LeftyJ

Dingwall won't build any lefties, unfortunately, but Mayones do!

Maybe start a Left-handed thread in the eBay - Weird and wonderful subforum to post links to interesting lefty items on eBay, Gumtree and the likes? Otherwise I'm pretty much fine with a lefty for sale-subforum and this thread right here. A lefty-only subforum would be a bit overkill I guess, there aren't [i]that[/i] many lefties on this forum so I don't think it would become a very busy place. If you really want a lefty-only forum, there's always leftybassist.com (quite a cool and busy place by the way, although very American with few European members) or the forum over at Arni's site (leftybass.com - but it's dead quiet on that forum).

[quote name='bubinga5' timestamp='1332183896' post='1584522'] i have the US non export version of the MIJ 75 RI jazz.. the pickups are great... never feel the need to change them... [/quote] Same here. This version has Fender USA RI pickups and they sound great. Never felt the need to change them either. I've tried several mods on mine. I upgraded the tuners to Hipshots and mounted an X-tender, I mounted a Badass II which dramatically changed (not necessarily improved!) the tone, and at some point I also had an Audere preamp in it but I went back to passive because I never played it anymore with the preamp in. I like its passive tone much better, with just a basic passive tone control. I DID have a simple 6 dB bass boost installed with a rotary switch (so it looks like a 4th pot) because all I ever did was boost lows and cut highs when I used the EQ. I like the Badass mod, but the change in tone is really dramatic. The lows are much tighter now, and the highs are much brighter, so the overall tone is more modern and articulate now. I like it that way, but it's definitely not for everyone. So keep that in mind when you change out the bridge for a more solid one.

I like the look of the angled machine heads (on a Dutch bass forum I frequently visit they sometimes refer to them as 'weeping willow tuners'), but I'm not particularly convinced of its use in terms of ergonomics, and I HATE the fact I can't use a string winder on my Warwick when changing strings because it keeps hitting the other tuners. Works perfectly on all my other basses, but not on the 'Wick.

Don't think so, I've at least never seen lefty versions of their bean bass models.

I used to own a sunburst SB-2 with a rosewood board and black pickguard. It was beautiful, I loved the neck profile and the feel of the satin finish, and the range of tones was huge even without a tone control. When I got it, I thought I was probably going to miss a tone control, but in the end the bridge pickup WAS my tone control . Want more brightness and articulation? Dial in more bridge pickup. One of only few basses I regret selling.

[quote name='JazzBassfreak' timestamp='1393810326' post='2384642'] Most of you will cringe at what I'm about to say but if this was to go to a luthier I'd have that p pickup out for good and have it routed for something like a nordstrand j pickup maybe, Or a humbucker, I can't stand p pups. Any of you reckon it'd be possible? [/quote] You want to mod the hell out of this thing, and you worry about the effect of some wear on the resale value? You'd better decide whether this is a definite keeper or not before you ask anyone to even [i]point[/i] at it with a router

BTW, here's that Power Curve tone control explained:

Great score, and it appears to be in beautiful condition! And it still has its original bridge. That Omni-Adjust bridge (it was actually a relabelled Gotoh 206, the Ibanez logo is an adhesive stamp plate) was one of my favourite bridges Ibanez has used throughout the years, but somehow many people found them too complicated and replaced them. [quote name='Paul S' timestamp='1393183836' post='2377123'] Anyone know the difference between the 1000 and 800?[/quote] The difference between those late 80s 800's and 1000e's is mostly in the electronics, but there are some more details. Back then, models 1000 and upwards had a contoured top and models below 1000 were flat. I think the woods are different too, the 800 had a basswood body whereas this 1000e has an ash body, and the fingerboard on the 800 was rosewood whereas this 1000e probably has an ebony board. The old 800 had active low-impedance pickups with an active two-band tone control, whereas this 1000e has passive pickups with a filter-based preamp. The controls consist of master volume, pickup pan, an active EQ on/off-switch and a knob that lets you select the filter range of the EQ (Ibanez called it the Power Curve EQ). I kinda miss my old '87 SR800LE now...

Not to mention Fender Wide Range Humbuckers like in the Squier Vintage Modified Precision TB. Those humbuckers are available as spares, but the trouble you have to go through to get some... I have two laying at home that I once bought for a project that never happened. I intended to modify a cheap Precision into a Fender Custom Shop LOTTO replica, but I left the only band I could use it in, so I discarded the project, sold the donor bass, and still have those pickups somewhere. This (it's like the Fender Telecaster Deluxe guitar, but in a bass version with a regular Precision body and Tele headstock):

But they all have that ugly inlay on the 12th position Awesome news though! Even the 5-string version of their EB model

I thought of SEI earlier on, and now I'm certain. Compare it to this one (with a bolt-on neck though) at the Bass Gallery: [url="http://www.thebassgallery.com/product_details.cfm?ID=2670&type=Bass%20Guitar"]http://www.thebassga...e=Bass%20Guitar[/url] Looks very similar, same headstock shape and print too.

The pickups appear to be replacements too? They don't even use the screwholes in the original mounting rings, so they must be mounted directly to the body wood. Great and beautiful basses, but this one... I don't know. I think I'm with RhysP on this one.

[quote name='MoJo' timestamp='1390473535' post='2345724'] Yep.....Rickenbacker 4003.....huge disappointment [/quote] Oh. Completely forgot about that one. Same here. Bought one new in January 2009 right before they stopped building lefties, couldn't get on with the wide, fat neck (very square feel to it), the lack of a proper place to rest my thumb and the overall (lack of) ergonomics of the bass. I liked the tone of the bridge pickup, but hated the neck pickup (muddy, weak, non-distinct) and couldn't really find good in-between tones. I absolutely loved the look of it, and I love the tone some Rickenbacker players get out of theirs, but the one I got wasn't for me. I wonder if I'll like an older one with a slimmer neck better. I regretfully sold it after I totalled my previous car and needed the money for a new one, but I've never missed it afterwards.

I sold my first bass (an old Japanese-made Condor Jazz Bass with a plywood body and a great-looking all-maple neck with block inlays but no bindings) when I got my second one (a Yamaha TRB5II) and stopped playing the Condor alltogether. A few years letter I started regretting it, and contacted the guy who had bought my old one, but he wouldn't trade it for the world. So I sourced another one and bought that. IT SUCKED. It was just awful! Sold it again within two weeks, never looked back As for basses I've lusted after for a long time, I usually got it right. - I really badly wanted an Ibanez Musician without ever being able to try one first (very hard to find lefthanded, I searched for almost 4 years) and suddenly two popped up, two different versions, one in Belgium and one near me in the Netherlands. I bought them both and they exceeded my expectations. I recorded almost an entire album with both of them! - I've always wanted a Stingray 5. I once even drove to Belgium just to try out and possibly buy a lefty in teal green transparent. It turned out to be pretty beat-up, with a very poor setup and crazy high action, but I loved the feel of the neck and the tone so it just made my GAS worse. Something else crossed my path and I bought that first, and couldn't afford a Stingray 5 for the next few years. I'm glad I waited, because eventually the right Stingray 5 appeared on eBay in the UK and I couldn't be happier with it: incredible finish (Autumn Redburst Sparkle, never seen another one like it) with an all-maple neck, in perfect condition, at an incredible price. And rather than having to get it shipped to my door, the seller's band turned out to play 10 km from my house a month after the auction ended and he put me on the guest list so I could come pick it up there in person. Very pleasant surprise!

Maybe you'll like this one too. These guys are doing full band cover versions of some dubstep songs. Their bass player plays a fretless with a wicked drive pedal and an envelope filter hooked up to a Source Audio Hot Hand to control the envelope, and a talkbox to emulate those signature dubstep bass sounds, and it sounds really cool: [media]http://www.youtube.com/watch?v=oOysh1Y3ohE#t=4m50.5s[/media]

[quote name='BigRedX' timestamp='1390429940' post='2345493'] OK. Then put a mic on one of the speakers and DI direct from the bass. The mic records the sound you want to use and the DI from the bass is the purest signal possible in case you change your mind and can use it to re-amp either with your amp or with plug-ins, instead of having to play the part again. [/quote] This [quote name='roonjuice' timestamp='1390433778' post='2345541'] slash's guitar is Di'd. Fact (It is also mic'd but primarily di'd) Palmer Di's inbetween head and cab [/quote] Those Palmer units are awesome. My band doesn't always use cabs on-stage, but we do like to keep our own sound when playing live, no matter how big the venue is and how much we can lug, so one of our guitarists hooks up his Mesa Mk IV to a 19" Palmer power soak / DI unit, and it's awesome. It's got some great and very useful variable tone filters to enhance the sound to your liking, and it truly sounds very close to his guitar tone through a good cabinet (in his case, a Mesa Road King 4x12). I would never record with it, but for live DI'ing it's awesome and very useful.

[quote name='RAY AGAINST THE MACHINE' timestamp='1390394917' post='2344831'] Is this better than bass guitar into mixer.? [/quote] Are we talking about recording or live use? On stage, I usually just use my amp's DI-out, and if I can I will also mic my cab because a mic captures the tube drive of my Ampeg preamp in a much nicer way. In the studio, I like to have choice so I generally take both a DI in front of my amp, the DI out of my amp, and a mic too if I can. My bass directly through a DI into the mixing desk provides a nice clean foundation with clear and well-defined lows for low-end push. Then I take the DI out of my amp for 'my' tone. And preferably a mic too because the tube drive of my Ampeg just sounds nicer through some good bass speakers with a mic in front In my experience, most live sound techs are lazy and just want a good DI signal to work with.

[quote name='wateroftyne' timestamp='1390399455' post='2344945'] To be fair, a great bass amp with 'Fender' on the front of it is worth more to Fender than one with 'Genz Benz' on it. [/quote] Not to most bass players, I'm afraid. Fender guitar amps are legendary, and the all-tube Fender Bassman models are just as iconic, and nobody would dare argue the impact of The Fender Bass, but few people will remember Fender for the solid state and hybrid bass amps they've issued throughout the years, even if they were great. I don't really know why, some great amps were among them (think of the TB600 and TB1200 and the great TBP-1 preamp). Whereas Genz Benz have a solid reputation both for their awesome bass amps and their ported guitar cabinets.

I like my EBS NeoDrome 12 a lot. It's just a small 1x12 combo with a separate tweeter, and only packs a mere 150 watts, but it's rediculously loud for such a small package. I had a Drome 12 in the past that I gigged with a few times but somehow sold for reasons I can't remember. I now have its successor, the NeoDrome, with a Neodynium speaker, which is slightly lighter in weight and sounds great. I also owned an old EBS Gorm 350 2x10 which was also insanely loud and could effortlessly keep up with the Marshall TSL100 with 4x12 of the guitarist I played with back then. Unlike many combo amps out there, EBS does not outfit their combos with external speaker outputs and sends ALL the power to the internal speakers. You can argue whether that's practical if you also want to play bigger venues with the amp and really WANT to hook up an extension cab, but in many situations these amps with just the internal speakers will blow you away! What also helps is EBS amps naturally have a very tight sound with fairly little subbass frequencies that consume massive loads of output power. I had an Ashdown ABM300 2x10 combo that suffered from too much sub, I had to turn the bass EQ knob to 9 o'clock just in order to be heard! I'm also deeply impressed by Tecamp. They don't come cheap, but they pack insane amounts of power and volume in insanely lightweight and compact packages. Their Puma 1x12 combo weighs less than 2/3rd of my EBS 1x12, is more compact than my EBS and sounds awesome.

Reminds me more of the TC RebelHead series (RH450), with that handle on the side.

My first thought was Sandberg too, but the headstock doesn't match. The 'hook' bit is much more pronounced on this one. Tough one, could be anything! I was also thinking about Bacchus or Atelier Z for a moment, but most Atelier Z basses with fancy tops have a different 3+2 headstock design.

[quote name='RandomBass' timestamp='1390166406' post='2342279'] Make it Basschat.orgy and I might be interested [/quote] Nah. Too many ugly-ass dudes here, not enough beautiful women

I don't know, but there are two more videos from their appearance in Later with Jools Holland on Youtube (Rome Wasn't Built in One Day and Be Yourself) which feature the bass more prominently.