Lfalex v1.1

[quote name='BassBod' post='44508' date='Aug 12 2007, 05:18 PM']I'd suggest changing the circuit first, and see what you think of the MEC pickups after that?.....BB[/quote] Or the other way around. My '97 Streamer LX VI came with the MEC 2 band and a pair of (SD) Basslines. It's no hotter in output terms than my Infinity SN IV (which shares the 2 band EQ), but it does sound warmer and "grittier" than any MEC pick-upped Warwick I've ever played.

Aren't they Schaller straplock compatible? My 2004 MIA has those. They're nice and tight, too. Never worked loose! They don't have any real "flange" on them, so using a naked strap on them means it'll probably fall off. Get thee some Schaller straplocks. You can get 'em nearly anywhere. Cost about £15 in silver. More in black or gold. Faliling that, use some Grolsch bottle rubber washers over the top of the strap...

I had just the opposite... I quit the last band I was in (first time I've ever walked out of one in a decade's playing) due to the other three repeatedly turning up late for practice by more than an hour each time and saying that they were tired and hungry when they'd been off all day and I'd come straight from a nightshift, not having slept for 24+ hours or eaten for 12. It only takes a month of that before you leave... Plus, they'd sacked the second guitarist, who, by my reckoning was the most melodically capable and technically able player I've encountered to date. He was such a nice guy, too. They handled it very badly, and persisted in kicking him out in spite of my protests. I left 3 months ago. They keep 'phoning / mailing my wife to try to get her to persuade me to do recording work and the occasional live gig for them... Strangely, the other guitarist has also refused to help them. Let the A-holes stick together (irrespective of what instrument they play). They can form their own little club and leave the rest of us to get on with the [i]music[/i]

Eeeek. I'm sure that ANY custom from a respected luthier (Iceni, RIM, Shuker, Sei, Goodfellow... etc.) would be very good. My concern would be whether or not the said instrument would fulfill EXACTLY what the prospective purchaser wanted. It's a bit of a curate's egg; How can you try it before it's built? And if you don't like it when it is, what then? This would drive me to; i) Order a bass from a less well-known luthier (whose work I'd sampled) to minimise financial risk ii) Buy a used (custom) bass. Costs less [i]and[/i] you get to try it first... iii) Spend ages with a "Leo's Breadboard" style bass working on pick-up combinations/ positions/ EQ systems to work out what you want before visiting a luthier (assuming you don't want a standard model or something derived from another existing design) Call me cynical, but there are just TOO many variables in there for me to confidently order something I haven't already played...

You can't beat a good, visible, accurate tuner. I'd rather not be "tied" to the front panel of my amp to tune, leaving me 2 solutions; i) A pedal (the Boss TU2s are good) ii) A rackmount with a BIG display. I bought a Korg DTR1000Ltd. It's excellent. Fast & accurate. It lives with a pre / power in a 4u case. What amp / combo manufacturers ought to do is build in a 1u space in the MDF carcass of their models. Then the end-user can fit whatever they want. Adds to the weight, though. Such is the price of flexibility...

Endorka is dead right. Plus; Can play against a drone / pedalled open string for chordal work The open string gives an accurate pitch as a reference point when playing fretless. Many fretless / upright players use numerous open strings to help them keep in good tune.

[quote name='Crazykiwi' post='41506' date='Aug 5 2007, 10:31 AM']Passive basses are convenient and practical but all the basses I've liked the sound of have been active. The active eq will not change the inherent character of your bass significantly it will just emphasise or cut whatever is already there. If the bass sounds good in the first place, being active or passive will make less of a difference. My Smiths sound as good whether active or passive.[/quote] The same is true of My Vigier. It's just that I'm not too keen on the boost/cut (+/- 15 dB at any frequency between 80Hz and 5kHz) being of a fixed value. If you could vary [i]Q[/i] as well as [i]F[/i] it'd be awesome. I'm inclined to think that too many active EQ's add a little something (try zeroing the bass / treble etc. and bypassing the active circuit to compare) And some circuits genuinely introduce gain of their own. It's a pity that more don't come with trim pots to tame it. Perhaps that's why I like the two passive basses - They're [i]already[/i] good in the first place. Which sounds like I'm slating the Warwicks... maybe it's the MEC electrics (bleugh!) I do like having a passive tone control on active instruments. They add a whole extra dimension, and they're an inexpensive addition. I'm surprised that you don't see more of them. How good would a Marcus Miller Jazz be if you fitted stacked Vol/Tone (passive) controls in addition to the active ones. And then threw out the evil fender active circuit and replaced it with a J-retro or Aguilar system!

Whilst I realise that active EQ can add a lot of flexibility to a bass, it never seems to alter the fundamental (sorry!) tonal characteristics of the instrument in question. I've been favouring my 2 passive tone monsters recently (A Yamaha Attitude w/Elixirs and a Squier 70's VMJ w/ DRs and a BadAssII) If I bypass the active circuits on 4 of my instruments (Warwick Infinity SN IV, Streamer LX VI, Vigier Passion V, Iceni Zoot Chaser) they all sound bland and gutless, with the exception of of the Vigier, which sounds "cleaner" The passives just sound and feel more "immediate" in the way they respond to the player's input. So... The question. Do you gain the flexibility and lose the tone, or have the tone and forego the active EQ? OR... Is there a sonic Nirvana out there that I've missed, where both co-exist? Thoughts, opinions and examples, folks!!

[quote name='The Burpster' post='41483' date='Aug 5 2007, 08:50 AM']To me it shows you dont necasarily need the latest gizmo louded gadget to create unbelieveable music...... If I could play it and 1% of Herbies abilty rubbed off onto me, I would be a 100% better bass player for it...... Herbie rocks.....! (knackered old bass or not!)[/quote] Absolutley right! He's wicked...

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!