Lfalex v1.1

[quote name='alexclaber' post='354197' date='Dec 14 2008, 01:08 PM']f=fundamental frequency L=scale length T=tension m=mass per unit length f=(1/2L)SQRT(T/m) (2fL)^2=T/m m(2fL)^2=T So tension is directly proportional to mass per unit length and also directly proportional to the square of scale length (so longer scales are better at adding tension than heavier strings). Alex[/quote] Fine. But this notwithstanding, it's easier to change "m" on any given bass than it is to change "L"! "f", I presume, is dependent on the pitch to which the string is tuned, with the other values changing accordingly as a result. And... Titanium strings? Even Titanium [i]coated[/i] strings? Kiss your frets goodbye as they are devoured by your exceptionally hard new strings! The [i]other[/i] Alex.

I had an 1110 as my first gig-able amp. I paid £150 for it S/H. When I sold it, it cleaned it up, and P/xed it for a 1048h and a 122HSMX combo. I got twice as much as I paid for it. Wonderful amp, but big and oh so heavy!

Do you want to use the rig in stereo (with 2 cabs)? Can the power amp be bridged? either way, if you end up with only one output on the pre and 2 inputs on the power, you can overcome this with a "Y" splitter cable. Most pre amps have a 1/4" out (or two) plus a DI. Ideally, I guess you'd want to keep the DI free for the PA/Desk. I use/have used; A Trace head which uses the GP12 SMX for its front end. An Ampeg SVP-Pro. A Peavey MAX. Hartke VXL (floor unit) MXR M-80 (floor unit) I used the two rack units (Ampeg/Peavey) with a QSC power amp, but the Ampeg seems to be very vulnerable to vibration (acoustic feedback) from cabs etc. The QSC went belly-up outside warranty, effectively sending me back to the Trace. It really depends what features you're looking for, too. The Ampeg is wonderfully musical, has a phenomenal range of overdriven sounds (but they're not switchable!), but seems to lack a bit of bottom end. The Peavey gets it right with the A/B, A+B channel switching, but bins it all again with mediocre tone, an evil click when you switch channels, and NO SINGLE MASTER OUTPUT! Not only do you have to set the gain for each channel, you have to use each channel's volume control to level match the two to avoid big jumps in level when switching between them. If you want to reduce the overall level, you have to use both the volume controls to turn it down, thus upsetting the balance... Fine if you use a volume pedal, but annoying if you don't. The Traces (the ones I'm thinking of) are reliable, sound "clean" and aren't too hefty. They are a 2u box, have a plethora of connections at the back, plus a front panel like the flight deck of Concorde. That said, I've never found that the valve in the input stage makes [i]much [/i] difference. It's certaily never given me any drive, even with the gain cranked. In summary, I'd say the Trace from my experience. I can't comment on the other units you mention as I've not used them, but you might want to try a Line6 POD XT Pro (the bass one...)

Dr FatBeams are great. Expensive, yes, but excellent tone, feel and longevity. Elixirs ARE good and DO last, but only on some instruments! If you've got a woody sounding Warwick, they can sharpen it up nicely (if that's what you want). They're excellent on my Zebrano/Wenge/Ovangkol Warwick Infinity SN4. I don't like them on Wooden-necked instruments with Phenolic fretboards (Yamaha & Vigier) They seem fine on graphite/phenolic neck/ board combinations. Elites are okay as a stop-gap. Warwick Yellows are pretty okay as a budget nickel choice Warwick Reds, Ernie balls and Rotos can be quite rough, and all three seem to die quickly. EBs seem to sound wicked on Stingrays (I wonder why?) I expected a lot from Warwick EMPs, but they were not good for me. Dead out of the packet. In summary DR and Elixir are both very good, but be careful exactly how you use them for the very best results.

I came up with a similar idea (of sorts) It revolved around having a battery powered foot controller that interfaced with a compatible amplifier via Bluetooth (having seen how well PS3 controllers work) The said amp might well have some fx/features built in. You'd need a wireless system for yer bass to capitalise on it fully, though. All you'd have is a power cable for your amp, and (if necessary speaker cables for your cabs)

[quote name='paul, the' post='60140' date='Sep 13 2007, 09:02 PM']How's the Ovation? I'm very drawn to them and wouldn't e suprised if it were my only horizontal in the future.[/quote] Fine. Still going strong after a decade. With the usual Electro Acoustic moans about lack of volume and willingness to feedback in loud environments aside! And I'm now minus the Ergodyne. I dropped it. It broke. Luthite is not very impact resistant. The whole control cavity sheared off and busted the circuit board, too... Beyond economic repair. Especially after I kicked it (in annoyance) and broke the neck so badly that you could pull the truss-rod out. It lost half its frets too. Luthite bodies - Beware impacts Ibanez necks - Beware Sheehan neck-bends (or my feet of fury)

Yeah! My 2p pre-supposes that i) You know what you want ii) You know how to achieve it iii) You have the technical ability to modify the bass well enough to produce the desired result. And yes, it's easy to blow a fortune barking up the wrong tree, as it were!

You can run, but you can't hide. Jazz comes to us all in the end...

I agree with WH, but would add that modding can help to achieve specific ends that standard machines don't cater for. A common example would be taking a passive bass and adding an active EQ- Fender Jazz and a J-Retro, for example. On a more subtle level, Graphite necks, various bridges and a plethora of pick-ups all offer ways of not just "improving" an instrument, but tailoring it to the player's requirements. Now I'm gassing for a Jazz with a Graphite L/hand neck, Badass Bridge, D-tuner and EMGs... Curses!

[quote name='Tee' post='347767' date='Dec 7 2008, 11:15 AM']Are there any bassists who designed and/or built their own bass? ie not just picked up an exisiting brand/bass. For example in the guitar world, Brian May built his own guitar from a fire place and Nuno Bettencourt designed his owned signature guitar. Washburn had their own plans as to what his guitar should look like, yet Nuno said no, i want to build 'this' guitar (his design).[/quote] Some that spring to mind; Billy Sheehan - The Various Attitudes. Yes, they're based on a modded "P". But he did a lot of the mods on his original himself. Stu Hamm - Urge/ Urge II. Hardly standard Fender. Roscoe Beck - Roscoe Beck IV & V. Evolved from a Jazz, for sure, but with substantial changes. Took him years to perfect. Flea - Modulus Flea signature. Arguably their take on a MM Cutlass, but his choices, tailored to his sound and style Michael Manring - Zon Hyperbass. 3 octave (long) fretboard. Huge lower cutaway. D-tuners on all 4 strings and Fretless. The Ox - Buzzards, both Status and Warwick. I think it's more often the case (certainly like those above) that manufacturers approach the artist. Then it's up to the artist to lead the way or take the "Whatever" approach, and just let the manufacturer do it for them. Hats off to anyone who (like Nuno) says; "This is what I want. Help me make it." Or, in Roscoe Beck's case works the bugs out of it for ages before they'll put their name on it.

I put Fender 7150s (Nickel rounds) on my MIA J. I wanted warmth, and a cheapish set of strings. They've lasted really well and sound just the way I wanted them to. I shall be replacing them with more of the same.

Last time I bought a piece of amplification, I had someone else play into it with their bass, whilst I "adjusted" it to see what we could squeeze out of it. Then we worked our way through all the equipment I wanted to try. Works quite well if you realise that no two players are the same and bear that in mind! He'd just had his bass modded, and ultimately we disagreed on what amp was best. Needless to say, I bought the one I liked, as it was my money. Interesting exercise, though.

[quote name='BassManKev' post='346253' date='Dec 5 2008, 11:10 AM']don't quote me, but i would image if they are blade magnets as you said, there will be no problem[/quote] Wot he said +1

You know that you and I share an opinion on how wood and graphite should be used when it comes to necks & fretboards!!

I can see why manufacturers use artists to raise their profile. I can see why artists endorse equipment; [b]1)[/b] To raise their profile. [b]2)[/b] Because they had an opportunity to include some genuinely original or useful features / personal aspects to the design. [b]3)[/b] Because they can get cheap / free goods. I can even see why some people buy signature series basses simply because they are signature series instruments. I'd like to think that the learned members of BassChat ignore such fripperies when selecting their instruments, and return to the good old dogma that states; "[i]A good instrument is a good instrument, no matter what name is on the headstock[/i]" I guess that goes for endorsees as much as for manufacturers. Personally, I don't think I could endorse anything but strings. I wouldn't want to be dictated to about my equipment. And yes, I DO own a signature bass. But I bought it because it's a (really) good instrument. The endorsing artist had a lot of input into its design and construction, and came up with something a bit different. That, and the fact that it's made by a well-respected manufacturer. In a [u]Japanese[/u] factory.

Nearly perfect! If it were an S2, I'd be writing a cheque right now... Although it might be nice to own an S1, S2, S3 and an S4 (!)

Actually, no! That said, they're all sufficiently different to avoid too much competition. The only two similar instruments I own are a Squier VMJ and an S-1 MIA Jazz, and they're sonically like chalk and cheese. Glad you like the new bass. I rate Yamahas too.

[quote name='budget bassist' post='343705' date='Dec 3 2008, 12:06 AM']I disagree. You wouldn't go around a guitar shop, spot a really ugly bass and think "wow that's ugly, i might try it". If you want a bass to be THE bass, it has to look nice too, after all, image is everything in a lot of bands. You'd never see a guy in a punk band playing an 8 string conklin would you? Though it is all about getting out and trying stuff.[/quote] Er... I did. See below. And I generally delight in playing "aesthetically inappropriate basses" whenever possible. [quote name='BassManKev' post='343724' date='Dec 3 2008, 12:39 AM']the aesthetics of a bass are pretty much on a par with its playability when im looking to buy. I dont care how good it sounds, i aint playing something that looks like its just come out of a curry eating alcoholic gorilla's arse...[/quote] I do... This polarizes opinion, but it sounds massive, feels great and plays really well. But it looks..

It's not how big your car is, It's how well you can pack it! Hiscox cases will stand upright (almost) wedged against the floor and roof lining of most cars behind the driver's seat. Unless you're 6'8". Otherwise, nearly all cases I've encountered (for 34" Scale basses) will lay across the car on the floor behind the front seats. Most 2u or similar cased heads can sit in the front footwell or the rear one. Cab/s go in the boot or on the rear seat as dictated by other gear. Current records for car jamming; Me & Drummer. Full 6 piece kit & hardware. 1bass. Head and 1x15. In a Punto Mk1 3 door. Seats down, of course. Me, Singer, Guitarist. 2 guitars & 1x12 Marshall combo. Korg X5 Keyboard & Stand. 1 Bass. Head and 2x10 + 1x15. Bag of pedals. Food. Clothes. In an Escort Mk4 1.3. God, did it s-c-r-a-p-e over the speed bumps. I find that the added weight really upsets the braking and handling though. I suspect that I may have overloaded the vehicles on occasion!

I find this with Ernie Ball Strings, less so with Rotosounds. In any case, try FAST FRET. Too waxy for my liking, I prefer coated strings instead (Or DR Fatbeams) But it does make 'em slippery and er... Fast.

[quote name='Currrls' post='342234' date='Dec 1 2008, 06:56 PM']Went to the gallery this evening. The guy was more friendly, he even let me play a stingray when I made it pretty clear I wasn't goin got be buying it from him. He said he doesn't really have much in my price range(approx. £500), apart from a couple of fenders. So I wasn't really able to play play play as you've all recommended. I liked the stingray though, will have a look around for some second hand ones.[/quote] 2 good points when purchasing; 1) Don't make it clear you "won't be buying it from him" Maybe one day, you will... 2) Never disclose your budget, or in fact, define it so tightly. Even at 16 you can find a few bob more- Ebay some stuff, save for longer if necessary. Try everything, but do be aware that your tastes and abilities may change/improve. I really don't struggle with necks now, but the last time I played an Alembic (Orion) I didn't get on with it at all. If I played it now, I'd probably not be as bothered. I bought my first proper bass at 23, when I'd been playing 2 years. I bought a brand that I'd never heard of or seen before. It [i]was[/i] a LOT of money. I still have it. It's still the best playing and sounding bass I own. I would never sell it. I went through every bass in the shop. Ones I could afford, and some I couldn't, and it came to that one. Things to look for; [b]Good feel [/b]- does it sit right on your knee? Does it balance well when you stand? [b]Good tone [/b]- Does it sound the way you want it to? How versatile is it? [b]Good Fit and finish [/b]- Is the neck smooth and true? How good is the fretwork/fretboard edges/body routing & contouring/jointing - Does it look like someone put some care and attention into the construction and finishing? Sod Aesthetics (as long as it doesn't compromise playability) and definitely Sod the name on the headstock! If I can buy a completely superb instrument on my second go, I'm sure you can! P.S. The trick then becomes... Can you do it again AND do it [i]really[/i] cheaply!

[quote name='Musky' post='335128' date='Nov 23 2008, 08:36 PM']Ah, that's a Korean Bison by the looks of things.[/quote] Whereas the one depicted is a "copy" of the Scorpion, itself a cut-up Bison... I [i]think[/i] the original Scorpion had the 3 single-coils like the Bison, not that P/J lash-up.

[quote name='rbatts2000' post='342229' date='Dec 1 2008, 06:53 PM']I'm a 'no frills' type of player anyway, so the 2EQ option is looking more attractive at the moment. Or will I regret not getting the more versatile version in the long run...? Heh heh [/quote] If versatility is a possible concern, get thee a Sterling! 3 Band + Series/ Single Coil / Parallel switching (4 string 'Rays are Parallel by default)

As a sometime dismantler of my own Trace gear (for cleaning/servicing, etc.) I can happily inform you that the circular rings are nothing but cosmetic trim. They DO cover the sharp points of the expanded grille, though. The foam backing on the said trim rings is just to stop the grille from clattering against them when playing at high volumes etc. The rings also conceal the fact that the port tubes themselves are nothing more that what looks like drain pipe cut to the correct length. In my 1153, 2103h & 1048h, the port tubes are all securely glued into the front baffle (the face that the drivers screw into!) Why didn't Trace put the ports [i]behind[/i] the grille? I have a sneaking feeling that the ports are too long and have to stand proud of the baffle to prevent the rear being blocked by having it shoved up against the inside of the rear of the cabinet. It's a pain if you ask me, as small felines have a tendency to climb up the green mouse fur covering and in through the exposed ports...

I went this way... Then went back to my AH300SMX. Too much hassle with pre-amps blowing hot & cold. Then the power amp blew up. It all spent more time OUT of the rack case than IN it! I ended up wanting the "Plug and play" (and work / make noise) simplicity that they Trace continues to give me! AND... 6u racks have a habit of getting mighty heavy, and are difficult to squeeze through a car door. If you're using a 1u pre-amp and 1u Tuner with a 2u power amp, go for a 4u instead, as they're more manoeuverable. Whilst rack systems can give greater flexiblity, they can also introduce a degree of complexity that can be frustrating in the event of a fault arising. If your head goes down mid-gig, you know you can't do much about it, and just try to borrow another. If you have a rack, there's a temptation to fiddle with the rat's nest of cables at the back and to try and trace (no pun intended!) the fault to one unit or another and so on...