Lfalex v1.1

Aesthetics aside for a moment, can you try it before you buy? If it's a slightly butchered but plays well and sounds good, maybe it's worth €500? The changes to the electronics might not be for the worse, but I'd probably change the jazz control knobs. As for the ramps... Maybe you'll like them. Maybe not. Lots of options there; Take them off and attempt to fill the holes Replace them with more sympathetic-looking items Leave them on, but at least use some darker screws! If you can check it out in person and it turns out to be good, maybe go for it. Otherwise, I think I'd pass.

On the series III, the two carbon rods (bars? - they look square in profile) run from the tail of the neck blank- so beneath the bridge - to beyond the nut, they near the surface just after the volute. They're visible (just) on my solid black finished instrument. On a translucent finish, they're very conspicuous. I'm not aware of the series II having any adjustment either. That's a full-on graphite through-neck. The series IV is bolt-on but still no adjustment AFAIK. I can't comment on the series I, though. One issue I don't understand is if any relief is introduced during manufacture, either by sanding a curve into the neck or by the rods not being straight themselves. Edit for- I purchased mine (partially) because it didn't have any truss rods to mess with, and they were one of the things I hadn't learned to adjust. (It's ok. I have now!) Also, it's the only bass that I own that doesn't undergo a subtle change in tone from having a "fat finger" clamped to the headstock.

Whilst the UK isn't as cold or variable as Canada, my Passion III hasn't shifted in 23 years.. I guess that bodes well.

It's no coincidence that there's a "soundhole" on the upper shoulder- it's where many such basses have their control electronics. Still, it saves the issue of regular acoustics protecting sound away from the player, and it may well help reduce feedback in amplified situations.

If it's got the Kahler bridge with the bolt-on saddle rails, the spacing is adjustable IIRC.. Certainly was a bargain, though!

Of course, I might be a little biased..

That's real nice. I played #196 a long time ago. It's just like yours, except for not having the pickup surrounds, plus it has chrome hardware. Cracking basses.

Loving "Birdhouse In Your Soul" - They Might Be Giants, there's more where that came from (Why Does the Sun Shine?) "Foxtrot" (Genesis) harbours some winners in terms of lyrics. "Get 'em out by Friday" and "Supper's Ready" The repeated rhyming of "heart" in the Marillion track actually scans properly because of Fish's pacing and delivery against the music. It's "Kayleigh", by the way..

I'll warrant that the balance is better than a regular Thumb NT6..

Re: the Modulus; The consistency might also be partly due to the Phenolic fretboard.. My Yamaha had one, as does my Vigier, so that's a Maple/Phenolic combo and a 10/90 & Phenolic combo. Both are great basses.

Tom Araya certainly has!

Just as well I don't gig... I'd have to sit down. Mine's not my back, it's my right Achilles' tendon. I can barely walk at the moment, and running is out of the question. Does this mean someone else would have to carry my gear? 🤣 Seriously, though, I hope your back improves, or at least that you find a work-around that lets you play comfortably.

A generic observations from electro-acoustic (fretted) ownership; They only produce limited volume when played acoustically. They'll not keep up with an acoustic guitar being played hard. Fretless may prove worse still. They do sound nice through amplification, however, the large top can make them prone to feedback in louder environments. A soundhole bung/plug may help in this regard.

Worked for me!

What? The Bass or the Band? "It's a S*** business" - Les McQueen

^^^^ I had the good fortune to see that live when it aired. Classic TV!

They'd have done better if they'd got one of BassChat's better fretless players to demo it. Or, in fact one of BassChat's worst fretless players...

And then there's Phenolic boards instead!

I've used a small, compact mixing desk into a QSC PLX1202 power amp. Sounds great, and you can easily run items like tuners from any unused outputs on the desk. Better still, if you're amp sharing at gigs, you can set up spare channels for other people, spare instruments etc.

I was going to disagree with the notion of spending 2k on a bass in your position, but based on personal experience, I wouldn't rule it out. Over 20 years ago, I saved up what seemed a ridiculous sum of money, went to the Wapping Bass Centre and tried out everything I could get my mitts on. I ultimately purchased a Vigier, and I still have it today. It's as good as ever, done some good stuff and has lots of good memories attached to it. It could be argued that you could achieve the same with a cheaper bass, and that's true. If you can get yourself a "keeper", cost becomes less relevant. It depends, of course, on your financial position. I did it when I was living at home and had no outgoings except running a car. In that respect, everyone's mileage may vary (pun not intended) If you can find a real winner, almost irrespective of cost, then grab it.

Challenge accepted. Translucent Snotburst.

If we are to go "nuts", may I suggest "Filbert"?

Is it really an issue that the MFDs are too hot/bright? The instruments do have tone and volume controls. That, or roll off the gain and treble at the amp end. It's easier to remove something that there's to much of than to try and add something there's not enough of ( Confucius probably didn't say that!)

Crime of the Century? Masterpiece.