Lfalex v1.1

Er... lots? Westone Raider 1 Columbus series 2 fretless Vigier Passion III (std) V Warwick Streamer LX VI Ovation Celebrity Musicman Stingray V fretless Iceni Zoot Chaser Some Botched-up old Arco EUB Ibanez SRX 700 Yamaha Attitide BS sig 10th Anniversary Warwick Infinity SN4 MIA Fender Jazz (S1) Squier 70's VMJ (modified further) Ibanez EDB600 "Ergodyne" An old aria that's in bits... Oh dear. 15. I have "issues", don't I?

Here's mine. 1990 'Ray V fretless. Unlined. Once owned by Boz Burrell (apparently) Currently tuned CGDAE. Another black one, I'm afraid.

[quote name='Sean' post='59082' date='Sep 12 2007, 07:48 AM']I've always loved the look of these beasts and had big cravings for one but I have one question... What are mortal men like me supposed to do with the twin output sockets? Can one of the outputs be used as a conventional socket where you can mix outputs or do you have to switch sockets for different sounds?[/quote] The "P" volume contol (nearest the sockets) has a "push-to-make/push-to-break" switch. When it's "UP" the outputs are combined- It doesn't matter which socket you use. The two volumes work like a Jazz Bass. When it's "DOWN" the outputs are specific to each pick-up. Using them separately has its benefits. It's good in the studio. Keeping the Neck HB central in the mix, thin out the "P" a bit and pan it L-R, for example. At home, try running FX on the "P" and leaving the HB dry. Mix the wet & dry signals before they hit the amp. That works live, too. Live, I doubt most soundmen will bother to let you have 2 or 3 channels of the desk for bass alone, even if you take 3 heads, 6 cabs and a stereo chorus/flanger/delay (plus the roadies to shift it all!). I just use it with the outputs combined! I like what looks like the black pearl scratchplate on the black one in the link. I'm not posting any more pics of mine! Y'all must be sick of the sight of it by now!

Schallers for me. But DO tighten them well, use two nuts on 'em and/ or use threadlock on them, as they [i]do[/i] loosen over time. Make sure that your strap buttons are tight- filler or plug the holes so the screws really bite well. No good having tight straplocks if the buttons fall off the bass! (That goes for [b]ALL[/b] methods!) One to watch for- The screws holes in the Schaller strap buttons are quite small, limiting the size of the screws you can use with them, and consequently increasing their tendency to work loose... Still Schallers for me, though!!

[quote name='dood' post='58147' date='Sep 10 2007, 12:39 PM']I always thought a PJ-Ray or even a stu hamm style JPJ-Ray would be a rather cool instrument. Or go the whole hog and have the MM pup AND the P pup. Now there's some tones I'd like to hear![/quote] Or... Shove a Humbucker up at the base of the neck, and leave the "P" where it is... Hang on! Yamaha already do the "Attitude"!!!

[quote name='Cygnus x-1' post='58937' date='Sep 11 2007, 07:59 PM']Anybody any idea what size allen key to use to adjust the truss rod on a vintage modified fretless jazz? 4mm seems too loose, 5mm too big. is it 4.5mm? I dont have one- do they exist? or is it imperial? if so what size. any help apreciated[/quote] I adjusted my Squier 70's VMJ a little, but it was quite some time ago! I have a mainly metric set, and one specifically marked imperial Allen key for my MIA which has an imperial 'rod. I'm 90% certain that I didn't use it to do that 'rod tweak, but I'd mail Squier to be certain. Failing that, do what I did for the MIA. Find a local (quality) tool shop and take it in... My local shop were astounded when I popped open the flightcase... The young chap was "offering up" various Allen keys to the 'rod head, when the owner comes over and says; "What a lovely piece of Ash! Don't scratch it, Billy!" +1 for local independent tool shoppes when you're in a jam!

I've never played a set of soapbars that had exactly the same technical specs as a pair of "standard" J pick-ups, so I can't give you a fully qualified answer on that one... However, A lot of soapbars are Humbuckers. After all, why have all that space in a pick-up body and not have a second coil and set of pole pieces in it? (Or something else in the case of truly "active" pick-ups) I have three basses with what might be described a soapbars in (the rest are J/J, MMHB, MMHB/MMHB, P, MMHB/P or J/JJ) These being; Ibanez EDB600 (Ibanez branded Humbuckers) Warwick Streamer LX VI (Seymour Duncan Humbuckers) Vigier PassionIII (STD) V (Benedetti Single Coils) All are active and all sound radically different, for reasons that range far beyond their pick-up types alone. I (personally) would neither choose a bass on the basis of its pick-up "shape", nor re-rout an existing instrument to change from std single-coil to Soapbars. The reason for this? There's a whole industry devoted to producing pick-ups to suit differing needs and applications. There must be one out there that'll fullfil your needs [i]and[/i] fit in your instrument of choice. If not, seek out one of the many custom pick-up manufacturers. They'll do anything you want (within reason and feasability) pick-up wise. Hope this helps! As for the BB414 (with which I'm not [i]too[/i] familiar) If it's the bass I think it is, it's P/J in configuration, but the pick-ups are oversized. The J has an exposed "blade" style polepiece. The one I played seemed fine for the price, and the pick-ups would have been the last things to change IIRC. Plenty of poke! As for retro-fitting standard P/J units, they'd fit alright, BUT they'd have gaps around the edges from the originals being much larger/ different shaped. You [i]could[/i] have a scratchplate cut to snugly fit around the new pick-ups, covering the gaps, but it's all extra aggrovation for a relatively inexpensive instrument and would destroy its resale value (unless you find a way to make it "invisibly reversible") Alternatively, the custom boys might rewind or uprate the existing units (at a price) for you, such that you had new internals in the old shells... so they'd still fit. (Phew!)

I've never tried one, but I like the shape. I figure they'd be a good alternative to an Epiphone Thunderbird, given that they're in the same sort of price bracket...

Where's his Vigier?! DeHumanizer was good, too. But it's Ronnie James Dio on vox again, isn't it...

You REALLY don't want to know what all four of the ones I tried went for... I guess no-one really likes 'em. One black model went for £650, the other for £700 (different retailers) I paid £299 with a case for mine. Which was better than one black one, and more or less the same as the other two The other purple one went for the same... (I still should've bought it) (Runs away quickly) How much do the "standard" Attitude IIs go for? £899 @ GAK... (Breaks into a sprint)

[quote name='d-basser' post='56849' date='Sep 7 2007, 10:15 AM']that is one beautiful world of purple! i want one just for the sheer cheese factor[/quote] I'd agree. Until you plug it in and play it. Then everyone stops laughing. I've recorded with it, and the engineer struggled to keep the bottom end in check. (Live) sound engineers presume it to be active and ask me to roll the bottom end off... It's that "hot" and that deep. Except it's passive. Sorry 'bout the large images. I'm spoilt for bandwidth, it seems! Edit- and for what it's worth, I'd have preferred a black one. I've actually played 4 of these! 2 black, 2 purple. They only made 300. What's 1.33% of the entire production run doing in Essex? Still should've bought that second purple one, though...

[quote name='Johngh' post='56831' date='Sep 7 2007, 09:24 AM']+1 Your not kidding. I posted a comment on the EB forum about this subject and thought I was going to get shot ! [/quote] I'm assuming that none of them politely suggested getting a Status Graphite neck for it, then?! Following on from which; Phenolic fretboards seem to ameliorate the worst of the dead-spot issue. I'm assuming they're quite stiff and also more consistent than their wooden equivalents. Unfortunately, they're really unforgiving of dodgy technique and lack warmth and any "organic" nature to the tone. Does any wooden fretboard material seem better or worse than any other for smoothing out the neck's dead spots?

[quote name='OutToPlayJazz' post='55720' date='Sep 5 2007, 08:54 AM']I've already got a Status KingBass & a Geddy Lee Jazz, so what else? Hmmm.... A Marcus Miller Jazz would be nice... And a Stanley Clarke Alembic Sig... Quite fancy the Billy Sheehan Yamaha Attitude as well... Cool looking bass [/quote] I can vouch for the Attitudes. Don't so much sing and twang as roar and thump! Definitely different. Otherwise; OLP Tony Levin Fender Roscoe Beck (but the pick-up switch has to go in favour of a Volume / Volume or Volume / Pan arrangement) Quite like the new Statii - Pino Paladino or Guy Pratt designed models. Dunno if they're actually signatures [i]per se[/i], though.

Might be okay for an acoustic/electroacoustic. I'd be concerned about the possible lack of mass, allied to balance issues. Are the guitars really 2,850 Euros or did I mis-read the order form? If so, add [i]cost[/i] to my list of reservations

Unfortunately, I live too far away, otherwise I'd come and help you out. I can't do fret levelling / dressing, and I'm no pro, but I'm alright with action/intonation/neck relief and have had to shim a neck or two. I am, however [i]very[/i] slow at it. I taught myself using a solid but cheap and (ultimately) disposable instrument. Just adjust the truss rod [i]really[/i] slowly. Allow it to settle for a while and note how any fret buzz moves around as you adjust various parameters. Look for a balance between your desired action and fretbuzz. Ideally, I run my action as low as possible, but high enough to avoid any nasty clanging when slapped or played (slightly too) hard. I adjust the intonation last. Be aware that large saddle movements to or fro can alter the action a bit! Don't overlook pick-up height and angle adjustments after you've set the strings up. It can further improve or modify the sound to your taste. I recommend a good (accurate) and mains-powered (so you can leave it on permanently while you adjust) tuner. I use a Korg rack-mount (DTR1000) but there are alternatives. The Boss TU-2 pedals I've used seem perfectly adequate, and can run from an adapter to save batteries. Hope this helps!

[quote name='Soulfinger' post='55546' date='Sep 4 2007, 09:18 PM']You might want to count the knobs again. The controls from neck to bridge are: Pots for - Volume - Treble - Bass Switches for - pickup selection (neck/both/bridge) - parallel/series - passive/active/active with boosted highs and lows[/quote] Thanks, you've saved me a few bob by DE-GASsing me. I [i]hate[/i] basses with selector switches for pick-ups. It kept me away from Fender Roscoe Beck sigs, and has just done the same for the ASAT! And I can't be doing with modding a bass to include something that I firmly believe should've been there in the first place (Either a PAN or Volume per pick-up!)

[quote name='The Burpster' post='45582' date='Aug 15 2007, 07:34 AM']Ibanez kit should never be overlooked, or dissmissed out of hand........ These are no exception, Very pretty![/quote] Well said. I find them to be of consistently good quality and good value for money.

[quote name='simon1964' post='56062' date='Sep 5 2007, 04:56 PM']I do wonder whether the whole ''signature'' thing can be counter productive. Take the Fender Mike Dirnt. Ignoring the endorsement, you actually get a really good spec - split P-up on 50s P body, Badass as standard, etc. But I suspect some people would simply dismiss the bass because they don't like Green Day. Similarly the Mark Hoppus, or the Ibanez Fieldy thing. Are manufacturers actually limiting their audience on these?[/quote] Well put. A good instrument is a good instrument, whoever manufactured it, and whoever subsequently lent their name to it (or not, as the case may be!) I found a good 'un. It just happened to be a Billy Sheehan 10th Anniversary model... And Yamaha are as guilty as most with signature basses from Sheehan, Myung and Pattitucci at the very least!

[quote name='presoulnation' post='54592' date='Sep 3 2007, 09:58 AM'][url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&rd=1&item=220144670707&ssPageName=STRK:MEWA:IT&ih=012"]HERE!!![/url] I don't really know a great deal about G&L basses and I have no idea if this is worth what it is being sold for. It is a nice looking bass and I am tempted by it but I would like to know a bit more first, especially what they go for new.....I tried looking for new ones and I am getting a bit confused by the whole "Tribute" thing.....[/quote] I can't help you on pricing, I'm afraid. However... I've long had a soft spot for G&L basses, particularly the ASAT. From what I can recall; There's a few models about. The L1000 and L1500 are 4 and 5 string single pick-up designs. The L2000 and 2500 are the same but feature 2 pick-ups. The ASAT is essentially a single-cut version of the L2000. There's a semi solid version of the ASAT, too. The "Tribute" thing works thus; HARDWARE from USA. Assembled in Korea (IIRC) Almost exactly the same theory as Lakland "Skyline" models. Prices are invariably lower, and the last tribute 2000 I saw had a 3-piece ash body that was not at all well matched in terms of grain or colour for a naturally finished item. The woodwork on the USA G&Ls is generally much better, at least on the natural/transluscent finishes. The controls (on the 2000/2500/ASAT) are; Volume Pan Bass Treble with toggle switches for Series / Parallel, Active passive ( I think!), and a slap contour of sorts. Hope this helps a bit!

[quote name='JD1' post='53445' date='Aug 31 2007, 03:53 PM']Often I find bass controls are voiced too low IMHO - e.g. on the Stingray. Also I've tried a couple of sweepable mid pre-amps (not Ibanez mind you) and I found the band width was too narrow. OK if you were cutting, but if boosting it was too honky. I know Wal's seem popular, but I couldn't get a good sound out of the circuit when I tried one. I've had a Spector, Status and a Sandberg all of which had nice voicing. Also Overwaters have a nice EQ - not too drastic. I'm currently waiting for an Audere for my Fender Marcus V, so will see what that's like.[/quote] I'm inclined to agree. The Bass control on the SR 5 is way too low for me, as is the mid. Hopefully, the 4-band Bongo is a bit better. I've hated the EQ on all the Marcus Millers I've played. They all played well and felt good, but were hamstrung by the clumsy implementation of the EQ. I'm assuming it has little or no basis in the original Sadowsky unit. The Mid-f on my EDB600 is fixed, but very broad in bandwidth. Lean on it too hard, and it's more like a volume boost! The Bass and Treble seem much tighter, but it's the superb bass-mid integration that seals it. The Treble just gives a bit of sparkle, and can help to hide dead/dying strings. Then you slap it and it tries to blow you to bits!

Try; Geddy Lee MIJ Jazz. Marcus Miller MIJ Jazz. Squier 70's VMJ and put a BadAss and better strings on it (but hunt down a 2-piece bodied one!) MIAs There are some MIM gems out there, but they'll take some effort to find! P.S. MIA= made in America, MIJ = Japan, MIM= Mexico. You may also see CIJ or CII ("Crafted in" Japan or Indonesia respectively) Be aware that there are some "nice looking" vintage-vibe Fenders out there. I happened on a lovely looking (new but vintage) Precision which bore "Fender" on the headstock and had no price on it in a shop. I couldn't find any place of manufacture on it, so I asked the salesperson if I could have a go... He got it off the wall, but kept trying to grab it back from me. Bottom line - Mexican ( I had to ask in the end) [size=5]£658[/size] !!! Caveat Emptor, methinks!

I have just acquired an Ibanez EDB600. Pretty good for what I paid, but Oh! The 3Band EQ is amazing. It fits the bass and my ears perfectly. I own 2 other basses with 3band Eq, A Stingray 5 Fretless and an Iceni Zoot Chaser with an East E-pro in it. Neither of which can shape the sound as appropriately as the (presumably in-house) Ibanez EQ. So the thought occurred to me; How well matched to the basses are the EQs? I couldn't say for definite, but I reckon the EQ in the 'Ray 5 is the same as the 'Ray 4 AND the Sterling, Irrespective of piezos and frets / lack of. Isn't it more appropriate that a Fretless, 5, or ERB should have different EQs to complement their sound/purpose? Systems with a Variable Mid Frequency seem like a step in the right direction. The Vigier Passion's system with variable Frequency (but just one band + or -) can be tailored, but rolls off at 80Hz. Fine for boosting the first Harmonic of an open "E" on a 4 string, but in a 5, wouldn't a 60HZ cutoff be better (1st Harmonic of open "B") Please discuss, I'd be interested to hear what suggestions and ideas people have (besides adding EQ at the amp end!!) In particular, any submissions with more adjustable on board EQs would be most enlightening!!

[quote name='Sibob' post='51903' date='Aug 28 2007, 07:39 PM']+1 for Mike Walsh Si[/quote] I've seen a "Funkmeister" body sprayed in the "reflex" (colour shifting) paint jobs that TVR use. He'd done a nice job on it. Personally, I'd favour a pearlescent finish. Perhaps white over electric blue... Mmmmm.

I am fortunate enough to own or have played all but the Deans and Spectors you mention. If you like the "P" neck profile, try; Yamaha BB series or the Attitudes Ibanez ATKs Otherwise, Yamaha RBXs might prove too skinny, and TRBs too broad and flat Most Ibanez may feel too slim, especially up by the nut (SR, SRX, Ergodyne etc) Otherwise, try before you buy! Alternatively, can you alter your technique? I can tolerate all of the above easily enough. I only struggled with a TRB6 as it felt [i]so[/i] unfamiliar. Given time, I'd have become used to it. I only have average sized hands. That said, Warwick Thumbs and Infinities feel odd because of the 26 frets and the way the short upper horn "throws" the first fret so far away.

[quote name='cetera' post='49419' date='Aug 23 2007, 11:33 AM']I hear you..... wonderful times.... [/quote] They certainly were. Nick, Alex, Grant and Chris had a lot of money off of me. And I've still got all but one piece of gear that I bought there (A Russian Bigmuff, BTW) Currently, I'm frequenting PMT (Southend or Romford) and BassMerchant. The BassCellar has always left me underwhelmed. I've never found the Gallery, but I can't be bothered to traipse all the way out to Camden just to go there. It's not like Camden has anything else to offer... Well, not for me, anyway.