Lfalex v1.1

My 2004 MIA Jazz and 2006 Squier 70's VMJ are worlds apart in size and shape.

If they're good enough for Myung and the Levin, I reckon they must be [i]okay[/i]. I'd like to try one... But I haven't, for fear of a GAS attack. Do they fit in standard cases alright?

Here's my current mix & match... [b]Amps[/b]; Ampeg, Peavey, QSC, Trace, Demon [b]Cabs[/b]; Trace [b]Basses[/b]; Fender, Westone, Warwick, Musicman, Yamaha, Vigier, Iceni, Ovation, Hohner, Squier [b]Strings[/b]; DR, Elixir, Rotosound, Trace Whattamess!

The [i]Jazzmen[/i] are luverly. Congrats!

If you mean 1 manufacturer for bass guitar, amp and strings, then it's quite limiting... In fact, I can only think of; Hartke (Strings?) Trace Elliot Fender Ampeg (Strings?) Warwick Musicman (I'm sure that can't be all. Can it?) I'd go Trace or Warwick, methinks.

I've liked the Hartke Kickbacks I've used from time to time, especially the 12" one. Might be a bit big for what you're after... But you can justify it in the name of headroom, surely!

Got to agree with; Tony Levin Cass Lewis

FWIW, my 2p... I own a MIA S1 Jazz. Paid £749 (new) for it in Transparent Sunset (over a 2pc Ash body) Using Fender 7150 Nickels on it (I think) And a Squier 70's VMJ (with a BadAss and DR FatBeams on it) I wanted a 'Miller. Tried one and hated it. Probably because of the evil Fender electrics (mainly the EQ). It was all "ping" and no "sing" accompanied by a toneless bottom end. It was better in passive mode, but had no passive tone control, so it went back on the wall in the shop. It played okay, though. No doubt fitting one of the East EQs would help, as would better strings, but then you've upped the price by nearly £300. Can't comment on the Geddy or Laklands, as I've no experience of them. Haven't you got a Squier 70's VMJ anyway? I thought you had...

[quote name='obbm' post='17494' date='Jun 14 2007, 11:38 AM']+1, with Schaller Straplocks[/quote] Likewise.

[quote name='Ba55me15ter' post='37689' date='Jul 27 2007, 10:01 AM']Trace 4x10 will definitely be 8 ohms unless it's been buggered about with.[/quote] And should hold 320w RMS The driver complement was (4x) 32ohm 80w RMS Celestion units +/- an HF horn. The drivers are wired in parallel if it's still original.

I [i]did[/i] read the "General" thread... You sold the bass on, if I recall correctly (?) If so, have you got it back, or are you arranging repairs for the new owner? If you've go the bass, I've had an alternative idea... Have you considered having a new body made and transferring the neck, hardware and electrics to that? Am I right in thinking the headstock is matches the original body - Get it refinished in black? Just an idea (if the circumstances are right)! (Before someone else says it!) Beware! this sort of stuff may well yield a superb instrument, but will significantly lower its resale value. Otherwise, luthiers I'd seek out - S.I.M.S - installers of LEDs. They do refinishes, methinks Bass Merchant ? Shuker ? Have you contacted Modulus for any advice? They might be able to help...

Well, not on the same model or type of bass, but yes. I own a Warwick Streamer LX6 with an all-wenge neck and a Wenge Fretboard. I have various Maple-necked instruments, sporting (equally variously) Rosewood, Maple, Pau Ferro and Phenolic Fretboards. The Wenge necks can be a bit rough to begin with, but they soon wear in. The Streamer's neck hasn't been adjusted since I bought it. 10 years ago! It does seem to stay put, but it is a big bit of wood! It's quite open sounding, and contributes to the old Warwick "Grrrrrrrr". Plenty of mid articulation. Maple is smoother to the touch and gives a variety of differing tonal characteristics dependent on the fretboard. Phenolic is almost "Not there" in a tonal sense. Maple is really punchy and has a degree of "compression" to its sound that cuts through he mix well. Rosewood is more neutral than Maple, and more even and mature sounding - an airy upper register and smoother darker bottom end result. I've had some maple necks be affected by humidity and temperature changes. Nothing chronic, though. Hope this helps a bit

Custom probably [i]is[/i] the way to go. Failing that, I'd have mentioned (in addition to your choices) Fender Roscoe Beck V Warwick Streamer Jazzman V Musicman Bongo HS V Warwick $$ V Thru-neck (Bubinga) They're all in your price range. I know you said you don't favour any of these brands, but I'd try them out in the name of [i]"research"[/i]! At least then you'll know what you do and don't like about each, right down to the Nth degree. You may even find the tone to die for in there, too. With that kind of money to spend, I'd try EVERYTHING, just to make sure a killer bass hasn't slipped through the net, as it were. Ultimately, if none fit your tonal and aesthetic needs, at least you'll have a wealth of knowledge to help you through your discussions with any luthiers. The more you can brief them, the more accurately the end product will fit your requirements.

I can't accomodate 3 finger playing, although I've dabbled with it. (I've dabbled with plectrums, too, but that usually lasts about 2 notes before they get chucked across the room!) My technique uses the usual i-m alternating pattern, but the ring finger moves to damp the string immediately above the one being plucked. The plucking finger then "follows-through" to such a degree that it strikes the string above (damped). It's a kind of "perpetually right-hand damped rake" motion. It's probably really inefficient in absolute speed terms, and it's likely that I'm playing far too hard (!) It just gives such an excellent tone, large and smooth. If I deviate this technique, it all goes a bit "thin" and "reedy" sounding" Any solutions? (Don't even [i]ask[/i] about my fretting hand!)

[quote name='nick' post='32978' date='Jul 17 2007, 12:31 PM']I've had Badass on my Tokai, & tried Schaller too before on other precisions in the past. I can see why vast majority bassists prefer this with lot of modern music. I'm probably one of the few, but I prefer the sound with original bridge. I like the more 'pokey' sound, albeit with less sustain. However, I do find saddles can slip around. I use original style bridges with tracked saddles, which are cheap on Ebay. Horses for courses, I suppose.[/quote] Which is why my Squier wears a BadAssII, and my MIA Jazz doesn't! Horses for courses indeed!

[quote name='Bassassin' post='31793' date='Jul 14 2007, 03:39 PM']Some good pics & info here: [url="http://www.littleguitarworks.com/instruments/torzalstandard.php"]http://www.littleguitarworks.com/instrumen...zalstandard.php[/url] Trying to get my head around how this works - how string height can stay constant along a neck that presumably has a degree of curvature. It's making my head hurt! Engineering aside - I would be fascinated to try one. Jon.[/quote] If the Neck could be twisted about an axis that was (notionally) a string at a reasonable height above the 'board along its length... That might work, but well done to them for crafting it to that degree of accuracy!

Hmmm. None have foxed me yet! Not the novax fanned-frets of the Dingwalls Nor the lap-jumping curves of the Thumbs (or my suicidal Iceni) Not the big, bluff edges of an Indonesian Squier Nor the concave back of a Streamer LX6 Mssrs Steinberger, Kubicki, and Vigier have all tried (painted neck on the last one!) but failed. The neck dive of my Yamaha Attitude is formidable, but I adjusted a strap to compensate. I can handle 20/21/22/24/26 Frets, and even 34",35" and 36" (just) scale instruments. I'll take the blame for my rotten intonation on my (unlined) fretless 'Ray 5 Still, I've yet to try; Falling over to the left with a Tbird Getting my fretting hand caught in the lower horn of an SG shaped Gibson (EB0 or EB3?) Fighting the slightly odd ergonomics of a big horseshoe magnet in the middle of a Rick Sub 34" scale instruments- I reckon on starting with an Ashbory and working UP!

[quote name='Toasted' post='30058' date='Jul 10 2007, 11:24 PM']It's nice to find people who are skilled at what they do. I'm looking in Leeds at the moment.[/quote] Try local tool shops. I got some imperial Allen wrenches from my (excellent) tool shop. I took my MIA jazz in to size them up against it, and they nearly fell over backwards, mumbling; "What a lovely bit of ash" and "Don't scratch it!!" Bless them! +1 for local specialist tradespeople! Also worthy of mention are specialist fastenings shops. My local guys helped me hang an LCD TV on a wall bracket that wouldn't quite fit AND sold me rustless (stainless) scratchplate screws at the same time!

[quote name='The Funk' post='26371' date='Jul 3 2007, 09:59 AM']I should have given [url="http://www.delano.de/english/5-string/mc5hy.html"]a link to the particular model[/url].[/quote] That won't fit without surgery, I'm afraid, the mounting ears are in the wrong places... Curse those non-standard MEC pick-ups!

It was my first mod to a bass, too. I put my experiences on the old BW sticky, and they're on the new one, too. I paid £52 for mine. New. It's a worthwhile purchase [i]if[/i] you want a more contemporary edge to your tone. If you want the dull "thump" and "singing" tone of a vintage bass, I'd advise against it- or be prepared to roll that tone well back and use flats!

I must be [i]lucky[/i]. I seem to be able to find the good points in almost everything I play (Assuming I liked them [i]enough[/i] in the first place!) . And the longer I'm exposed to them, the more I find to like. That said, I don't really get put off by odd aesthetics, unless the ergonomics got messed up, too. Otherwise, the more barmy the better, as long as it plays well and the tone is good. Yep. I've got two Warwicks; A 1997 Streamer LX6 with an all Wenge neck and SD Basslines in it. A 2002 Infinity SN4 with an Ovangkol neck and Zebrano body - It's got the "usual" J/JJ pick-ups. The Streamer is a classic, shape-wise, albeit in a 6 string format. The Infinity is a weird amalgam of Corvette and Dolphin, but is still quite conservative.

Delano are the only people who make a twinjazz pick-up like the MEC one, aren't they. I own a (still original) Infinity SN4, and was contemplating going the same way due to the sterile sound of the MECs. I had a happy discovery; Elixir Strings sound great on it, and a Fatfinger added that last little bit. As a result, I left well enough alone. I do like the TJ bridge pick-up. The unit in the Precision Deluxe sounds good, too. I'm surprised that more manufacturers don't follow a similar route. My custom (give it 10 years!) will have a TJ in it, methinks.

They are indeed imperial. Worse luck!

Now that[i] is[/i] nice. Perhaps a black pearl pickguard, and it's the whole nine yards, so to speak. Unfortunately, I already have too many black basses...

[quote name='phsycoandy' post='24656' date='Jun 28 2007, 10:53 PM'][url="http://cgi.ebay.co.uk/Fender-Bass-VI-Original-Vintage-75_W0QQitemZ120134851163QQihZ002QQcategoryZ33039QQrdZ1QQcmdZViewItem"]http://cgi.ebay.co.uk/Fender-Bass-VI-Origi...1QQcmdZViewItem[/url] Is it a guitar or a bass, tremelo arm ffs!!![/quote] Baritone Guitar, methinks!