Lfalex v1.1

That's what I thought when presented with "Sparkly Telebass"... They're wicked good (IMO) but they're US only. They don't do a Korean "Tribute" model. Not too easy to find, and not very cheap when you do. Cass Lewis sometimes used them in [i]Skunk Anansie [/i]if you want to hear what can be got from them...

I know how you feel. I'm GASsing for a Status Streamline at the mo' Not that I'm in a position to be spending that kind of money right now. Time to rotate the collection again... ...That can help to alleviate trapped GAS!

Nice Bass. Not too Dissimilar to Alex Clabers RIM in some ways...

[quote name='ianwild16' post='213922' date='Jun 6 2008, 03:57 PM']I've never had a blister from playing bass / guitar, and i've never broke a string when actually playing...[/quote] Me either. And judging from what I witnessed at the bass bash, I play harder/dig in more than most...

[quote name='silddx' post='213886' date='Jun 6 2008, 02:47 PM']I just tried the Yellows and I am also very impressed. Felt nice in rehearsal too, got a bit sweaty and they still sound new.[/quote] Having tried Reds, Yellows and EMPs, I have to say that I favour Yellow labels. Not tried the Blacks yet. EMPs weren't a patch on Elixirs for tone or durablility. On a Warwick bass, too. Caution. Warwick 34" sets can come up a bit on the short side if used on string-thru-body instruments. You end up with silks or tapering going on "south of the nut", as it were!!

A guitarist friend of mine did this on his 80's Squire Strat (and what a guitar [i]that[/i] is!) He removed the 'plate, rubbed it down VERY lightly to "key" the surface, wahsed it down in white spirit to get any residues off, and sprayed it using an aerosol can. He changed it from white to black, and it worked very well for a long while. Ultimately, the tip of his plectrum began to wear it away on his longer downstrokes, and he ended up with a white patch showing through again. If you use a plectrum, you may experience this issue. If you play finger style, you're likely to get a dull or shiny patch over time in any area that you frequently touch the scratchplate. Maybe a coat of lacquer might prevent this from happening?

[quote name='jon999' post='211327' date='Jun 2 2008, 07:42 PM']it looks good and good price but i live in cornwall lol. i wud hav gone 2 music shops and tried some basses out but there are only 2 that are close and they are very small (not many basses), expensive and i dont think they would let you play the basses as there is no room.[/quote] Have you been to Manson's in Exeter? It's arguably the best shop in your part of the world. Depending upon where in Cornwall you live, it still might be a bit of a trek, though...

[quote name='bass_ferret' post='210534' date='Jun 1 2008, 02:44 PM']You can get rack cases where the rack has some sort of suspension. But yes, hifi buffs can go to great lengths to isolate electronics and speakers but that has gone to rat sh*t with the advent of surround sound and centre speakers that live on the same racks.[/quote] Which is why all my stuff (HiFi- wise) is still determinedly "2.0" and doesn't share a room with a TV either!!

Further to the impedance issue, the usual quoted specification is MINIMUM impedance. The figure given is the lowest impedance the amp can deal with. If, for example, it's stated as 2 ohms, it will adequately cope with 4 or 8 (or anything in between). The power output will reduce accordingly as the impedance rises. Yes, most QSCs will run down to 2 ohms per channel in stereo. Generally (again!) when bridging, the amp will only cope with TWICE its rated stereo minimum impedance. Thus, an amp that is rated at 2ohms minimum in stereo will rise to 4 ohms in bridged operation. Remember that you get about twice the power, though. Many amps have all the specs printed on the back, just like cabs do. Don't think that power is everything, though. there's a lot to be said about frequency response, cabinet volume/driver/system efficiency and even where you position cabinets relative to the room boundaries (not to mention how you stack them!) when it comes to perceived volume levels! If your interested, search for posts containing; Efficiency, Hoffman's Iron Law, Cabinet positioning. Look out for posts from Alex Claber and Bill Fitzmaurice in particular. Whilst not all of us agree on some topics, these two gents are well informed when it comes to such things!!

[quote name='wateroftyne' post='210599' date='Jun 1 2008, 05:11 PM']...For the tubiest tone possible though, you're best off going for a set-up which drives a dummy load prior to the power stage. You're not going to get that with many (any?) pre/power setup...[/quote] I'd have thought that was mainly governed by the Pre side of the equation. Most Power amps aren't bass specific (pity!) or even musical instrument specifi As such, they're unlikely to include any kind of valve drivers or similar. There's certainly one Pre that I know to have (LOW) power tubes to drive its output via a buffer. The Warwick Quadruplet. I have a sneaking feeling that the SWR Interstellar Overdrive does too, but I'd check to be sure. Alternatively, when it comes to S/S pre amps, the world is your oyster. I'd kill for a Trace SMX pre, and there's a raft of good stuff out there from many established bass amp manufacturers. After that, there's the mic/instrument pre amps from Joe Meek, Pre Sonus, Avalon, even.... Behringer(!) With regard to the output impedance issues, it's common for the better PA amps (irrespective of topology and class) to run to 2 ohm per channel in stereo or 4 ohm bridged. Bridging will yield [i]approximately[/i] twice the power into the same load as running in stereo or dual mono.

Could it be the truss-rod creaking as it takes the strain? Some of mine creak and crack and groan as they're tightened or as strings are tensioned...

I have an Ampeg SVP Pro. Can be great, and never sounds less than "musical" compared to some amps. I had it partnered with a QSC PLX1202, bridged into a Trace 2x10 and 1x15. It sounded excellent until the QSC packed up. A good power amp will serve you well, no matter what you choose to partner it with, and you can pick one to match your requirements with regard to size, weight, power, features etc. (Sub 30hz filters are useful. Saves you caning your cabs with extreme LF and frees up power into frequencies you can actually use.) You can unearth some really weird surprises with a power amp; Zoot Chaser Custom (18v E-Pro) >>> Hartke VXL Bass attack (as a pre) >>> QSC PLX 1202 >>> SWR 2x10. Tried at BassMerchant. Everyone just stopped dead and just said "That's amazing" And it was! Pre/Power really can give you the flexibility you're after. At a price.

I have considered this also. Acoustic feedback ought to be an issue. It is detectable in HiFi systems, hence some of the stands and strange objects sold to help counter this. It really doesn't seem to affect musical equipment amplifiers, though. It might be worth isolating an all-valve head if it's causing the tubes to vibrate unduly... Doesn't some Ampeg gear benefit from stuffing foam in the cups on top of the cabs and standing the amps on that? In studios, when recording, I just take the head off of the cabinets and stand it on the floor behind! Combo owners are a bit stuck, mind you.

[quote name='Toasted' post='114999' date='Jan 6 2008, 10:30 PM']No - more problems / scrimping in design.[/quote] I thought Behringer liked to [i]outsource[/i] a lot of their R&D... In this case to Tech 21!

[quote name='bnt' post='210144' date='May 31 2008, 03:07 PM']A rumble of Thunderbirds? (My all-time favourite collective noun: "a Wunch of Bankers".)[/quote] Surely that should be a [i]Tracy[/i] of Thunderbirds... Ok. Sorry!!

I know I'm the third to say it, but don't ditch any of the basses! Try re-stringing the Bongo/Ray/G&L with some of the following strings; Elixirs D'Addario XL or Chromes DR Hi-Beams or Fat Beams Try gauges around medium/hybrid- 45,65,80,100,120 or thereabouts. Flatten / defeat the Trace's EQ and start over. You might be surprised. I do like the SWR RedHead, though.

Here's hoping!

As the proud owner of an SRX700, I can reliably inform you I've heard it referred to as an EYE-BAN-EEE-ZEE!

Looks like that one's wearing a BadAssII, or at least a much-better-than-usual bridge...

I own a VXL, too. The balanced output (marked Direct Output on the pedal) is of the "male" Canon/XLR type, and is mainly used to feed mixing desks in either a Studio or live situation. It's quite a clean and noise-free unit, too. If the mixing desk can deliver 48v phantom power, it can be used to power the VXL without having to use a 9v battery or power adaptor. I've used the VXL as a Pre-amp to directly drive a power amp. It's a bit dependent on the power amp's input sensitivity, though, as the VXL doesn't deliver that hot a signal via the DI. Units such as the MXR M80 have a switch to increase the output for use in this manner. I use mine to feed a small mixer at home for practice purposes (via headphones with an MP3 mixed in)

Excellent instrument. I love it when people make the effort to achieve what they want in a bass, particularly when they use established designs and hot-rod them. Nice one - especially the Mahogany body and Wenge neck.

As previously said, they just look like inlaid lines to me...

Seek out a bass with a bridge with adjustable action, intonation and [i]spacing[/i] Warwick, for example. Some commercially available models offer it - I can't remember for sure, but I'm sure that Hipshot, ABM or Schaller do such an item. Kahler do the 2400 series, which is back in production. Personally, I seem to favour about 17.5 to 18mm. The common spacings all seem to lie between 16.5 and 19mm from what I've seen.

[quote name='queenofthedepths' post='205474' date='May 24 2008, 11:49 AM']I have to point out that the note immediately below C-2 is not B-2 but B-3! And also that 3Hz is below that, even! It'd be between F#-3 and G-3[/quote] So much for my extrapolation / theory, then...