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  1. Fabulous basses. I have this model in a V and it’s a remarkable instrument that, whilst it doesn’t quite do a Stingray sound, has 5 distinct and very usable tones that don’t quite sound like anything else, and the eq is surprisingly musical and far better than any circuit I’ve encountered on a Fender. Build quality is also superb. GLWTS.
  2. Have to disagree with you there; The AJ Presentation (the original one, not the hideous semi-acoustic one with the holly top) is a masterpiece of design and is for me the only single cut bass that works visually. Having played two of them, they also balance perfectly when seated, and whilst they both initially sounded quite “ordinary”, after an hour’s playing... astounding. If I had the money I would have no hesitation in ordering one. And a snip at $20,450
  3. It depends largely on what scales and so melody you’re going to play over it. Normally 3-note chords make it harder to guess whether they’re all in the same key. However I would hazard a guess that it’s closest to B major. C# minor - C#, D#, E, F#, G#, A#, B (Dorian mode) G# minor - G#, A#, B, C#, D#, E, F# (Aeolian mode) F# (7?) - F#, G#, A#, B, C#, D#, E (Mixolydian mode) It’s not in F# major (V chord would then be C#7) It’s unlikely to be G# (melodic or harmonic) minor as the VII chord is normally a major seventh interval (which would be F double-sharp something) C# minor would normally have a dominant chord on the V (so G#7) but is possible - but less likely than B major as the scale tones would likely be different to the above. It also depends on what feels like the I chord - if one of the chords definitely is a I chord, then it’s more likely the chords aren’t directly from the same key.
  4. Not sure - the BTB I had it on had 16.5mm spacing. The docs for the US replacement pickups has the “sensing width” to be 90mm, so I would take that to mean it goes up to 18mm (5x18 = 90)? I could post to Croatia at cost - not sure whether it would be economic to do so.
  5. What a great track - not heard that for a long time. Well done, Bilbo.
  6. I won’t sell anything on eBay. It just a waste of time nowadays as every other punter is a scammer. PayPal also sides heavily with the buyer, which only adds to the risk for the seller. I only buy small value items from known business sellers, or if something pops up I really cannot get elsewhere I will collect, but will not pay via PP until I’ve seen the goods - it’s the only way to be sure you’re getting what you’ve paid for, and you see the seller in person and know where they live (or smell a rat if they’re dodgy).
  7. The neck has other laminations. What if they split soon afterward? This is not the classic 40-year-old Fender E string tuner hole crack but the laminations coming apart on a new bass. It’s very rare for this to happen, principally because nowadays it is so easy to laminate wood and have it stay together. Personally I wouldn’t touch them as if something as fundamental as this is not being done properly, what else might go wrong?
  8. But then headed basses have huge holes drilled through them to fit tuning pegs, so it doesn’t make sense that a narrow screw would split the wood so completely. Smacks of wood that’s not totally seasoned and/or the lamination process isn’t up to scratch. Modern wood glues bond stronger than the wood they’re joining. Not good and definitely one for a warranty replacement.
  9. Pair of Bartolini Mk11 pickups as fitted to my Ibanez BTB-676. I’ve replaced them with US Bartolinis - which was a waste of £200+ as they sound almost identical. Size is the same as Bartolini H66CBC (which is the US replacement). They should for a range of Ibanez BTB basses and are apparently a significant upgrade on the original Mk1. £40 inc UK postage only.
  10. FWIW the current badass type bridge is far better than the enchanted BBOT the previous models had. I have one on my Dimension and it is solid as a rock. I hear very little if any difference with strings through the body and the break angle on the old bridge was just that - more likely to break strings. Yamaha got the through body stringing bar better with their 45-degree design. I also wonder what real world benefit carbon rods have - a properly seasoned wood, sawn and built properly, doesn’t need additional strengthening, and carbon rods can reduce wood vibration and therefore impede the tone of the instrument. all of which has nothing to do with Fender vs Sandberg. I’ve played a couple of Sandbergs and they are of excellent quality, but personally the used std (of even a Japanese Jazz apps they tend to be better-finished) plus East preamp would be my choice.
  11. Nice one Bilbo but this really should be in cut time. I've laboured through transcribing the whole album and it is a riot to play! There are some really, really difficult but also exceptionally melodic and interesting lines. Not Yet, the last track (reproduced from the 1985 album Why Not, which is interestingly different to the version on this album) is a nightmare to play to tempo
  12. I know exactly what you mean. I got right through the jazz theory book as I had a piano and a sequencer to hand to play/program the examples. However I remember a book about chromaticism and playing ‘out’, by David Liebman I think, (edit: ‘A chromatic approach to jazz harmony and melody’) - I didn’t even get to page 12 on that one
  13. A well-played fretless is a joy to behold (e.g. Pino). However I owned a few over the years and hated the damn things. You can go on about muscle memory and they’re nothing wrong with my ears, but I do think you need to devote a lot of practice time. Problem is, with decent ears it becomes all too painfully obvious when you’re out of tune. Young kids learn the violin and (can) keep in tune on a much smaller fretboard with no lines at all, so it’s definitely possible (e.g. Simandl exercises for us bass players). However, nowadays as I don’t need to make a living from playing I steer clear of the abominations
  14. Very, very good. They’re fairly tricky just to get the notes under your hands, but much harder to get the articulation and particularly the flow and dynamics. I’d be hard-pressed to often any constructive criticism; the only real way to improve would be to play it on a ‘cello! Well done
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