Fionn

Wow ... unbelievable price.

This will clean up really nicely. Someone is going to have the bargain of the century here.

Sweet bass man, very nice.

[b]Early Warwicks[/b] from the 80's when they were handmade ... particularly those basses which were still under transition of design. I'm talking of Streamers with the "spade" head shape, non-inclined tuners, one-piece bridges, and all the variations therein ... and the short horned Thumb Basses, JD's most definately.

These are already very collectable, but will be all the moreso in the future.

Is there a wee internal trim pot on the circuit-board of the pedal (or your Sterling, for that matter). If so, try adjusting that first.

Not sure what paint to use, but I'd certainly fine sand and prime the surface that you're painting first.

[quote name='DaveFry' timestamp='1359585992' post='1957277']
Colin Hodgkinson on bass . Back Door , a band from Yorkshire . Sax , bass and drums .
[media]http://www.youtube.com/watch?v=HE1GnnjS4Ms[/media]
[/quote]

That's fantastic!

You've listed Herbie there, but you missed what is possibly his funkiest album ... Man-Child

Get your ears around this ...

[url="http://www.youtube.com/watch?v=FgBrPQCSdW4"]http://www.youtube.com/watch?v=FgBrPQCSdW4[/url]

Top-drawer Scottish FUNK.

Soooooooooo good! Check them out ...

[url="http://www.youtube.com/watch?v=TI2AQk-OcX8"]http://www.youtube.com/watch?v=TI2AQk-OcX8[/url]

[quote name='CHRISDABASS' timestamp='1359405251' post='1954344']
Hey Kev

This may sound strange but i have worked on a few warwicks in the past that had their truss rods installed upside down / the wrong way around so they reacted the oposite to what you expect them to!

You expect clockwise turns to straighten the neck and anti clockwise to add more bow / relief.

Have you checked that it is operating the right way around?
[/quote]

^ What he said ^ ... although I've never heard of that on a newer Warwick. It's definately worth investigating though

If needed in east central Scotland, may I recommend my good friend Rory Dowling (Taran Guitars). He is a luthier of the highest quality. Best know for building top-end acoustic guitars, he is also capable of any repair/ resoration work that your bass could possibly demand.

His website address is ... [url="http://www.taranguitars.co.uk/"]http://www.taranguitars.co.uk/[/url]

I read folk suggesting that to remove the truss rod, you should hold the bass upside down and hit the headstock on the floor whilst hitting the back of the neck with your hand. Don't do this, it's completely unnecessary.

What's worse is that I also heard examples of fretboards being removed from 1982 - 1996 Warwicks for the same purpose ... crazy.

It seems to me, from what I have gathered looking on various forums, that truss rod issues are not uncommon with older Warwicks. I'll add my experience to the body of internet woes incase it reduces the stress of some future bassist who may encounter a similar problem.

I recently bought a 1987 Streamer Stage1. When playing I noticed a faint buzzing/ odd vibration on some notes above the 12th fret. This, and an unwanted subsiduary harmonic tone when playing standard harmonics. The action and set-up seemed good, but I immediately checked for the usual suspects ... fret buzz, bridge saddles, springs, screws, other hardware which might have have been loose. Then, when knocking on the back of the neck I heard that something was loose in there. The truss rod, obviously.

I was a bit confused. I didn't think the truss rod needed tightening as the neck was [i]almost [/i]ideally set ... 0.7mm at the 7th fret when holding the string down upon the first and last frets (testament to the stiffness of wenge-necked Warwicks). The truss rod was completely loose though. It turned freely to slacken, yet wouldn't tighten a notch, it was seized in that direction. So I removed the truss rod. This is very easy for basses made between 1982 - 1996. There's a Warwick video that will show you how ... [media]http://www.youtube.com/watch?v=xT_iDrcLtKY[/media]

To my relief the truss rod was fine (it's the one way alloy truss rod). No cracks or breaks, and the thread on both the nut and the truss rod its self were in perfect order. Great! I ordered a 50g tube of silicone grease for £4.50 here ... [url="http://www.amazon.co.uk/Servisol-Silicone-Grease-50G/dp/B000L97ZPI/ref=sr_1_1?ie=UTF8&qid=1359291821&sr=8-1"]http://www.amazon.co...59291821&sr=8-1[/url]

So, when this arrived I spread it liberally on the truss, all the way to the ends, and between the bars. Inserted the rod (thead side down), wiped away the excess grease, tightened the truss rod, and gave her a proper set-up.

Perfect ... no vibration, perfectly adjustable and responsive truss rod. Great action, sweet bass.

Hope this helps somebody.

Aye, you're right enough. Stick with the Dolphin, it will definately do what you need it to.

It's a great bass, totally different to other wrwicks of the time, and quite under-rated. Also, in terms of build quality it's a cut above your average Fender.

I know that suggestions like this are taboo on this forum, but why not give it a bit of a mod to spice up your relationship with the beastie? I had a transparent glossy red Dolphin, but the ash beneath looked amazing, really nice grain. I toyed with the idea of sanding it down and giving it a natural oil finish. It would have looked so much better.

I absolutely agree with you. I owned a Dolphin pro 2 for a time. Loved it. It is capable of much of what a jazz can do, but also much of what a jazz [i]can't[/i] do (being active, and all that).

I love Dolphin pro 2 (I'll admit that I gassed a wee bit for yours) ... but when it comes to jazz gas it's not just about the sound, is it? It's about that big unweidly slab of history, the weight, the feel, and the classic aesthetic too.

In an ideal world I'd have both.

[quote name='marcus bell' timestamp='1358773392' post='1944672']
Managed to secure a German corvette passive, needs a bit of work cosmetically, but I'm going to sort that and fit a 2 band eq too

Excited!
[/quote]

Cool. Welcome to the wonderful world of Warwick .... (and keep you eye out for one of [i]those[/i] pedals! )

Aye, I've heard the new Rockbasses are good, but if you spend a wee bit more you'll pick up a Stage 1 or 2. They go for about a grand second hand. There's a guy selling a beautiful Stage 1 on here for £750, but there's a potential problem with the neck.

The archetypal Zender bass was a Streamer Stage 1. 1990 I think. Anyway, a maple one (sounds different to the cherry-wood streamer) ... and most definitely active.

If it's the Zender sound you want go an active Streamer, definitely.

... for me at least.

I've traditionally played Warwicks. My style and technique have developed with, and have even been shaped (to some extent) by those particular flavours of bass.

However, I've had a hankering for a Jazz Bass for a while. I've been trying them out in shops, and I've played a good few. Usually American Standards, which I love for the most part. Now, something that really stands out to me is how "forgiving" they seem to be in comparison to the bold active Warwicks that I'm familiar with. I don't know if this is because the Warwicks are "unforgiving", or if it's because the way my technique translates onto the Jazz, or if, as I suspect, the Jazz bass is just one of those machines that by some accident of design smoothes out your imperfections a little bit.

Has anyone else noticed this, or am I tripping?

[quote name='dudewheresmybass' timestamp='1358551283' post='1941439']
.....and four grand! ( well £3999!)
[/quote]

Really?!!! That seems very expensive.

On a similar vein ... I heard somewhere that Cliff Burtons original Black and Gold sold at auction for £17,000. Don't know how factual that is.

The Source Audio Soundblox Multiwave bass Distortion is very synthy ... very versatile too. Regular distortion and overdriven sounds too. You can blend the dry bass in and out too, so it doesn't bleed the bass like a lot of pedals.

Check it out ...

[url="http://www.youtube.com/watch?v=1LEJoaj93J8"]http://www.youtube.com/watch?v=1LEJoaj93J8[/url]

[quote name='noelk27' timestamp='1358469774' post='1940017']

As for the commercialism comment, I can't say as I'd agree with you. It's only in recent times that the Japanese have started to understand the concept of legacy in modern innovation or design. Previously, there was either the completely up to date or the ancient, with anything from the recent past being immediately dismissed. Now, they've come to accent that in their continual race to do better, along the way, they've created some iconic designs. So, when it comes to recreating those iconic designs in the present, I'd trust the motives of a Japanese company much more than, say, an American one. The SB700, and it's revised versions, the R60 and Elite I, were Aria's most successful SB models, in terms of sales. this is the first time in around 20 years it's been available again. Yea, really feels like Aria are milking it.
[/quote]

Very well put.

Was just at choir practice tonight, thinking that there's an awful lot of folk there who also play instruments ... a couple of bassists too. Infact, there's probably three bands-worth of folk in our wee choir alone. But I suppose choirs will naturally attract musical types.

Do any of you sing in choirs?

If so, what sort of choir do you sing in? Do you compete? What's your story?

[quote name='Doddy' timestamp='1358341567' post='1937247']
Offering a different train of thought....For big gigs, you don't actually need big gear as chances are you'll have
a lot of PA support.You could easily do them with your head and a small cab like a 2x10 or even a 1x12 (which
is my current favourite).To be honest, I've played large gigs (a few thousand people) with a 100 watt combo.
[/quote]

What he said

A Mhic Iarla nam bratach bana

(sons of the earl of the white flag ... in the english)