LeftyJ

Me playing at the Wantijpop festival in Dordrecht, the Netherlands in 2013. The buttons on my shirt are struggling a slight bit more nowadays... But I'm working on that

Ah, a reissue of the old slab-handled single-coin Precision teaspoon.

I wonder what these add that the American Vintage series didn't already have. Those were already highly regarded and very true to the original models. I guess they had become too affordable and stopped people from buying the American Professional series

Sell my Status 5-string and order a new one from Rob to my specs Or keep both if the money is right

When I don't have to bring my own amp, I just carry a 4HE SKB rack case with two Ampeg tube preamps and a 19" tuner and my Sadowsky gigbag which holds my bass, cables (just one power cable for the whole rack, one long jack-jack instrument cable, one short cable for when I'm playing wireless, and an emergency instrument and XLR), a Gerber multitool, spare batteries, spare preamp tubes, a strap and my emergency EBS MicroBass II. I don't own a Sadowsky, but I love the gigbag! People always comment on the massive weight of my bag

"builder" I hate that guy, ruining perfectly fine guitars...

Quoting BigRedX from this earlier thread. I've heard mixed opinions on these, but mostly good ones.

Too bad, as there have been rather excellent Korean Fenders AND Squiers! I quite like the late 90s Squier Pro Tone series for example.

Definitely not fake, just not a very common sight. I've never seen a lefty before, but these are very real and from the early 90s. Made by Cort, hence the C in the serial number.

I'm more excited by the guitar news. Bringing back the original 1987 style RG550 is AWESOME, and they're even doing a lefty run in the original and super rare Desert Sun Yellow finish. Having owned two original RG550's (a 1989 and 1991 model), I feel a bit of nostalgia. I shouldn't have sold my red one

Those are very much long scale. Here's the Rockbass Corvette Short Scale in black at Thomann, and here's the Medium Scale.

Yes, I have owned it for some 8 years now and still love it! Not too happy with the cab anymore though ever since I did a gig with my amp on two SWR Goliath II's. I never sounded so good before through my own amp!

Many short scale basses sound thumpy and vintage. If you're looking for something more allround and modern, Chowny looks like a great option. There's also a short scale version of the Rockbass Corvette by Warwick. They can be bought in both a short scale (30") and medium scale (32") version. Might also be worth checking out, nice and affordable allround bass.

Owned an ABM300 C210T EVO II with an ABM115 compact extension cab, and that was a great set. Never had any troubles with it, and always sounded great. I had to cut the lows a lot though, it would crank out tons of sub. I always set the bass knob to 9 o' clock (even lower if the room required it) and that sounded lovely. Deep, punchy and with some nice preamp tube growl. Sold it for something completely different, an EBS HD350 with a ProLine 410. Never looked back since.

Can't comment on your singing, but wholeheartedly agree on the other three! Love: Fender Rhodes, overdriven Hammond through a Leslie, and that sort of post-rock guitar tone. The kind that's nearly clean, but not really. I've been listening to a lot of Dredg and Dead Letter Circus lately, and I ADORE that cleanish sound with multiple delays stacked over eachother.

Probably a bit more practical though: the classic warning sign

Can confirm the same for the switch from bent-steel bridge to (brass?) BadAss II, sort of. I'm not sure if it's actually less bottom end, but there definitely is more of all the higher frequencies so it can easily be perceived as less bottom end, relative to the mids and highs.

I'm not so sure. I changed the classic bent-steel Fender bridge on my '75RI Jazz to a BadAss II, and you'd be amazed how it affects not only the tone but definitely your conception of the decay of played notes. The tone used to be thumpy and a note would die out fairly quickly. Now it is harmonically richer, tighter and definitely appears to ring out longer. But maybe that's just "feel", due to the richer harmonics.

My EBS NeoDrome (not really a tiltback combo, but can be tilted slightly with an additional handle underneath the combo) has a monitor input that can be blended with the bass signal, but does not go back out through the XLR. Works like a charm!

Stop getting us lefties all excited about a bass, only to find out you mirrored your webcam

Awesome! I love those quirky Streamliners. Looks pretty neat in white.

True, but the damage does not look that bad. These are 1050 Euros new (at music-store.de, who own the Fame brand. No lefty in stock at this moment, but they have a righty fretless at 1049). This is a steal, even accounting the few dents and the little crack.

Crosspost from the White Bass Porn Thread, so feel free to moderate accordingly if I'm not supposed to. Here's my white Status S2 Classic, with beautiful Buzzard-style white epoxy Roman numeral inlays, and a black sparkle S2 Classic 5-string. Both have bolt-on necks. The white one is an older model, with the old Hyperactive pickups and a board 300 preamp (which is wickedly LOUD, and the pickups have a brilliant sizzle to them). The 5-string has a board 303 with a small trimpot in the back to temper the output level. Both basses have belonged to other Basschatters before, the white one was Alan's (Whynot?) and the black one belonged to Rob (Bonin-in-the-boneyard), with whom I traded my Stingray 5 for this beauty. He has owned it from new since 2012 I believe, and I've had it since last August. The white one appears to have a small issue with the balance pot or the pickup wiring. With one pickup soloed, it has massive amounts of treble and top-end sizzle. However, with both pickups combined, it is a good deal less loud and loses most of its brightness. I'm not sure why this happens. Wrong pot value? Pickups connected out of phase? Has anyone else experienced this with Hyperactives and the Board 300 combination?

Here's my white Status S2 Classic, with beautiful Buzzard-style white epoxy Roman numeral inlays (with a black sparkle S2 Classic 5-string as an added bonus ). It's an older model, with the old Hyperactive pickups and a board 300 preamp (which is wickedly LOUD, and the pickups have a brilliant sizzle to them). The 5-string has a board 303 with a small trimpot in the back to temper the output level. Both basses have belonged to other Basschatters before, the white one was Alan's (Whynot?) and the black one belonged to Rob (Bonin-in-the-boneyard), with whom I traded my Stingray 5 for this beauty.