Squisher (+)" to be excellent. But since I can't tell what on earth it actually does... How would I know?

Sorry. Wasn't clear enough. I meant my Vigier (an S3) has only had the Kahler, so I have no basis for comparison with other bridges.

^^ I think Kahler were going for an extreme amount of spacing adjustment. Why? I have no idea. They're a pain to adjust, alright, but they do stay put once done. I can't say how much they contribute to the tone/ playability, as the Vigier has always had the Kahler. The break angle over the bridge is nice and shallow, and the strings just slot in. The weird vertical barrels do have a couple of odd advantages; No tools are needed to adjust the height. They can be angled inwards to give a very clean line to the nut slots- whether this gives any tangible benefit is open to question.

This appears to be a useful unit, as I can use it to switch between 2 preamps (in a rack) and a clean bypass. The issue lies in cabling. To have the LS2 near me means 4x 10' cables; An expensive and messy rat's nest. If I place it nearer the rack, the LS2 will be too far away (in a rehearsal or stage environment) Ideally, I'd have it near the rack and be able to use a remote footswitch (I've a spare FS5U) Is there a way that the LS2 can be modded to allow the use of an external switch? Alternatively, is there another unit (? Rackmountable) that can offer the same plethora of switching options via a remote footswitch?

You're right that it's only the mass of the string between the nut and the bridge saddle; the "speaking" length of the string. Were you to weigh the whole thing, you'd get the mass of the rest of the string plus ball end/s included.

Beware that the intonation grub screws sit very low on the back edge of the bridge units. If you recess the base plate too low, you might not be able to reach them easily. (I have one on the aforementioned Vigier S3) A lower action could be achieved by having new saddles made with a) deeper slots OR b) slots cut at 90° to each other. A ball-ache? Yes, but it's a good solid bridge. If you had new saddles made, it would also be possible to experiment with different materials; brass, aluminium, titanium etc.

For the Adam and the Ants covers later in the set?

Looking at that shot suggests "Wonky-bucker"