biro
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Everything posted by biro
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I honestly think there are lots of necks today that can easily compete with graphite necks, which may not have bee the case some time back. I have a couple of Ibanez SRs (Prestige and Premium) with an extraordinarily stiff and consistent neck, for example. It is true that they are not as stiff and consistent as a graphite neck, but, really, thereabouts. (To clarify, I had Status and Modulus necks in the past.) There are also other options now: for example, I have a friend who uses and Aluminati neck and he couldn't be happier. That said, I did buy a Stingray with a Status neck from Basschat recently, and it is by far my favourite Stingray of all time, so there's that too.
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Agreed, did not read that carefully. It was always 2-way and, if I recall, something like 250/500 or 250/800. Not a three way one. -
Honestly wondering if this is my old bass. If so, it's a killer instrument. EDIT: Just read the post more carefully and yes, confirmed via serial, it is my old bass. Just a fantastic instrument. I had the fret ends finished by a luthier so I can confirm that too. I don't think I tinkered with the mid frequency switch though. It is possible, but unlikely, that the truss rod cover stayed with me, so if I find it the new owner can have that too. Sample here:
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Those are great. I would buy it just because, but it really should go to a loving home! -
Apologies! No it's not: more like 16.5 (possibly a tad wider—or, at least, it feels wider than my SR 5 stringers, which are 16.5). -
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Just bought a GK-3B from Alex, super smooth transaction. Highly recommended!
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NBD Sire V5R 24 fret - pick up / bridge/ tuners recommendations
biro replied to Duroc17's topic in Bass Guitars
Stunning! I'd go with some EMG Js or JVX—they should be a nice fit! -
Good lord, that's so true. You try actual Barts and you're immediately like 'oh, there you have it, that's that 90s fusion tone'. It's quite an uncanny feeling.
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Sweet baby Jesus. If I didn’t have one, I’d be all over this. GLWTS! -
Yes, this is not something you can just eyeball. (You can to some extent, but you'd be looking at different things and it is difficult to photograph it.) Assuming the frets are somewhat level, or in any event level enough (which should be the case), use the strings to figure that out. Bear in mind that that, while not necessarily ideal, having a slightly different relief on the two sides of the neck might be normal, as there is generally a difference in tension, and some necks have been engineered to have more relief on one side. So long as it stays the same, a twist of that kind can be fine. If you have fretbuzz in the middle of the neck, you might have one of the following: 1) nut is too high, so the action is excessively low to compensate; 2) same, but addition of neck not being straight enough; 3) ski jump (or the lifting of the final part of the fretboard), which sometimes happens on fender necks.
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It has come to this: I have reached the embarrassing milestone of eleven basses. Although I have been reliably advised that the problem lies in the odd numbers and that an addition would do just fine, I must not risk the "baker's dozen" slippery slope. Also, I live in London and therefore, by definition, in a small cupboard. The premise being such, I have resorted to part ways with my beautiful 2003 Ibanez Prestige SR3006E (Ibanez Wiki Model Page). The bass is absolutely spectacular, in truly excellent condition for a 20 years old instrument. Not only that, but its frets were levelled by the nice folks at the Gallery in Camden, which means that you have buzz-free playing with a completely straight neck and a 1mm action at the 24th fret of the C string (and less than 2 on the B). I also personally replaced the parametric mid pot, which had become difficult to operated, with the correct original part. As to strings, it is currently sporting newish d'Addario EXL 170-6. It is an engineering marvel in terms of ergonomics. It quite literally plays itself, weighs a very tolerable 4.4 kg (bathroom scale measurements), and it is of course perfectly balanced. The curved Bartolini pick ups (the same sported by current Prestige models) are also fantastic in that they can act as a ramp and add to the comfort. Tone wise, the three band EQ with parametric mids can make it into more or less anything you want. It can also get you that archetypal 90s fusion Bartolini tone, if that is what you're after. It sits in a mix beautifully and, as a solo instrument, it has a distinctive woody tone, with a nice airy quality to it. Essentially, it is the perfect six string bass—you just have not realised it yet. The bass is currently sporting three fully reversible modifications: - Strap locks (you will get the originals strap pins as well) - Massive golden knobs for volume and pan pot (you will also get the stock rubbery ones, but these are a game changer for volume swells) - A sticker from my union on the electronics compartment—will be removed The truss rod is not currently pictured because none of my basses travel with one. It is, of course, included. So, why am I selling it? Essentially, because I have another six string Ibanez from the 90s which I have modded to my liking, with EMGs and all that jazz, which I am more emotionally attached to. Absolutely no trades—I beg you, I am vulnerable to GAS as is. Here are the specs: Body type: Solid body Body material: Mahogany Neck joint: AANJ Bridge: Mono-rail (16.5mm string spacing) Knob style: Beehive (black) Hardware color: Cosmo black Neck type: SR6 Prestige Neck material: 5-piece wenge/ bubinga Scale length: 864mm / 34" Fingerboard material: Wenge Fingerboard inlays: Abalone ovals Frets: 24 / medium Nut: Graphtech Black TUSQ XL (54mm) Machine heads: Gotoh Bridge pickup: Bartolini® Custom SR6 passive bridge Neck pickup: Bartolini® Custom SR6 passive neck Electronics: 2001: Vari-Mid 3-Band 2002-2003: Vari-mid Hi Fi EQ (USA) 2002-2004: Vari-mid 3lc 3-band EQ Controls: Volume, balance, treble boost/cut, bass boost/cut, mid range boost/cut, mid range frequency Battery: 9V Output jack: ¼" stereo barrel (angled face mount) String gauge (factory): .032/.045/.065/.080/.100/.130 Factory tuning: 1C,2G,3D,4A,5E,6B (B Std.)
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- ibanez
- six string bass
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Yours is one of the Premium versions (there are also non-premium anniversary versions, which I believe are the ones you have seen with the chrome knobs). The Premium version was offered with either a lacewood top (I have one) or cocobolo. Yours is most definitely a Premium, and you are correct as to the other characteristics. I have the 5 string lacewood version and it is my favourite bass of all time—enjoy!
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It is one of the most annoying items to sort out. I bought a cheap pair off of ebay and of course they do not fit on my Fender CS pick ups... read the reviews carefully! Eventually I will have to get the original CS ones, I suppose.
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Oh, wow! This is some serious sleuthing!
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Apparently no one is sure of the builder—I have to confess I am not sure either. https://burningshed.com/store/mickkarn/mick-karn_5-string-fretless-bass_other
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It's sparklier than that, but weighs just as much
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Indeed. Mine is supposedly from 1989/1990 and looks like this:
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I agree. I would say that a wides, padded, suede strap goes a long way in making it manageable, and you get used to it. But a balanced instrument the Thumb is not. The NT is probably a bit better than the BO but for the NT as well you have to account for different body shapes (eg the broadneck has a slightly different body shape, pre-2000 ones have a shorter upper horn...), but still isn't an ergonomics masterpiece.
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I have a late 80s / early 90s custom Thumb NT and used to have a more recent bolt on version as well. My impression was that sonically they were pretty similar. There is a video on youtube where somebody compared a Thumb BO with a NT, and I think it answered that question pretty decently. Fretboard wood (notwithstanding the scepticism surrounding the topic) might make a difference, especially with NT with an ebony fretboard. In any event, the characteristic sound is given by the pick up position rather than anything else. I second those who said that a Thumb's voice is absolutely unique. Other Warwick basses, especially with MEC pick ups, are voiced somewhat similarly, but they do not sound the same on account of the rather unique pick up placement. I don't use mine as much as I'd like, but there is no arguing that it is an incredible instrument. In terms of versatility, it depends. I find that it goes well with a number of genres—much like a Stingray does—though of course if you are aiming for a fat P bass tone you are probably doing it wrong.
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Seriously the best bass I have, though I put it on sale twice before realising it! -
Another point, of course, has to do with personal settings. I play with extremely low action and a straight neck, so if the neck moves I am bound to notice it. If you play with more relief and higher action it is highly likely that you will be a little more forgiving and notice the movement far less. As to Stingrays, one of the things that has always surprised me is that they are still not using carbon rods in the necks. I am not saying that they are always necessary, but certainly they contribute to making the neck a little more impervious to changes in weather. The two maple-necked stingrays I had before my current one (which is a status graphite necked specimen) did not impress me much neck-wise.
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All other things being equal, and talking about averages, a highly figured wood is more susceptible to movement. However, the reality is that wood is wood and some instruments will move more than others, depending on what piece of wood it was built from. The neck being finished, assuming it has also been sealed properly, should make it less susceptible to this kind of problems, but the reality is that it is difficult to tell. I have a couple of unfinished necks which will not move no matter what (both graphite and steel reinforced, to be fair). I had a Peavey GV with a modulus graphite neck that did move a fair bit—I assume, due to the pau ferro fretboard. The reality is that it can happen.
