LeftyJ

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

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?

I'm surprised that didn't exist yet, aside from the Electra M4 and the Basic!

Well, it clearly states Fender on the headstock, so I'd say "SOLVED!" I'm sure @Bassassin will be in shortly. Edit: He's ahead of me even!

That's lovely! But it looks like it just has VVT controls? That would be a shame, the power behind the versatility of the L2k are the switching options and that passive 2-band EQ.

For me it depends on the bass. I had a Stingray 5 that could be very sensitive to changes in temperature and humidity, but that stopped when I had the neck lightly sanded and a new coat of oil applied by a luthier. It appeared to seal the wood better and really improved stability. I also have a few fully lacquered maple necks that never move at all. The most stable of my wooden-necked basses is my Ellio Martina with a maple / purple heart laminated neck, maple fingerboard and lacquer finish. The least stable one I currently own is my 20 year old Carvin LB75 with a black gloss lacquered maple neck and abony board. It moves at the slightest change. Though to be fair, over the course of the last few weeks we had a fairly drastic change in weather here in the Netherlands, and I've had to tune nearly all my guitars and basses down a semitone to get them back in tune . Especially the acoustics responded to the change.

All those 1960s Fenders also didn't age overnight Looks cool! At first glance I wasn't a huge fan of the stretched look of the body, but hanging on a strap it makes perfect sense. Great looking bass!

Or maybe some cheap monorails if that matches a guitar neck, you can get those as narrow as 16 mm. You can get them as cheap as this (mind you, that's per piece. You'll need 4 of course). A cigar box bridge's saddle slots may be too narrow to feed a bass string through.

I know someone who converts cheap 7-strings to 6-strings for ham-fisted people. Might also work for conversion to bass Seriously though, there are several cool ultra short scale basses on the market these days that might fit the bill and you might be able to find used at a decent price: Ibanez Mikro GSRM20 (28.58"), Jackson Minion (28.58"), Squier Mini P (28.58"), Cort Action Junior and Harley Benton Shorty (both 30", might be a little too long). The Ibanez is fairly common.

Was about to start a thread about my latest acquisition, but then I came across this - and thought I'd add my 2 cents, 2 years after the last post I love small valve amps, and have owned a few: a 5 watt EVA (English Valve Amps) head that looked a lot like a kit amp and sounded similar to an Orange; two Koch Studiotone 20 watt amps (both the head and combo version): two-channel amp with a shared EQ and a footswitchable gain boost on the lead channel. Great piece of kit, very versatile but fairly bright sounding - and the reverb is never fully off, which can be annoying. Has a built-in power soak and a usable recording output with cab and mic sim. I have since sold the head + 2x12, but still have the combo in my band's rehearsal space for when I require a guitar amp; a Koch Classic SE6 (my favourite): single channel, single-ended class A with some clever switching options, and the same built-in power soak and recording output with cab and mic sim the Studiotone has. It takes either a 6V6 or an EL84 as an output tube and sounds great with both. I have a 6V6 in it now, which beefs up the low end a bit and adds some clean headroom to the power section. Like the Orange Tiny Terror, the power tube can be switched between pentode and triode mode to cut the power from 6 to 3 watts; an Ibanez TSA5. Fun little amp with a built-in, footswitchable Tubescreamer. It's a fun amp for home use, but without the TS engaged it's fairly quiet. It's cheaply made and could really do with a more solid housing and a better speaker (it has a cheap Celestion Ten-Thirty). It's overly bright, quiet, but most of all the signal-to-noise ratio is VERY disappointing. This is one noisy amp! I bought it new in a clearance sale at Thomann for a great price, so I'm not complaining, but after a few years of barely using it I will soon be selling it after buying the next amp on the list; last friday I picked up a used Peavey JSX Mini Colossal at a steal, and I love it! 5 watts, single-ended class A with a variable power sponge that functions as a master volume, FX loop, built-in optical tremolo, XLR recording output with speaker and mic sim, and a custom 8" Weber speaker that sounds much bigger than it looks. Great little amp, that was only in production for a short while in the Joe Satriani signature series. It was never a huge hit, because it came out at an unfortunate moment: right when many manufacturers introduced Asian-made low wattage amps, often with bigger speakers, at much lower prices (the Peavey is USA-made and was therefore relatively expensive in comparison). The Weber speaker is also notorious for taking a lot of time to break in, and will sound overly tight and bright when new. It's great though, and since mine is nearly 15 years old, it's been nicely broken in. basically a Vibro Champ on steroids with a LOT more gain under a dial. I mostly enjoy the cleaner tones I get out of it though, plus it takes pedals really well When I want to play more quietly, I take out my Yamaha THR-10 II though. It's great, and none of the amps mentioned above really does a good metal tone, where you want preamp gain and tightness and not a clipping power section. The THR delivers, and is plenty loud too.

Aye, or Larry Graham and his "none more white" Moon bass, although there's a massive missed opportunity here that the Fender did jump on: white pickup covers! I raise you another oddball Fender signature bass: apparently this one was made for the bass player of Silent Siren (and the accompanying Telecaster guitar).

Next time just buy a lefty. They come stock in the Rickenbacker Deluxe case (silver tolex G&G case with blue plush interior) Looks lovely! These just look so good in bla... excuse me, Jetglo!

I use the Mono M80 flightbag with my headless Status basses, without the rubber sole but only with some studded rubber pads at the bottom. No issues with that one.

I like a burst that's done well, with a nice colour fade from natural to black. I hate the kind that's just yellow with a red ring and a black outer ring, like 70s Fender target bursts. These days I prefer solid finishes or bare exotic woods though.

They're very similar in many ways, and you can't go wrong with either. The most noticeable differences will be the neck finish (matte black lacquer on the RBX375 which will quickly polish to gloss from playing it a lot, natural satin on the TRBX305) and the control options (the TRBX305 has an added switch with a few preset EQ options). The guitarist in my band has the RBX375 and it is easy to play, looks great and sounds great, but I find the neck feels a bit plasticky. Personally I would much prefer the satin laquer on the TRBX neck.

They're essentially the classic NS model though, so it was just a matter of glueing some other woods together than usual and feeding them into the CNC machines to sculpt them to the usual specs. Shouldn't be too expensive to produce a limited batch based on an existing model that way. Producing a small batch of an entirely new model would be quite something else.

Oh man, that thumping tone on Operation:Mindcrime

Find a hot J-sized stacked-humbucker! A humbucking pickup will blend great with any splitcoil, as they're both in series and will compliment eachother nicely. The blended positions will also be fully humcancelling with this combination, unlike a splitcoil coupled with a true singlecoil. The series wiring also makes its output just that bit hotter. It's exactly the reason why the Fender Ultra P mentioned above works so well: it has a Fender Noiseless J-pickup, which is also a stacked humbucker.

For me, it's someone playing an iconic signature bass of another iconic bassist Martin Mendez of Opeth and his Fender MIJ Marcus Miller signature were one of my main reasons for picking up playing bass. His playing and his tone on the Blackwater Park album really struck awe with me, especially that rumbling bit of overdriven slap bass in the title track. I had been playing guitar for a few years when that album came out and I think I had just bought my first bass (but I'm not sure, it's been 21 years!) and this album inspired me to play it a LOT. He and drummer Martin Lopez brought a unique groove to the band that's been slightly lost since Martin Axenroth (no, I don't think being named Martin is a prerequisite to join, but it definitely seems to help) took over drum duties.

Can imagine. I briefly owned a B2A a year ago (but sadly had to sell because of funds, after one of the cam shafts in my Volvo broke) and it was fun, but the ergonomics really are something else. The string spacing was not unlike some of my 5-strings so that kinda worked for me. What troubled me most were the strap button positions. With the strap attached behind the 21st fret, it hung in such a way that the first position was awkwardly far away. I was surprised by how good it sounded though, with the active electronics engaged. Switched to passive, I think it sounded muffled and dull and lacked life.

How much more 80s than a headless S1000 could one ever need? It doesn't get more 80s than that! Well, maybe a Steinberger...

Wow! That must be a real rarebird. Very cool, very eighties, and probably very heavy

Yes, all perfectly normal. Welcome aboard 😉

Technically I'd say it still counts as a bass guitar, but it's definitely unusual: It's a Longbow "American Classic" fretless 2-string, but in the one band where I had a use for it it was affectionately known as the "IKEA table leg". While it may look very crude and rough, it's actually pretty nicely made. It's an oil-finished piece of flamed maple without a truss rod, with a bone nut and two generic tuners. The two monorail bridges are recessed, and even strung through-body (below the strap button are two ferrules). The pickups are two custom made stacked humbuckers, roughly in the P-position. By request they would also fit the pickup in the Gibson EB-0 position, which they called the "dub" option. It's incredibly uncomfortable to play since the beam of maple used is almost as thick as it is wide, but wherever I whip it out I can be sure to get a reaction. The manufacturer recommended a rifle bag for transportation, which will raise some eyebrows when you carry it in residential areas. The one pictured is a righty, but the one I still own is a proper lefty. I've owned two, one righty 30" from the original batch and one lefty 32" that I ordered new during their brief resurrection years ago.

I would stay right clear of that Streamer. That's a first generation Rockbass, identifiable by its one-piece bridge (later models had the two-piece Warwick bridge) and the Strat-style jackplate. These were nothing special, and are often offered for far more than they're worth because people take the newer Rockbass series as reference, when in reality Thomann were basically giving these away for 99-129 euros depending on the number of pickups when they were discontinued. It's not going to be as nice as your LTD, and it's got none of the typical Warwick features the brand is known and loved (or hated) for. I don't think it would be a fair trade, considering the LTD cost roughly €600 new at the moment.