Lfalex v1.1

[quote name='dave_bass5' post='10995' date='Jun 2 2007, 12:28 PM']Another good idea. Actually i just tried that and yes, it works although i need to get a black one as mine is lime green[/quote] I use a green one on my Trace... Goes nicely with the green mouse fur covering and green lettering!

[attachment=413:Squier70VMJ006.jpg] Here's mine. My wife bought it for me Then I added; A BadAss II Black Control knobs (in solid brass) by Schaller DR Fat Beams strings Sounds good relative to the modest outlay. Bridge pick-up is excellent. The neck is a bit murky. Tone control is only okay- the pot's okay, but it comes on strong a bit early. A better quality one might be a good idea. Feel, fit and finish are good at this price. Beware! The block markers AND the binding are both SPRAYED ON! No sign of it wearing off, though!

My Zoot bass is a good example of inordinately high string tension. Even with 35-95s on, it's harder to fret than one of my Warwicks with 45-105s. One major difference is the break angles- The Zoot is thru-body, and the Warwicks are all top-loaders. Furthermore, the Zoot has a severe break angle at the headstock, as ALL the strings pass under a retainer. Warwicks have the angled headstock, and need no string trees. Do you want the basses to sound the same? If you can live with (or want) a different sound, I've found that DR Fat beams run a discernably lower tension at the same gauge on the same instrument than some other brands. I attribute this to their being round -cored, but I could be wrong. The bass is a Squier 70s VMJ with a BadAss II on it. It feels very similar to my thru-body MIA S1 Jazz, but that's got 40-100s on it compared to the VMJs 45-100s. Aren't flatwounds softer for a given gauge, too?

Love the Attitudes. Here's why! They take some getting used to, then there's no looking back... Well made, tonally diverse, noise-free instruments. With bags of character.

My Yamaha Attitude is passive. Soundmen repeatedly ask me to turn it down/cut the bass (assuming it to be active) It's hotter than everything but my Zoot- and that runs a Seymour Duncan MMHB into a Jon East E-pro using 18v. It's a bit much, usually!

[quote name='OldGit' post='8357' date='May 28 2007, 10:27 PM']Well I'd say that none of those are difficult to fix as long as the client doesn't mind paying for a top skilled custom bass builder to spend his time trawling Ebay and t'internet looking for odd things rather than building basses ... A touch of realism is alway helpful ..[/quote] Er... He had 'em IN STOCK. Right there. Right then. Kicking about, like. Bear in mind he has the retail side to consider plus a couple of other people to help him out.

[quote name='presoulnation' post='8499' date='May 29 2007, 10:32 AM']Life would be so much easier if we didn't need batteries![/quote] Agreed, but I don't see the "Trevor Bayliss wind-up bass" catching on! As most gigs (except the outdoor ones) are in the dark, solar power is out, too. Realistically, the EBS idea of "phantom powering" FX pedals and Active EQs from their amps is the only alternative.

That's one nice bass! Hope it makes it, too.

[quote name='OldGit' post='7833' date='May 27 2007, 09:40 PM']Not if they are as good as everyone says (and you have enough money) Sorry if I promote my man Shuker but , hey if you find something good you want to share it with your mates .. That's all. There are many, many other custom bass builders who are, I'm sure, just as good ... I just don't know them personally .[/quote] Mike (Iceni) is already looking uncomfortable from bending over backwards to help people! I periodically pop in "on spec" and he's always had the all of my most bizarre requests to hand; BadAss II Three Solid Brass Schaller Knobs (Black) ONE Schaller Straplock compatible button (Silver) I also own one of his basses, a custom. But it wasn't made for me. It wasn't made for anyone, it's the Chaser prototype.

[quote name='bassaussie' post='8036' date='May 28 2007, 12:55 PM']If they were Warwick's own electronics, wouldn't that make them MEC? Personally, I've had two Warwicks. One was from new, with MEC pickups and electronics, and the other used, with EMGs. The MECs were most definitely the weakest part of either bass. I've also used MEC pickups in a Jazz bass project, and my opinion was the same. I've always heard that Seymour Duncans (pickups and electronics) can sound pretty amazing in a Warwick.[/quote] Yep. I've got a '96 Streamer LX6. It has the "usual" MEC set-up; Volume w/pull up passive Pan Bass Treble The Pick-ups on mine are Seymour Duncans. I see that newer models have MEC pick-ups. I presume that these weren't available back then, as the 6ers all seem to have differing pick-ups. Mine lacks a bit of clout, but I wouldn't want to change the tone... That said, my all-MEC Infinity SN4 is excellent, but it took some Elixirs and a FatFinger to get it there.

Just bought some Energiser Ultra 9v (PP3) batteries. They're £2.65 at Morrisons. [size=6][color="#FF0000"]BUY ONE, GET ONE FREE![/color][/size] Those of you with more than 2 active instruments might find this a good offer, as might those of you running 18v, 27v or 36v active systems, wireless units, pedals, tuners (and smoke alarms!!)

I have two. One to wash, and one to wear... (Really I'm just lazy!) I like what they do to the sound/tone of an instrument, and they can help to alleviate dead spots a bit, too. I use them all the time, on a variety of instruments, ranging from a Squier to a Vigier, Warwicks, etc. Obviously, they improve cheaper instruments the most, but even the more expensive ones benefit a bit - mainly in terms of depth of tone. I think I paid about £15 a throw for mine.

Corvette $$ (4 or a 5) But not necessarily in Red or Black... G&L ASAT Some sort of custom 4 string with a slabby single-cut (ASAT) style body and passive electrics akin to a Yamaha Attitude with a (tap-able) JJ at the bridge...

Iceni music Goodfellow Sei are all within driving distance, But I think they'd never want to see me again once I started wanting to tweak things this way and that!

Fascinating how much work goes into it and how many combinations and permutations of design and materials exist. A good find. Thanks for sharing it! All I need now is for a manufacturer/luthier to take this much care over creating an instrument just for ME! "No! I want the bridge made from Brass and the saddles from Titanium. and I want it anodised in purple by 1,000 hand-picked virgins!" "Jeeves! I want more balsamic vinegar in my Velociraptor and Marmite sandwich!"

[quote name='stevebasshead' post='4379' date='May 22 2007, 01:31 PM']...or lift it alone Nice beast !! My 1048 on it's own is a pain to lift, let alone in combo form. That and the 1518 are the reason I went for a pair of Tech cabs. And now my back is speaking to me again.[/quote] No worries! My job involves lots of lifting heavy/awkward loads. After 18 years, I've got the technique down! I only lift when I have to, though. That's the trick. My 1153 has castors, and I have a dolly board/elastic straps for the rest so it all just rolls. My issue with the 1048 is its depth. You can't get it AND you through a single doorway sideways at the same time. Face on, and you can kiss your knuckles goodbye. Ditto the 1518. It's the same enclosure with different baffle, grille, ports and driver.

[quote name='binky_bass' post='6603' date='May 25 2007, 04:03 PM']Good to see a decent collection of basses in essex! thought i might be the only bassist in essex who actually knows the instrument. its good to see a fellow essex player! heres a pic of whats soon to be my cherished slag![/quote] You certainly aren't alone in Essex! There's plenty of us. We just hide well. There's at least 3 or 4 on BC alone.

[quote name='OutToPlayJazz' post='4001' date='May 21 2007, 10:01 PM']I'd agree with Machines... Active is always best for a more controllable sound. No flat spots or quiet patches! I've sold every passive bass I've ever owned, as much as I love the jazz aerodyne as well![/quote] Sacrilege! My collection's split about 40/60 (passive to active) The 3 passives are excellent; Squier MII 70's VM Jazz Fender MIA S1 Jazz Yamaha Attitude II limited 10th Anniversary BS signature And I'd never sell them! I agree that active electronics can give more sound variations, but I have a Hohner which sounds better passive and a Vigier which sounds better with the EQ set to "Flat". That said, the Warwicks and Zoot sound better active, but only because the pick-ups sound a bit feeble unaided... There's a mixture of woods in there, though. Maple, Wenge, Rosewood, Ash, Purpleheart and Zebrano. There's definitely an increased tendency to use Basswood or Agathis bodies in mid-priced instruments to keep costs down and introduce a degree of sustainable wood sourcing into instrument manufacture. As for the purchasing decision regarding MIM J Deluxe vs. MIJ Aerodyne, try this; Pin down an Aerodyne, and take your MIM Jazz with you and A/B it in a shop. What? They won't let you? Guess they don't want your business or that of your friends/relations then! Having tried both together, at least you can make a reasoned decision. Then come the options based upon your thoughts. Keep the MIM Sell the MIM and buy the Aerodyne P/X the MIM against the Aerodyne [i]Find[/i] a way to buy the Aerodyne (if you like it) AND keep the MIM J Deluxe. I must admit, that's how I do it now. Save up finances and pent-up GAS. Go out and find something genuinely new or different or better. Then buy it! Then you don't regret flogging what (in retrospect) was a really good bass to buy another one...

Run some Emery or Wet & Dry (folded) through the grooves. That'll clean out any nasty burrs. Have you a magnifying glass (no, really!) Have a close-up look. Failing that, "floss" yer grooves with an old string appropriate to the gauge that'll be sitting there As everyone else says; File the saddles - I only went half the string's diameter deep and rounded out the bottom of the groove with a tiny rat's tail file to give optimum string-to-saddle contact. Shim the neck. Depending on the thickness needed, I've heard of all sorts being used! From a piece of plastic document sleeve, via cereal packet cardboard, right up to slice/s of wood veneer.

Unbitten! Start playing young (Younger than I did!) Buy good instruments that you like. Keep on GASsing and buying. Play for 20+ years. BINGO! (Not exactly instant) High quality vintage bass collection. One that you enjoyed making along the way. I say "unbitten", but the collection of ageing basses is past double figures!

[quote name='Crazykiwi' post='6834' date='May 25 2007, 09:48 PM']To be honest, I don't know that age is the factor per se. But there's definitely a difference between a heavily gigged bass and a new bass in terms of feel. I like heavily gigged basses because they feel more broken in and supple. Having said that, there are some manufacturers who do a pretty good job of getting a broken in feel on new basses, Ken Smith and Celinder to name but two.[/quote] Bear in mind also that Smiths, Celinders et al are made from high quality tonewoods that are likely to have been carefully selected and well aged before being made into anythng. I would suggest that the wooden elements are pretty settled by the time that they are subjected to manufacturing processes, and that a prolongues period of use wouldn't cause much change. That's certainly my experience with my (now decade-old) Vigier. It hasn't obviously changed. Some less exotic instruments I own, such as my Ibanez SRX700 [i]have[/i] mellowed substantially. It needed to! All bright and twangy, almost to the point of having little real character. That's improving after 5 years of ownership. A lot of the comments seem to centre on necks smoothing-in, playing in, then wearing out. Likewise pick-ups losing their "edge". Bodies, by contrast seem to improve and then settle down (unless well-aged before building). Would the best long-term prospect be one of these; Musicman Cutlass Graphite-Necked Status Modulus Vigier Passion S2 or even... A Steinberger?? Then change pick-ups, nuts, tuners and saddles as they wear out? What do violinists/cellists do? I [i]presume[/i] that they buy a solid, good sounding instrument, and do exactly this; replace the worn out "sundries" as they go along. Just as drivers of vintage cars still have to change tyres and exhausts etc. Just a thought.

Can we breed them with the Essex boys? Iceni Zoot Chaser Prototype. Trace AH300 (sort of) 2103h (nearly) 1153

I switched the Hex-cored (Rotosounds) on my Squier 70's VMJazz for DR Fat Beams of the same gauge (round-cored) without having to adjust the truss-rod or action. Intonation needed doing because of the extra mass of the strings in this instance - They pressurewind a .108 down to a .105. Round cores are a lot softer in my experience. Can't speak for flats. Never used them or looked into their physical behaviour.

The need to adjust your bass every time you change brands is limited, and only small changes need be made [i]provided[/i] that you're not changing gauge! Assuming that you're using the same bass all the time for comparison purposes, all the other variables such as break angles etc. will be fixed. Another effect of tension for you. Higher tension reduces the size of the vibration envelope of the string for a given mechanical input. This, in turn may facilitate a lower action as the vibrating string is less likely to strike the frets than one of a lower tension. When you say "less winds= more tension", am I right in thinking that winds refers to the number of turns around the machine head? If so, then, yes that is partially true. When you strike a string, it stretches along its entire length, albeit at different rates at different locations on the instrument. The string stretches between the points at which it is anchored, namely; The ball-end (at the bridge - Well, usually) The point at which the string is bent as it leaves the slot in the machine head for the first winding/turn This means that the length of string wrapped around the machine head can still exhibit some elastcity. Increasing the length of said section lengthens the string and increases the length to which the system can stretch before breaking. This also imparts a softer feel to the string. Decreasing the number of turns around the machine head gives a tauter feel and is useful in slap-orientated instruments, and those which may possess a "floppy" B string. Naturally, there's no such thing as a free lunch. You gain tension, but sacrifice tuning stability, increase the likelihood of string breakage, and there might be repercussions in terms of string life. Of course, if you cut it too fine, strings may jump off the machine heads completely! I gather the recommended minimum is [i]around [/i] two turns.

I think you'll find that they [i]should[/i] all fit each other. The basis for that answer lies in the fact that manufacturers who supply replacement necks don't seem to make specific ones for MIA, MIM, CIJ, CII etc. The only "oddity" I can forsee is with some models (The Marcus Miller springs to mind) that use 3-bolt neck fixings. Needless to say that all the pick-ups are interchangeable! From experience, replacement bridges seem to fit all the models, bearing in mind the distinction between 5 screw top-loaders and 3 screw thru-body strung items. I put a BadAss II on a Squier 70's VM Jazz with no problems.