XB26354

I would beg borrow and steal to get that TRB 5P - nothing else to touch it at the price. I owned a BB615 and there was nothing wrong with the B - DR's tend to work on most basses.

In your price range I would suggest a BB615 or perhaps one of the Ibanez (EDB555) basses. The RBX has a floppy B-string (and the MIM Fender V's tend to have a dark, muffled B ). The Lakland, if you could get one, would probably be far and away the best at this price point. 5-strings are a lot more difficult to find on a budget.

They're idiots, putting gear up at stupid prices hoping some mug will jump at it. Bass direct has/had a s/h yamaha trb6p-ii at £2299 used, which is a laugh too, but I guess commission sellers name their price hoping to get the private sale amount after the commission is deducted.

Forgot to mention - after playing almost every boutique bass under the sun I come back to Warwick Streamers. The Stage Ones have tons of punch and growl, and the 97 LX6 I recently bought back has such a rich tone it sounds like a lower-pitched classical guitar. They don't suit every band but I'd be happy using one for almost any style. It also goes without saying that they have one of the best low B's around, and they're 34" scale as standard. They also love DR HiBeams

[quote name='warwickhunt' post='922138' date='Aug 11 2010, 11:11 PM']OK get you now. AFAIK all the slots on the stop tailpiece are the same size and there can be some issue with certain big chunky strings on 5's and 6's not quite fitting when turned sideways. The consensus seems to be that exposed core strings fit well but agreed that it must be a pain if you use heavy gauge 6 string sets... on the plus side it's got nowt to do with left handed basses; it affects all of them! [/quote] They are - I just bought a replacement tailpiece for a SS1 5-string and all 5 slots are 4mm. The slots used to be narrower - but having bought a lot of replacement hardware from Warwick in the last few years I know that certainly the broadspaced tailpieces are fine up to full-core .130 B-strings (e.g. DR). The last narrow-spaced tailpiece I bought for a '97 LX6 was wide enough on the B too - whereas the original was about 1mm narrower and had to be filed.

Just bought my old Jazzman 5 back from James - bombproof packaging and sent the next day. A great guy to deal with and would buy from again. Mat

Depending on whether it has lines, a bound neck and what the fingerboard wood is (and who is doing it!), I would expect anywhere between £120-£200. If you're in Devon I guess Manson's in Exeter is your closest luthier?

So.. [i]don't[/i] get it. What's the problem? Who says you have to "get" it? I like jazz a lot, other people (quite a lot of people as it turns out) don't like it at all. That's life.

I think Jimmy Johnson had the first BEADG 5 made in 1974, but the first production 5 would have been the Yamaha B5000 in the early '80s followed by the Stingray 5 in 1986. I think it was Jimmy Haslip who took a protoype of a 5-string version of the BB3000 on the road and the interest forced them to start making a 5. I guess the Stingray is the biggest name as it is still made today - and is still a great bass.

Very sad to hear this news. I always enjoyed reading his posts. RIP.

[quote name='EssentialTension' post='901890' date='Jul 22 2010, 01:52 PM']I think there is some confusion here about the meaning of 'rules'. Not all 'rules' have the same kind of status, so: [u]An example of a ‘rule’ that cannot be broken:[/u] When the notes C-E-G (or any three notes of the same relationship) are played together it is, as a ‘rule’, called a major triad. Can this ‘rule’ be broken? No. Let’s say you played C-Eb-G instead, then you haven’t broken the ‘rule’, you have merely not played a major triad. You have played what, as a ‘rule’, we call a minor triad. No ‘rule’ is broken. Imagine you decided to rename the major triad as ‘happy triad’ and the minor triad as ‘sad triad’. Is then a ‘rule’ broken? Well, perhaps, but it is only the naming ‘rule’ that is broken, the underlying ‘rule’ about the musical relationship of the notes is not broken. These kinds of ‘rules’ are descriptive ‘rules’. You can play whatever you like, but a major triad remains a major triad, and there is a clear and standard ‘rule’ that we call it so. This is a convention we use to describe music. [u]An example of a ‘rule’ that can be broken:[/u] As a ‘rule’, concert pitch is A=440Hz. You can break this ‘rule’ by tuning your instrument to A=435Hz. If all your musical colleagues do the same, then you will have broken the ‘rule’ by setting up a new ‘rule’ (i.e. A=435Hz) – so the ‘rule’ is broken in a sense but only by the setting up of a replacement ‘rule’. However, if I tune to A=435Hz while my colleagues remain fixed to the ‘rule’ of A=440Hz then I am most definitely breaking the ‘rule’ and my music will likely suffer for it. Nonetheless I am free to break this ‘rule’ if I care to do so. This is a freedom we have to make music.[/quote] I am aware of the different meanings of the word rule, none of which apply to what you have written. In the end it is a discussion about semantics relating to the word rule, which is about as pointless as the original post.

The Gallery has a combustion, an ABZ, a super J and a Z1 at the mo. If I were to choose, I would pick the ABZ - it is only £200 more than a combustion, made in Canada, super light and sounds and looks great (if you like natural wood finishes). It also feels pro, rock-solid to play. The combustion has a painted body and doesn't look anywhere near as nice imho.

[quote name='4000' post='902533' date='Jul 22 2010, 11:19 PM']Speaking of which, since Jaco died I feel like there's been a bit of revisionist history; all we ever seem to hear is how Jaco single-handedly changed the face of electric bass. Well when I was much younger and they were both around they were considered neck and neck at the top of the tree, which is how it should be.[/quote] Funny, on this forum I've considered the revisionism has gone the opposite way. It is easy to knock a dead man. When I heard Jaco's first solo album and Heavy Weather it sounded like music from another planet. Stanley was and is great but came across to me as souped-up funk. Never liked his bass tone or his tendency to muck around with piccolo bass (who's the bass player Stan? Jimmy Earl!) He has had a lot longer to grow and change, and whilst I don't doubt for a minute that his playing was top notch, as others have said he hasn't really gone anywhere stylistically. And that's without any (perceived) mental disorders... Still, each to their own.