Lfalex v1.1

Whilst I dislike stereotypes, I'll have a go anyway. Not entirely straightforward, as some of the companies make models that are plainly targeted at certain players or styles of music- Behind the scenes guy is unlikely to be comfortable with the aesthetic of a Bongo, Stryker, Buzzard, Some Ritters or BC Riches, for example- Even if they're capable instruments. 1.) solo player (high chops, one man music station) [b]Could choose any of them.[/b] 2.) metal guy (up front, agressive, volume on 10) [b]Ibanez Wal EBMM Warwick Fender BC Rich[/b] 3.) jazz guy (walking lines, smooth basslines) [b]Alembic Fender Lakland[/b] 4.) funk (slapping, high treble, really up front... undistorted equivalent of a metal guy) [b]EBMM Warwick[/b] 5.) fusion (mix of jazz and slap guy) [b]Warwick Fender Wal Alembic EBMM [/b] 6.) behind the scenes guy (plays with the purpose of serving the music, even when it means being 'invisible') [b]Fender Lakland Warwick EBMM[/b] 7.) bedroom musician (rich, busy, no band, plays and loves bass though) [b]Whatever they want?[/b] 8.) beginner (bases his taste on magazine ads and such, usually not ready to commit to expensive gear) [b]Ibanez (All the others are too expensive from new!)[/b] 9.) fanboy (just like the beginner except he is willing to spend more!) [b]Only (wannabee) Guitarists do this.[/b] 10.) blues (mix of behind the scenes guy and jazz guy) [b]Fender Lakland Warwick Ibanez EBMM[/b] Note: No one can afford a Fodera. Where's the Pedullas, Smiths, Statii, Yamahas, Gibsons.... All more prominent than Ritters/Foderas around here! Having done this, I am even less comfortable with the idea. Each individual could have chosen a bass from just about any manufacturer's line-up and found something that would attract him or her to it. It presumes that the sound comes from the instrument rather than the technique of the player, which is arguably more important!

[quote name='tauzero' post='340186' date='Nov 29 2008, 12:33 AM']There is also the minor fact that as every new bass player is born, so the number of basses required in the world goes up by several, and due to GAS, there is always churn. As the saying goes, "Anyone who hasn't had a Fender by the time they're 25 has no heart. Anyone who still has a Fender by the time they're 35 has no brain. And anyone who has a Hohner B2 has no head".[/quote] Well, I sure am screwed by that rationale, as I didn't own a Fender before I was 25. I still own one now (at 35), and I own a B2AV... Oh dear! [quote name='Crazykiwi' post='341025' date='Nov 30 2008, 12:14 PM']to paraphase the [url="http://www.bbc.co.uk/dna/h2g2/A11687844"]H2G2[/url] [i]"It is generally accepted that all physical objects can be classified as either animate (i.e. capable of movement without the application of external forces) or inanimate (with regard to location of the whole or parts, static). However, as many people have observed, supposedly inanimate objects often demonstrate a surprising ability to animate themselves. This usually manifests as an inanimate object moving without obvious means of locomotion. For example, a potted plant balanced on a window ledge on a day when the air is still, will inexplicably topple and fall. Another familiar example is the case of someone who knows where they left an inanimate object but on going to retrieve it, is unable to find it. Questioning of household members indicates that nobody removed the object, but it is later found in a different location than originally expected. If the obvious possibilities are precluded, i.e. (a ) the person misplaced the object because of a flawed memory (b ) at least one member of the household is not being truthful then however implausible it may seem, the object must have moved itself. This proposition raises the question of whether any object can truly be considered inanimate. This tendency of inanimate objects to animate themselves unexpectedly has led at least one researcher to conclude that Biros slip away through wormholes in space to a Biro planet where they can lead a Biroid-lifestyle. The same thing is presumably the case for other objects that go missing randomly, such as the lids of plastic food containers, and individual socks..."[/i] ...and basses? [/quote] But at least I now know why banks keep their pens on chains...

Ummm. Improvise over your favourite material? Don't just follow the original line slavishly. Remember that any given note repeats all over the fretboard in different octaves. Go high instead of low? Approach the tune from as many angles as possible. Try playing "2nd Bass" against the original track's bass line.

General dogma says something like 250k(log) for single coil volumes, 500K(log) for Humbuckers. Not sure about the value of the tone pots. Common Capacitor values are 0.22microfarads and 0.47microfarads. Think it's micro and not pico! I'm sure someone who knows which end of a soldering iron NOT to hold will confirm / correct this...

I own an Attitude. I don't really play slap. However... I don't think that the neck pick-up can be sunk [i]that[/i] far into the body, simply because the neck passes beneath it! From what I can tell, it's not sprung or suspended like some pick-ups, just screwed straight in. That said, I'd consider the forward volume control to be the greater problem vis-a-vis slapping. Trouble is, both of the other two pots are pop-ups for the mid cut / mono or stereo options. Personally, I'd check out the pot values (I'd guess at 500k), and seek out a dual-concentric with a pull-up. I'd use it on the rearward pot (Split "P" Vol & mono/stereo) so you've got both vols on one stack to avoid confusion. My Warwick has such a stacked control for Bass/Treble & coil tap. Don't know what the pot values are, though... Just a couple of ideas. Hope it helps!

[quote name='Sean' post='332633' date='Nov 19 2008, 09:07 PM']It looks short scale in that pic but I can't imagine for one minute it is.[/quote] I thought that, but when was the last time anyone saw a long scale bass with a bridge [i]that[/i] far up the body?

Both of those links made a compelling case for neck-thru basses! That said, I should imagine a N/T Ritter would still have the screws in it anyway.Just [i]because[/i].

[quote name='7string' post='329959' date='Nov 16 2008, 12:14 AM']The Gallery's a great place to shop. You'll sure have fun buying a new bass. Personally, I wouldn't go there with any preset ideas about a bass other than the type of sound you're after. You never know, you could miss playing a great bass because it's not a manufacturer that you'd thought of. Always buy with your ears and not with your eyes![/quote] I've never had the good fortune to visit the gallery, nut I wholeheartedly agree with the rest of the post. I enjoy picking up / examining / playing instruments I've never encountered before. In my ideal world, they wouldn't have headstock decals or price tags on them. Then the tone, features,construction quality, ergonomics and feel of the instrument would determine people's instrument choice. (Note the absence of colour/aesthetics - They shouldn't matter very much at all compared to the other factors!) As for Fenders, my 2004 MIA S1 Jazz is super to play and sounds lovely. BUT... The Neck pocket isn't as tight as my Squier VMJ The scratchplate screws have rusted to death in 2 years' ownership The body has the huge circular rout in it (hidden by the scratchplate) from where the paint rig holds it... They've drilled & filled a couple of little knots in the Ash body They neck has always had a slight undulation in it beneath the 3rd fret towards the upper third of the neck circumference. The pole-pieces are speckled with corrosion. That's being really picky. But none of these seem to detract from the instrument as a whole. I still really like it and wouldn't be without it. Those who've heard it and played it reckon it's great.

[quote name='Crazykiwi' post='328735' date='Nov 13 2008, 10:47 PM']The status neck/stingray thing has already been bottomed out on the EB forum. OBBM can probably tell you a few stories about it. The german chap who built that 'stealth' stingray is a lovely bloke. It would be next to impossible to get pure black matt chrome hardware to match the rest of the bass in the EU unfortunately. The process puts out too many toxic fumes and has been banned.[/quote] That stealth 'ray is lovely. I wonder if you could buy "gloss" black hardware and use a satin laquer to dull the shine. That or rub it back very lightly. You'd only need to do the tuner "ears" and Schaller (balck) brass knobs are quite dull. Re-make the control plate in the same material as the scratchplate... But I really don't know what to do with the bridge back-plate! Off (EBMM) topic; But back on it again- This'd look nice with a fretted Status Neck on it... Black out the polepieces with nail varnish (no, really!) change the tuners... And I'm STILL stuck with a silver bridge plate. and don't even start me on frets!!!

[quote name='neepheid' post='325778' date='Nov 10 2008, 11:03 AM']In my opinion lighter fluid (naptha) evaporates too quickly to be absorbed in any meaningful way. I have no qualms about its use in this context, save for the usual safety considerations whilst actually handling/dispensing the stuff out of the tin.[/quote] I'd agree, but judging from the picture it made your tuners dissolve... Ped- WD40 is pretty good for cleaning phenolic/ebanol boards. It's a strings off job, use it sparingly and wipe it off thoroughly using something absorbent like kitchen towel. Made mine come up like a (black) mirror!

[quote name='ped' post='329215' date='Nov 14 2008, 04:11 PM']Am I the only one who finds 'stealth' basses a bit TOO black?? I think this looks very nice as it is! ped[/quote] Ahem!! Oh looky! another phenolic board!

[quote name='noelk27' post='283216' date='Sep 13 2008, 02:44 PM']The “deadness” is a consequence of the use of the polymeric material, which eradicates the voids created by the wrapping process. The word coating is somewhat misleading as the polymeric material is better thought of as a filler and not a coating - particularly with respect to Gore’s Elixir strings which have the superficial polymeric material removed by scraping. With this in mind, the deadening you perceived is a consequence of coated strings having an increased similarity to flatwound than roundwound strings, as the air pockets inherent in the wrapping of roundwound strings contribute to the perceived life of the string when it is new, and as these pockets fill with detritus the progressive deadening of the string over it’s playing life - in combination with other factors, such as surface damage.[/quote] Would this account for the relatively good life I get from DR FatBeams? Does the combination of a round core and their compression winding construction technique help to reduce the "air gaps" which clog with er.... [i]crud[/i] (for want of a better word!) and kill the string?

If it has to be closed back, HD215s are a good choice.

[quote name='OutToPlayJazz' post='328003' date='Nov 12 2008, 10:33 PM']Everytime a thread like this comes up I always say the same thing... [b]Yamaha BB614[/b]. You're getting a great jazz sound, a great precision sound & 3-band active preamp into the bargain. I've got one knocking around at the moment & it's fab! Rich.[/quote] I own a VMJ and an Ibanez SRX700. Both excellent in their own way. And still I thought of Yamaha BB 414 or BB614. It seems I am not alone. Try them. Try them all. Then buy something even better 2nd Hand... MIM Jazz ATK Musicman SUB?

Everyone focusses on rhythm! And rightly so, too! Few of us seem to consider guitar/bass interplay. I personally like the way some "String Sections" manage to avoid stepping on each others' toes, as it were. To wit; Dave Navarro / Eric Avery (Jane's Addiction) John Frusciante / Flea (RHCP) Andy Summers / Sting (The Police) Larry Lalonde / Les Claypool (Primus) Gary Sanford / Graham Maby (Joe Jackson) Note that I didn't include Navarro / Flea RHCP combo. They are both super in their own right, but fell all over each other on the "One Hot Minute" album. C'mon! Gimme some more!

[quote name='budget bassist' post='327798' date='Nov 12 2008, 05:52 PM']I bet flea had some chilly performances then![/quote] Nah, he always wears a sock/socks...

[quote name='bilbo230763' post='321022' date='Nov 3 2008, 03:53 PM']Not which Shire. THE Shire. where I come from! Bilbo [b]Bag End[/b] Hobbiton The Shire Middle Earth[/quote] Is there an unwitting plug by Tolkien for a cerain brand of US bass cabs and subwoofers in that there address? Do Hobbits play short-scale basses, then?

Welcome aboard! Good to see someone out there re-discovering their love of all things bass. This [i]is[/i] a good site, with some top people (players, luthiers, teachers etc.) frequenting its pages.

[quote name='project_c' post='326171' date='Nov 10 2008, 07:06 PM']...i'm trying to bring as much sustained woody growl out of the corvette as possible, some people tell me to go active, others say get outboard gear - what route would you recommend in order to achieve this?[/quote] Oddly, my first question would be; Are you happy with your current string choice? (whatever they may be) Experimenting a bit with string choice and/or technique [i]may[/i] deliver the tonal emphasis you're looking for. My best choices to date on Warwicks have been- Warwick Yellow Labels (Nickel) Elixirs (Coated Stainless) From other basses- DR FatBeams DR strings seem to be well thought of around BassChat. Not cheap, but they do sound good, play well, and last for ages..

If I'm not much mistaken, all Warwicks use the same control cavity cover, right? I think all the basses use the same basic control cavity routing, too. If so, then a 9v or even two will fit in there, as there's quite a bit of space. That solves battery installation/ access for you. Bear in mind that Warwick make several active 'vettes, their power and EQ has to live somewhere, too. 'Vette passives have 3 controls IIRC; Vol Pan Passive tone. In Active form, on stacked pots, that'd allow; Vol/Pan Mid [i]f[/i] sweep/ Mid level Bass / Treble with no holes drilled. You could re-fit the old electrics if you wanted to sell it on...

Your description of it makes it sound like a bit of a wrecker! That said, a plug in and play will help you to form a better opinion. If that option doesn't exist, walk away. If it plays/ sounds like a dream, then [i]maybe[/i]. I own an 2 instruments which have tenuous connections with bassists; A Billy Sheehan 10th anniversary Signature Yamaha Attitude (1 of 300). A Musicman Stingray 5 fretless allegedly owned by Boz Burrell. Neither were purchased for that reason. They're both excellent basses in perfect condition and were sensibly priced.

[quote name='Prosebass' post='320781' date='Nov 3 2008, 11:22 AM']Most lined fretless necks are off the same production line as a fretted bass so the lines are were the frets would have been. With correct intonation you will find your fingering is just behind the line. Fingers are much thicker than a fret so if you put the middle of your finger on the fret line you will be sharp. If your finger is between the fret lines you will probably be fingering flat.[/quote] As the man says. + the one.

[quote name='rayfw' post='321137' date='Nov 3 2008, 05:55 PM']If it's good enough for Lakland...[/quote] True, but their machine will primarily be used on Lakland necks, which would hopefully be a known quantity (to Lakland, at least), and as such may well be capable of setting [i]those[/i] up with unerring accuracy. As a machine used by a manufacturer, it will also be subjected to a large sample size, from which maximum and minimum variances can be used to create an "ideal" for a nominal Lakland neck. Good for their purposes, perhaps not so good for repair shops or custom manufacturers. If they were that good, wouldn't every manufacturer use them, and wouldn't every guitar shop be like Kwik-fit; Bzzt, Bzzt, clatter, clatter... All done, sir! Off you go!

[quote name='Tusknia' post='320162' date='Nov 2 2008, 02:25 PM']You watch in 40 years when you pay £12,000 for a vintage 2005 American J with an S-1 switch![/quote] If so, I'm sorted, with my 2004 MIA Jazz S1. Which also happens to play well and sound lovely, especially with cheapo Fender Nickels on it! I'd buy a vintage bass, but only if it was a good player and had a good sound. And only if it was made on a [i]certain[/i] day in 1973 (!) That'd make sense.

Is the Squier VMJ still in production? It's not on the Squier site anymore. The VMP is, along with the Dirnt, Wentz, Affinities and Classic Vibe series. No VMJ in evidence. Not too bothered, as I've already got one. Very good it is too for a £225 instrument. I agree that the electrics may well be the weak link. Mine just has a BadAss II and nice Schaller control knobs on it. So far.