72deluxe

[font=trebuchet ms,helvetica,sans-serif]So here's a photo of the guts. From what I can see, the pot to the far left (the stacked treble/bass pot) is the original MEC one (due to the big MEC written on it), with the far right (volume) also looking original (guessing from the colour of the board). The middle pot (blend) is the one that feels different in use, and also looks different, so verb is probably right that it is the wrong value?? Where do the preamp "guts" sit in amongst all of this wizardry? If a preamp is swapped out, surely all of the pots and gubbins should be different? Here I only see differences in the middle pot, so surely the actual "brains" of the preamp are still housed on the treble/bass pot?? Any explanation would be warmly welcomed. I am used to writing software, not this analogue world! I will be emailing Warwick to see what they can say. Pictures:[/font] [attachment=206010:DSC04482.JPG] [attachment=206011:DSC04483.JPG] [attachment=206012:DSC04484.JPG]

Pickup height is really high in my opinion, so I would be expecting far more output. I will take a photo of the internals. Thanks for the tips.

Any tips on the preamp would be warmly welcomed!

Surprised that Len Derby uses a Warwick Corvette as a lightweight bass as I always thought they were fairly heavy? (not as heavy as Warwick Thumbs but requiring a good thick strap nonetheless). I tried Oldman's fretless Ruach the other year at a bass bash and you could forget that you were wearing it. It was unbelievably light. He has the fretted twin for sale: [url="http://basschat.co.uk/topic/269908-ruach-fretted-for-sale/"]http://basschat.co.uk/topic/269908-ruach-fretted-for-sale/[/url]

Do you find that the chordal bits get handled adequately by the guitarist? I had a 6 but found the neck too wide (and the bass weighed a tonne). More practice would have helped to get used to it, but I have gone back to 5s and 4s (but sometimes miss a low . I imagine it is the stuff I was playing (more rocky stuff) but there wasn't really space to be putting gentle chords in whilst keeping the bottom end covered too. I was wondering how others got on with finding the space and balance to put in higher register stuff whilst keeping the bottom end and groove?

[font=trebuchet ms,helvetica,sans-serif]Hello Once upon a time I bought this from a certain Greg here on basschat, who posted it speedily from France. Looking at his older threads I think he gets through basses - he appears to have had more basses than I have had hot dinners. Quite impressive! This is a Warwick Jack Bruce Artist series. Same as the "Pro" series they used to do - made in Korea. Given that I have got a Korean Warwick bass and the quality was exceedingly great, and given that the price of German Warwick basses is astronomical (good quality, horrible wooden tuning pegs these days), this was very reasonable (thanks Greg). It has a mahogany through-neck, with a tigerstripe ebony fretboard (unlike other Warwicks which typically have wenge fretboards), with mahogany wings (but at this weight, it'll never fly). The neck shape is very similar to post-2000 Warwicks (a bit of a D-shape) but I have no problem with this, as I was just an ankle-biter during the Warwick late-80s "glory years" and so do not pine for C-shape necks. I have a cheap early Warwick with a "traditional" shape neck, and it is like playing a giant chopstick. It is heavily "inspired" by the Gibson EB-3, as Jack Bruce obviously played one in the early days with Cream, whilst playing through Marshall stacks that gave no proper bass response. Although looking the same, the construction is obviously completely different; this has single-coil pickups (EB-3 had humbuckers I believe?), a two-band preamp (stacked treble/bass), a 34" scale with 24 frets (EB-3 was 30.5" with 20 frets). I have never played an EB-3, but I wager that this sounds entirely different, and only has cosmetic similarities (including a lovely colour and pointy arms). I find the pickups to be rather large and a bit in the way; I have played a Star Bass and there is much more space by the pickups to get my chubby fingers in to do "essential" slapping and popping... just the way that Jack Bruce played, right? ("Strange Brew" is full of slapping and tapping isn't it?) This has been modified, with the original MEC preamp taken out and a Glockenlang 2-band preamp put in instead. I don't know what ranges original MEC have (perhaps someone could enlighten me?) but this has +/-18dB treble at 18kHz and +/-14dB bass at 40Hz. This massive boost/attenuate range seems insanely excessive to me - I have no idea how you'd expect to put 18dB more treble into your preamp and not get it to peak/clip. Do people actually use these insane + ranges??? Or cut so much from their signal? ("Ah I am sounding a bit bright; better do an 18dB treble cut"). One thing I have found is that this has a very low output volume, particularly as it is quieter than an entirely passive Star Bass that I have (with identical pickups I believe). I suspect the centre-detents on the bass/treble pots are not the true centres on the preamp ranges, so it is permanently attenuating??? In any case I will have a look later; if anyone can look at a picture of the preamp and spot a problem, I would appreciate it as I am having to max out the preamp on my amp when this is set "flat". Are Glocks just quiet?? And yes, I changed the battery. Perhaps someone did a bad job of changing the preamp (the blend knob is mildly stiffer than the others for one, not sure if it is sitting lower onto the bodywork). The action is incredibly low at the moment (not sure if other people play by blowing across the strings to make them move, or if I have bad technique and "dig in" too much) so it is rather clicky clicky clacky clacky buzz buzz so it'll need some attention. My (poor) wife loves the colour, so that's good! Photos are here (sorry for the duplicates, attempting to get bring out the colour with and without a flash on the camera): [url="https://drive.google.com/folderview?id=0B3vzHZmGDdwKVFdNX2dvQ3ozLUE"]https://drive.google...VFdNX2dvQ3ozLUE[/url][/font] [font=trebuchet ms,helvetica,sans-serif]There used to be a video here but I have removed it because I suspect it was an impediment to replies, given the high levels of slapping that it involved.[/font] [font=trebuchet ms,helvetica,sans-serif]And they lived all happily ever after. The End[/font]

OK Now to dig out the recording, don't think I have any Ian Drury

Ooooh a pick. I'll have to buy one! (Tooth pick, ice pick or guitar pick?) With backing? Or solo? Or (controversially) solo, with a short demo track at the end with a backing? Talking or bass playing? So many options.

Bought a bass from Greg, who posted it speedily, packaged it well, and was patient and understanding when working out the best way to pay him (Paypal, bank transfer etc). An excellent seller. Many thanks Greg, really super bass.

Sorry for the delay! I will record one this weekend! Apologies. Do you want it a slap festival or a "here are the variety of tones available" sort of video, with long notes held for different EQ settings and pickup settings? I know that slapping makes some people angry (not me personally, love a good triplet), so what techniques are welcome/wanted?

I think the ELO experience is on tour at the same time as Jeff Lynne - might be a cheaper option but not seen them myself. Has anyone else?

Bought strings from me, speedy payment, all good thanks!

Thanks for these, very much enjoyed them. Thanks for taking the time to film them and upload them. That Warwick sounds surprisingly good; I had preconceptions that it was a Warwickized Washburn given its styling. I know Stu has always had a certain tone but that sounded really great. Thanks! Stu's great - he is always very entertaining. His Washburn presentation on YouTube is really great too. Really great playing, always interesting seeing him with Satriani and him saying that he performs basically rhythm guitar parts on bass (his solo spot was always jaw-dropping). The only one where he was untethered somewhat was Crystal Planet, where he puts in some interesting fills and runs. His Outbound song is incredibly hard to play - only one guy on YouTube has posted a video of himself playing it, which is either due to its difficulty, the harsh guitar sound on the original track, or because not enough people have heard it! Probably the first.

A face for radio? Is it static? Budum tish! Thank you, thank you

Hmmmm thought provoking. It might be because I've got an Warwick FNA Jazzman with Pro Steels on it, and the humbucker is very harsh sounding. You can mellow it up (thankfully) with the jazz pickup on it. I will do a comparison! Perhaps I am not digging in enough... Not sure what's on the Spector - they don't feel like steel to me. I will restring it. One thing I can say is that it has the most bewildering variety of tone capabilities. I am very impressed.