LeftyJ

Love these! I've seen Peter Vink perform with Yamaha SB's often. He still frequently uses an SB600.

It may not be solid orange (the finish is actually called Autumn Redburst, with a beautiful sparkle that looks even better in real life) but the center bit is definitely orange! It used to have a tortoise pickguard but I changed it to a black one. Still keep the original one around in case I ever change my mind, but I think the black one looks better on there. Fantastic instrument, rocksolid, sounds great, and no weak G string issues whatsoever.

[quote name='Gust0o' timestamp='1384561546' post='2278327'] The worst combo we have in our rehearsal space is an Ashdown. You can't get any volume out of it, despite the pretence of power and it just won't shape up - leaving me hoping to beat others to the Hiwatt or Peavey! [/quote] You can get lots of volume out of an Ashdown, as long as you keep the bass EQ knob down to 9 o'clock or lower. These things suffer from having SHITLOADS of bottom end and subharmonics, which makes them sound very muddy and boomy. But when you cut those frequencies, you're rewarded with a very nice and useful tone. I have owned an ABM300 EVO II 2x10 combo with an ABM115 Compact extension cabinet, and I must agree, before I got that extra cabinet I couldn't get a decent volume out of it. But once I could put the full 325 watts to good use, it was LOUD. But therefore I also agree I wouldn't place one in a rehearsal space. The EQ section of the higher end Ashdowns takes a lot of tinkering before you get a rewarding tone out of them that punches through the mix rather than pushing everyone else away or drowning in sub. Mine also had some reliability problems, it got very hot because I had to crank it so far to be heard and during rehearsals the thermal protection would sometimes kick in and it would suddenly be dead quiet.

Wow, those look killer! Were the tops cut from the same piece of wood? They look so similar!

Fender Japan made 32" Squier Precisions in the early and mid 80s. And of course at the moment Squier is making these two which are supposedly great instruments and a lot of fun: [url="http://www.fender.com/en-NL/squier/basses/telecaster-bass/"]http://www.fender.com/en-NL/squier/basses/telecaster-bass/[/url]

Not a 400 but a 550. Nice basses. A store here in the Netherlands still has a new one in stock for €499 euros. Did a quick Google search and found a used one in Aberdeen (with case though) for 275 GBP. The seller later found a use for the case, and offered the bass separately for only 175 pounds. So 199 doesn't seem bad, but apparently you can get them for less.

The Spirits are fun instruments. I haven't played or even seen the other two in real life, so I can't comment on those. I'd also recommend looking at a used Cort Artisan B5, they're very versatile, very comfortable and the wenge neck feels great and fast. You probably won't find a new one within your budget, but a secondhand one should be well within reach. I have owned the 4-string version and it was one of the best playing basses in its price range I have ever laid my hands on. Versatile electronics too, Bartolini-licensed.

Heard this on the Dutch radio this morning. Apparently the shooter wasn't from the same band, but from another Iranian band in the US. They used to hang out together but wouldn't anymore. [url="http://en.wikipedia.org/wiki/The_Yellow_Dogs_Band"]http://en.wikipedia....ellow_Dogs_Band[/url] [url="http://www.usatoday.com/story/life/people/2013/11/11/2-members-of-indie-band-yellow-dogs-killed-in-nyc/3497127/"]http://www.usatoday.com/story/life/people/2013/11/11/2-members-of-indie-band-yellow-dogs-killed-in-nyc/3497127/[/url]

We all have our own mix. Our guitarists converted an old 19" Alesis mixer with a lot of AUX outputs to a monitor mixer and it works like a charm. I have the full band on my monitors, but mostly kick, snare and our backing track (we don't have a keyboardist with us on stage, but we do have lots of keys) with clicktrack and a bit of vocals and guitars. We play without cabinets on-stage, so the monitor mix and drums are all I have to rely on. Works well so far.

It sure is. I've owned one (sunburst, rosewood board, old model with 3-bolt neck joint and the old bi-cut neck) and it was a great bass. Loved the Jazz Bass-like neck profile and the neck finish, feels very smooth. Sounded awesome too, the splitcoil is like a regular P-pickup on steroids. I used the bridge pickup as a tone control, as the bass has none, and it works great. These are very versatile even with just two volume controls.

[quote name='rogerstodge' timestamp='1383489857' post='2264942'] Yuk that's bloody 'orrible, can you build me a left handed one? [/quote] That Would have to be a Bird-body made from scratch though, because lefty Epi T-birds are rarer than hen's teeth!

I like how the pickguard hints at the good old Ibanez TR500 Expressionist series. They even mounted one of the control knobs to the pickguard

That awful 80's sound at the Delicate Sound of Thunder gig... I really enjoyed the evening on BBC4, especially the making of WYWH documentary, but I didn't like the gig. Don't like the songs from A Momentary Lapse of Reason to begin with. Great playing, but awful sounds and the band (not the session musicians) look so bored... Would have preferred a much older gig. Loved the documentary and the Miscellany though! The evening got even better at 00:35 when Prog at the BBC began. Genesis, Yes, Emerson, Lake & Palmer... Awesome stuff!

[quote name='xilddx' timestamp='1383413570' post='2264256'] Passive basses. I've been playing active Warwicks for a long while but I bought a gorgeous 1983 USA Standard Jazz with the intention of fitting a John East J-Retro (I've had a few before and they are amazing), but I have grown to love the passive sound of it. [/quote] Same here! The change came when I outfitted my MIJ '75 Jazz RI with an Audere preamp... and stopped playing it for almost a year, even though it's an awesome bass . Converted it back to passive, and I love it now! I then started thinking what controls I really use on my active basses, and concluded that my ideal onboard EQ consists of just a passive treble rolloff (your regular passive tone control) paired to an active bass boost. And that's exactly what I have in my Jazz now. Just perfect! And Ampeg. I've played clean-sounding amps most of the time, and have always been a big fan of EBS amps. I have owned an Ashdown ABM for some time, but went back to EBS. Then, out of sheer curiosity, I bought a used Ampeg SVP CL tube rack preamp and LOVED it! It nails that classic SVT tone, but can also do a very flat and uncoloured clean tone and anything in between. One of the best tube preamps I have heard. Later, I also got an SVP PRO and it's my main tool now. It can get really dirty and fat, with lots of tonal options. It works wonders with my Warwick Streamer LX5: lots of body, agressive mids and that slightly clanky Warwick attack that keeps everything clear and well-defined even with some overdrive.

Ours was a Yamaha RBX270, in decent condition. Our music teacher's main instrument was the double bass, and also a bit of bass guitar, and he personally made sure all instruments in the classroom were in excellent condition.

Thought about B&CH from the Czech Republic for a moment, they do a pretty decent take on the Marcus Miller Jazz for little money, including a 5-string version. But not in black, and theirs has different controls and the jack in a different place. [url="http://www.bachmusik.com/en/bach-bjb-05s-na_p879"]http://www.bachmusik.com/en/bach-bjb-05s-na_p879[/url]

No tourdates announced for the Netherlands

This man:

Rotosound Nexus (with black coating). Awful. I once received two sets for free as a tryout package and hated them. I put them on a G&L SB-2 (PJ) and a Cort Artisan B4 (active, dual Bartolini-licensed soapbars) and they sounded awfully dry and a bit thin on those basses, especially on the Cort. I'd never get them again.

Yep. He used to be known as Boris, he once won a Dutch talent show (the second season of Idols) in 2003 but never gained real commercial success. Until now

[quote name='Josh' timestamp='1381685300' post='2242301'] I'm biased as I have one (97 model as well) but I would recommend the Streamer LX. Having a PJ configuration you have all of the essential tones you may require, but infused with that classic Warwick growl and snap. From an aesthetic point of view the Streamer is more easier on the eye as well. [/quote] I'm with Josh. I have an LX5 (which differs from the 4-string in that it's a JJ-model rather than PJ) so I'm a little biased too, but I think they're incredibly versatile, punchy as hell, tight, and they have a tremendously agressive midrange. And a wenge neck is classic Warwick

I know Warwick has the Rockbass Corvette Standard in a 30" version, and there must be some affordable hollowbodies out there like the Ibanez AGB-200 (now out of production, but can still be found here and there) and the many, many Höfner copies out there. I'm sure I forgot a bunch. I used to own an Italia Torino (also a semi-hollowbody) which was shortscale. I don't know many solidbody shorties though, other than the Rockbass

I bought this Stetson toyo in Spain last summer: The rubber band pistol seemed fitting, I got that at a souvenir shop further down the street Haven't worn it on-stage yet though, probably won't.