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  1. I don’t own a G&L but had a good long play on one not long ago. The Dimension doesn’t have any true coiltap facilities (the in between settings are one coil from each pickup) whereas the L2500 has series, parallel and single coil per pickup. I remember the L2500 as having a great tone, If rather hot and a little too hard sounding and aggressive for me. The Dimension is still very much a Fender despite the humbuckers. The active one with ash and maple board is noticeably brighter than the passive version with alder and a rosewood board, even with EQ set flat. I love them both!
  2. WD in the UK now have dimension pickguards available to order. I’ve bought a black/white/black. £27 inc postage isn’t bad but it’ll be on back order so may be a while from the US.
  3. The ash/maple looks much better with a black scratch plate. Mine is white - need to change it!
  4. ...and by way of my NBD, I just picked up a Dimension Deluxe V for a very good price. Mine’s natural ash and maple, and in pickup position 2 (not the furthest position from the neck, but the next one toward the neck) sounds very similar to a Stingray. I also have a Dimension Standard V without the pickup selector, and at the bridge it sounds nothing like a Stingray. The two in between tones are very interesting and make it more versatile than the Standard. Surprisingly the two basses sound very different - similar enough to appear to have the same basic character, but the different woods, and active vs passive make a big difference. The only challenge I have had is with the spoke wheel adjustment - the small holes are only about 1cm deep and not hollow so you cannot just stick a small screwdriver through one hole and out the opposite one. In the end I had to take the neck off and with both basses the adjuster felt very stiff trying to remove relief. This isn’t helped by the bridge plate being so thick that it restricts how low you can set the bridge saddles. Luckily both are just about perfect in terms of action. It’s odd as the Stingray/Sadowsky spoke wheel is a piece of cake to adjust. For what I paid for each bass they are an absolute bargain. If you see one for sale grab it as they’re rare and IMHO they offer something that neither a Jazz Deluxe nor a Stingray offers.
  5. No, I agree on both that terrible Babylon zoo song and Layla - it gets to the verse and it’s a right old dirge!
  6. Keep the P and save up. Japanese jazz basses aren’t that hard to get hold of (even left-handed, I assume), whereas if your P really is as good as you say you may change your mind in 6 months then waste more money buying another one - probably for more than you paid for the one you have, assuming you got a bargain
  7. Ooh yes I forgot about the coil tap facilities on the deluxe. Even more versatile!
  8. This is a very underrated bass. I recently picked up a Dimension V std (passive). Build quality is as good as anything Fender has produced, and the finish is flawless. The neck is asymmetric as Karlfer says but flattens out toward the body end and feels great. The pickups are completely silent and sound similar to a P in the neck position and a J at the bridge, just with a bit ‘more’, and the bass has its own character. If it were made by someone else it would probably still be in production as it’s a cracking bass. I’d love the deluxe version in a V for a bit more tone shaping. They’re a serious bargain - get one whilst you can as they’re quite rare! GLWTS
  9. Original German Warwick LX model had flamed maple, as do the German handbuilt “Masterbuilt” basses (plus almost any option you can imagine - basically super-expensive custom shop instruments). This is a cheaper Teambuilt model which is made from US cherry. They’ve substituted model woods in the past - the Korean pro and Rockbass lines mostly.
  10. You may want to add the colour of the bass and your location, plus collection/postage options...
  11. Not to mention Pau Ferro being used by many high-end bass manufacturers - and Fender in the past!
  12. In both cases you’re stepping down from a higher string to a lower string. Take a couple of notes either side, slow it down and pay attention to what’s happening. If you play it in a loop are you using the same plucking fingers each time? In the second example you need fairly nimble fingers to switch position then rock you fretting finger joint at the Db-Gb. It’s probably a loss of control skipping strings throwing you off.
  13. It’s a teambuilt Streamer LX 4-string - so made in Germany but built by suppliers local to Warwick rather than hand-built in the Warwick factory (which is a bit of a misnomer as Warwick invested millions in computerised manufacture). I’d say the price is OK given new ones are going for around £1,700 new. The LX is a bolt-on vs the Stage 1 being a neck through. There are also other differences in woods (and IIRC the LX has a 2-band preamp vs the Stage 1’s 3-band).
  14. Hmm. I don’t agree with you there. If you only offer collection or meet-up, fair enough, but as a buyer you are relying on the seller to package appropriately and are accepting all the risk, having paid upfront. Easy for the seller. Why should it be unrealistic for it to be delivered? If you’re able to package it well enough to avoid damage and wait in for a courier why not post it? Isn’t this how eBay operates (like it or not)? What is unrealistic is offering a bass with a flimsy gig bag then saying arrange your own courier I understand the point about meeting up if you want it badly enough but not everybody has their own transport or the annual leave/spare time to travel 200-300 miles and back. The other thing some people may not be aware of is that most couriers do not offer insurance, or cover up to the value of the bass, except maybe UPS (but then it must have a hard case and the max cover is £1,000) - not sure about the courier service Basschat has recently advertised. Of course, it’s up to each person to accept the risk. Perhaps it’s better just to stick with collection, it avoids disappointment when something that appears great ends up being average.
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