GreeneKing

Yet again a pleasure meeting up with Gadge. (Sadly the last time when when my Mum was moving onto care and this time was to her funeral) A gent. Don't forget to pm me your address so I can get the cable in the post. Peter

[quote name='sk8' post='1091450' date='Jan 16 2011, 03:21 PM']classy throw!!![/quote] Well it put the Bengals to good use Just kidding honest (Germans can have strange tastes in throws):

I'll throw a picture of mine into the mix. I love the tone, very subtle and versatile.

[quote name='Bassnut62' post='1091265' date='Jan 16 2011, 12:28 PM']I know the feeling - I tried mine just cos i was in a shop and GAS was so bad I had to give in in the end. got mine with one of those Arts Council interest free loans - gave up smoking and used money to pay £100pm off on ACE loan went for a solid colour too win, win good luck if you need a cure for the GAS; but you may have to accept your situation and enjoy![/quote] And you quit the evil habit, result!

DR Sunbeams, my 1st choice

I'd say that my JM5 in Jazz 'mode' has more warmth and 'soul' than any Jazz i've played and that's a few. It does have Delano's and the Sandberg pre that I think is a GlockenKlang. Soul is what I would call it's tone. My other half would agree, she loves the tone. My other basses are much more modern and hi fi. Not a bad thing, just different.

Many thanks Guys, appreciated. If you go South to the BM for a gander Alan, give me a shout. Peter

A good luthier will have a machine that puts a very accurate radius on a board. Doing it by hand serves no useful purpose whatsoever imo unless you can charge $999 for it

I'm loving the tone from my new Sandberg JM5. I'm playing it mainly with the MM pup set to single coil and the pup's balanced equally. EQ is flat or maybe a bit of bass added. The warmth of the tone is very pleasing although I've yet to try it with the band. I'm switching to humbucker on the MM pup and blending 1000% to the bridge pup and not having owned or played a Stingray I'm wondering how close it is to one? It sounds pretty growly and 'in yer face' but I'm not sure it's what I would go for 90% of the time. Any Sandbergians out there can offer a comment on this? Peter

I really should do the maths but what occurs to me is, with a radius of say 20", how little a 4string board is different from a flat board. I'm not certain I could tell the difference. I feel that radius-ing boards is a bit of a throw back to violin construction. But then again you are far more experienced (and better)at playing than me Kev. Yes I really should do the maths Peter

[quote name='niceguyhomer' post='1088903' date='Jan 14 2011, 08:13 AM']I have no luck with BM - every time I ring to buy something, they never have what they advertise in stock That said, I have bought some stuff off them and always get good service. I'd like to visit their shop.[/quote] If you ever go down there Alan give me a shout. It's homers for me and if you like great fish and chips I can be your guide Peter

One does one's best

I'd recommend the Bass merchant certainly. Nice guys, great basses and a free coffee Enjoy. Oh and I've a Sandberg PM5 I need to add to my sig. Guess where that came from Peter

Have you tried the Sandberg JM4 or JM5? Does both fairly well imo

[quote name='Ou7shined' post='1080389' date='Jan 6 2011, 08:22 PM']You won't be getting any arguments from me about that. [/quote] Absolutely, pickups, strings and the pre-amp of course if it's active. Oh and the player too;)

I'll bring the camera along too

It could well be the case. My EA '8 ohm' 1 x 12's have 4 ohm speakers in them. There is a concentric tweeter too and I'm not sure if that colours the final impedance equation. Don't forget that the AE heads these cabs were designed around go down to 2 ohms anyway. Dave Perry had his Markbass head cutting out with my two cabs which is partly why he sold them to me, a EA iAmp 800 user Driver impedance is not as simple as a single number would suggest either, it's a nominal impedance and it changes with frequency I believe. Peter

[quote name='OldG' post='1077021' date='Jan 4 2011, 07:03 AM']floating thumb technique - I don't even notice myself doing it after 15 years or so...[/quote] Ditto, it became 2nd nature very quickly.

[quote name='gizmo6789' post='1073763' date='Dec 31 2010, 03:36 PM']i got the demo of GP6, it is pretty dam good. and just as i remember, tricky to work the notating. haha. im probably gonna just buy the full version. my credit card is gonna cry, first Rush tickets, now GP6.[/quote] If we could have a sticky for Guitar Pro links it would be great too. Or is copyright an issue here? Peter

Hiya Loz, whereabouts in the NW are you? I'm in South Cumbria. Thanks for taking the time to reply so fully and honestly. I may have a little money spare and would like to buy a bass to keep as a sort of memento of someone dear to me if that makes sense.

Thanks for your replies. Are all the short bodied basses like the Stanley Clarke and the Mark King headstock heavy? I suspect they are, unless perhaps they are the short scale models Peter

When I bought my 1st bass (a Hohner Jack pro headless) there was an old Alembic in the store (the Plymouth Manson's in College Ave - since gone). I lusted after that bass and it was still there when I replaced the Hohner with a Yamaha TRB4 Mk1. Ralph the guy in the shop talked me out of it. I still have the urge many years later. In terms of a bass where weight isn't an issue what are they like? I hear folk say they they are wonderful instruments and others proclaim them a waste of money. I'm talking the Stanley Clarke/Mark King and Omega type models not the more conventional product here. Peter

A worthy thread developing here Kev, very interesting reading

The satin black is so difficult to photograph without getting the unnatural 'shine effect' that comes out in Dave's photos but not in yours Alan. I'm no photographer myself either but I do know that some decent lights makes the process easier to achieve. Given Alan's photos if indeed this bass does sound better than it looks it must be incredibly awesome (such adjective's not being uncommon in relation to Alan's work). Of course if you're into mass produced boxwood with process and economy driven design, clunky headstocks and unadventurous and unnecessarily huge bottom horns then move along, move along