Lfalex v1.1

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"

An "At Least it's got a normal bridge to be near" 'Bucker Close second "If I stand over here will it cure the neck-dive?" 'Bucker

Well done for getting your money back! @itu You should check out the Harpeiji ! (Not that you could really hang one around your neck on stage)

Let's hope he's playing his upright.... Or maybe not!

That does look nice. Something about how the double- octave neck fills the space that a 20 fret neck leaves. Probably just because it makes the body look downsized. Liking the way they've done the lower cutaway, too.

^^ That looks like a good start ^^ Some aspects are better than the original design, such as the quick- loading strings and the half-round saddles.

A discussion on ANother bass site suggests that the 3 middle holes at the rear of the plate line up with the same holes on BadAss and Hipshot units. This is for the 4 String units only, though. It occurs to me that if you (or someone else) could get the 5 string equivalents together, it'd be possible to see if they line up also. I don't think I'd be happy with only 3 screws holding the bridge in place. I'd be looking for ways to integrate the "big" posts into the new bridge to improve its stability.

It is unusual. I know some models had the serial number stamped into the bridge base plate, but the Bongo isn't one of them.

It's a shame they're so heavily chromed, otherwise it might be possible to refinish the original. Maybe get an engineering firm to make you a brass base-plate to match the original? That could be finished in black, and the original saddles and big round hex-bolts transferred. Use black screws to secure it and get black intonation screws and springs. Just an idea. No concept of cost. But it IS reversible.

I'm in this category. My rehearsal/gig set-up (Shroeder 21012l and Markbass head) is fine for domestic practice. It's quite nice to be able to exploit the better Lf performance from a bigger/better cab, albeit at a low volume. At a slight tangent, I've found it's preferable to have a combo or cab that can comfortably out-perform any device that you might be playing along with. My old "Hifi" could obliterate my 80w 1x12 combo in every way, and it just felt like what I was playing wasn't contributing much. Conversely, the Schroeder/Markbass pairing can easily outpace the soundbar that I'm playing along to. Now, I'm adding in everything <100Hz, and that feels better.

He's been through plenty of brands. I presume the early stuff was Fender P, BC Rich (as above), plus Vigier and Lakland that I know of. I'm sure there's more! Edit-(Assuming Wikipedia to be loosely accurate) When it comes to Lakland, he's been through everyone else's signature models before he got his own! Joe Osborn, Bob Glaub and Duck Dunn's... "Metal" they ain't, and yet... This really isn't making a good case for having a variety of instruments if it really is "all in the fingers!"

Fixed the Infinity SN4. Now sporting 4 licensed Hipshot Ultralights and a brass JAN III. I can confirm that they're a drop in replacement. No extra drilling required. Tuning stability is better, too.

I thought it was "No Hope=No Fear"

I think it's an "image" thing to shift units. If you look at what metal bassists are playing, there's plenty of Ps, Js, Warwicks that aren't Vampyres, G&Ls, Gibsons (especially T birds), Ricks, regular Ibanez, Stingrays, etc. It's only a few that favour the pointy items. And they seem to use BC Rich and similar. That clanky tone (for me, at least) comes from nice, fresh strings, a moderately low action, appropriate EQ/ Drive and a slightly more aggressive playing technique. A pickup swap to something hotter/ brighter might help, but not as much as EQ, strings and technique.