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LeftyJ

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Everything posted by LeftyJ

  1. The JC effectively is a Les Paul Signature Bass
  2. A 6-string, fretted version of the Jaco Pastorius tribute Jazz Bass, still with his name on it instead of mine, just to p*ss off everyone that ever said "Jaco only needed four". Seriously though: I'd love Rob Green to build me a lefty, headless 5-string version of the classic Status Series 2000 model, with the pickups in the Chris Wolstenholme positions but with the controls simplified with the mid boost/cut pot between the bass and treble controls rather than placed by itself, and with the mid frequency knob moved to the inside of the control cavity as a set-and-forget option, with a slightly more subtle and useful filter sweep.
  3. Pretty diverse here: the Netherlands (an Ellio Martina bass and two Koch amps), Sweden (several EBS amps and pedals), Germany (two Warwicks and an Esh), the UK (two Statii), the USA (a Longbow and a Peavey amp), Mexico (two Taylors), Japan (several old Ibanez and Squiers), South-Korea (a Cort and a Tokai) and China (another Squier). I've previously owned gear made in France (Lag) and the Czech republic (Furch) too. To be honest, I don't care a lot
  4. I don't have any signature basses, but if the features suit me I'd have no trouble buying one and playing the heck out of it! To me, a signature bass should be more than just a special finish on a tried-and-true design though. I'd like the bass to actually offer something different, be it in the electronics department, the design or the neck profile or whatever. For example, the Miller Jazz is based on a bass that Marcus Miller has actually used for ages, which is instantly recognizable as his bass because it has been very visibly modified to his personal taste and offers a cool preamp option not normally found on any factory Fender. There have been many I'd fancy, like the Reverend Mike Watt signature Wattplower, the Chris Wolstenholme Status (which differs from a regular S2 in the pickup positions and the mid control), the Fender Roscoe Beck or the Marcus Miller Jazz. Of this list, the only ones available lefthanded are the Wattplower (only 8 lefties made) and the Status. Which may be one of the reasons I'm not very likely to actually end up with one!
  5. This reminds me of the thread earlier this year by a bassist who was asked by his fellow band members to "go buy a Dingwall" because it suited their band better in their opinion. Crazy!
  6. I've been using Italia leather straps for a long time. They come in two widths, 2.5" and 4", and with a choice of a rough suede backing (that won't slip on your shoulder) or smooth glove leather. I love them, they look great and my oldest one has served me for 15 years already without any noticeable deterioration. They're not cheap, and they've hiked their prices over the past few years, but they regularly have discounts for "returning customers" - so now I have 8 https://www.italiastraps.com/
  7. Yes On a more serious note: I would never play a reversed righty. If I really wanted something (and could afford it) I would keep searching and make sure I'm ready (financially) when one pops up. I don't like playing a bass upside-down, there's just too many drawbacks and ergonomic quirks that I couldn't get over: - the knobs getting in the way; - the jack being on the wrong side and the cable getting in the way; - not having side dots facing the correct way; - not (or barely) being able to use it on a strap; - having the deep cutaway on the wrong side of the bass; - not being able to properly rehearse and gig with it; - having to modify a bass to accommodate reverse stringing, and then later having to mod it back again before being able to sell it. I wouldn't want (and can't afford) to spend serious gigging bass money on a bass I won't actually gig with. I know you're referring to the Warwick Thumb NT5 you posted a thread about earlier. Since it has a Just-a-nut 1 and a bridge with saddles you can easily change the order of, you wouldn't be modifying it. The other factors would still stand though. You know what I really hate? Coming across your dream bass for a decent price, and finding out some righty put a drill to the lower horn to add a strap button . I would never want to be that guy
  8. Just leave the headstock off then: Bass in question is a Kiesel Type X bass. It's not one of their regular models, but they will build them on request. It's headless, and presumably balances very well. To be honest though, I personally think it looks much too compact to really look cool. I also think the forearm carve on that bottom left pointy extention looks weird!
  9. 940 for one of these is a great price, and those old wenge necks are fantastic! 1999 is just before they switched to thicker ovangkol necks.
  10. No experience with double bass, but I use the TC Electronic Unitune Clip on my electrics and ABG. It's identical to the Polytune Clip save for the (what's in a name?) polytune function - so it can only register one string at a time. It's slightly more affordable than the Polytune Clip because of that. I have two of them, but I'm thinking of getting two more and tossing them in the gigbags and cases I use the most. They work great, look great, and the display is very easy to read (and automatically adjusts orientation depending on how and where you clip it on).
  11. Lovely Tokai Jazz Sound for sale in France at a fair price. The electronics were modified to active, and a battery box was added. Includes an additional fretless neck. Not bad at €480!
  12. Ha, the "boner" (ahem, "Longhorn") Jazz still lives on! It really resembles the 1989 Fender model, but slightly more elegant. Very nice.
  13. Lovely! I generally don't like guitars and basses with beveled edges in a different finish than the top as it can look a bit too busy (I'm looking at you Kiesel!), but it really suits this model. Schecter has to be one of the most lefty-friendly major brands out there! So much of their range is available left-handed, and I love it. I've never played anything other than their C7 Hellraiser 7-string guitar because they're fairly hard to find here in the Netherlands, but they seem great. I didn't get along with the C7 because of the HUGE neck profile, but otherwise it was a lovely axe.
  14. Why? That's a glorious one-piece body. No matching involved whatsoever. I think that figuring looks brilliant. EBMM don't bookmatch their bodies. That would mean they would have to make them from really thick slices of ash that they cut down the length and fold open, so that the insides of the wood are 100% symmetrical. That's very unusual and rare with body woods and is usually only done with top woods and veneers. The best matching job I ever saw (that genuinely looked like bookmatching!) was on a G&L ASAT Special that I foolishly sold:
  15. Coincidentally, I just read the install guide for one of these necks earlier this week because I was wondering if any of the holes for mounting the neck and the tuners would be pre-drilled. The manual suggests to lightly sand the inside of the holes with a rolled up piece of sandpaper, and not to use a drill.
  16. Yes, it needed quite a bit of TLC. It's a 2001 Warwick Streamer LX that has been played a LOT but has been poorly maintained. It needed a new neck pickup, a VERY thorough cleansing and the very dry wenge begged for a bit of lemon oil. Yes, it begged for it. I'm talking to you, @Killed_by_Death!
  17. This man talks sense, that's a great deal The pickups aren't "real" Nordstrands but CND's (Carey Nordstrand Design) specially made under license for Ibanez, but they're very cool.
  18. I use neoprene polish pads, and always build up. I start at 1800 (but only use it very lightly because I don't want to sand down my frets, just polish them) and build up to 12000. Fairly pleased with the results I get Those rubber polish pads look great too, I'm thinking of ordering a set of those as well because I'd like something a bit more rigid than the pads I'm using now. This was my Warwick Streamer LX when I received it and after cleaning, polishing and oiling up the wenge board.
  19. Never tried the Washburn S1000, but I have two Status S2 Classics with bolt-on graphite necks. They can do everything, and do it well! I use my 5-string in a doom metalband tuned down to A and it's easily tight enough to pull it off, sounds deep and fat and works really well with my Darkglass B7K overdrive.
  20. Same, I love my B7K. Mind you, the push-pull switch on these is NOT an active/passive switch. The gold label MEC pickups that come stock in most SS1's and LX's are active at all times and need to be powered, and the preamp is always on. The push-pull is just an EQ bypass. Changing out the preamp will probably require you to replace the MEC pickups too, since they're powered by the onboard pre (on both my LX's at least).
  21. Bummer! I saw this listed on Facebook and at first glance it looked great.
  22. Not a bass amp, but since the very post that started this thread had a Laney g**t*r amp as well, I might as well. Here's the cute little Peavey JSX Mini Colossal I bought last week! 5 watts, made in the USA, built-in power brake (that HUGE pot on the rear panel!), FX loop, optical tremolo and custom 8" Weber speaker. It's like the Vibro Champ's evil unidentical twin!
  23. Shoutout to Warwick for fastening their pickups with machine screws that go into threaded inserts! They're brilliant. I recon they should be easy to install on other basses too: Pickup screws Threaded inserts
  24. I can totally get behind this, having tried an in-ear setup without amps on stage and going back to a 4x10 to move some air and properly "feel" my bass. Curious though: how did adding extra stage noise help both singers in any way?
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