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  1. I have a Briefcase and a Double 4. Use them on acoustic type gigs - Briefcase if there's percussion going on but use the Double 4 on a wee quiet duo gig that I do. Sounds fantastic and just ludicrous for the size.
  2. I have an L2 that I bought new in the 80s. It was my main bass for about 12 years during the busiest period of my playing career. Joined later on by a matching L2 fretless. Joined later again by an XL2T- XL2 with the Trans Trem bridge. And finally joined later by an XL5W- the wide necked 5 String. I'm not going to count the Status 6 that Rob built for me in the Steinberger form while I was still looking for a 5'er! Pics if you like that sort of thing are all in this post Graphite (Steinberger vs Status) - Page 2 - Bass Guitars - Basschat
  3. If you need the money sell it. If not, keep. That's my take on selling instruments that you enjoy. My Steinbergers will be amongst the last to go when/ if I ever decide to downsize/ thin out.
  4. Did you look at this? I would agree with @Bassassin that the routed channel to the neck pickup doesn't look right. there is a 65 model in that catalogue without a scratchplate and it's unlikely that they would have used a different routing pattern for just one version of the same bass at the same price. Could it be that someone has popped an old Fernandes neck onto a different body - not suggesting the seller - he just bought it fairly recently- might have been that way for a long while.
  5. And there was me thinking that almost every Status is likely to be a joy to play.
  6. Actually, thinking about the above, on watching these top guys talking about what they had been doing during the pandemic, it came home to me why I’ll never be as good as them- the dedication to practise and improvement. I’m ages with most of these guys and I have no motivation to sit for hours honing my technique. I’d rather just continue to enjoy playing within my own limitations.
  7. Funnily enough, I’ve been doing it for so long it’s completely natural to me, as is sideways in a fretted bass but I recently was given a cello as a present and I can’t seem to get it together in the upright orientation! As you say, I really must work on it.
  8. Cant go wrong with a classic Dimarzio model P or Model J. I've only tried the series/ parallel on the Model P that's on my SD Curlee bass but it makes a big difference to the sound so that would be a good idea in my opinion, even if at the end of the day you completely prefer one of the options. Oh, and they've got to be cream covers - it's the law. 😀
  9. I changed to full range cabs in the early 80s but up to that time and after a never ending gear quest for a decent sound, the Acoustic 370 paired with the 1x18 301 cab was streets ahead of anything else I had come across. Effortless, big sound and surprisingly easy to move with its tiltback castors and handles. Unless there were stairs.
  10. I popped it into the chat but I think it was Jaco who mentioned it at the time in some interview or another - you need to look at the fingerboard as just another consumable like strings, batteries etc. Most fingerboards have plenty of meat in them to be able to stand a few cycles of wear and re-flattening before they might need to be replaced. I think a lot of folks panic because the wire wrap in roundwound strings marks the fingerboard very quickly but after that initial rush, they wear very slowly. New fretless learners also have a tendency to make it worse by applying sideways vibrato a-la guitar or fretted bass rather than lengthwise like violin, cello or double bass. This makes the scratching much worse and also more visible. You quickly learn! + 1 on the village tuning - Manring was in stitches!
  11. Agreed this was quite a good listen - thanks to the OP for the heads up. The roundwounds thing was interesting to me as well but only in as much as every bass I have has roundwounds on - I changed from flats in the mid 70s and have never really understood the current fashion for flats again. My oldest fretless I've had since 78 and it has a laquered fingerboard which has been dressed a couple of times and eventually re done a few years back- as they all pretty much agreed, it's the sound that counts. Just deal with the wear as it comes up. I'm sure they were recording this one but not sure if it will all be available to listen back or not. Finally, as usual, all these luminaries came across as really good guys -friendly, helpful and approachable plus Nick Beggs was in the audience with us! Great stuff.
  12. It should be said that the padlock only confirms that communications between your browser and the site in question are encrypted and therefore private. It doesn't check whether the site is genuine or not. Scammers can set up a site which is secured and looks like the real thing but isn't, using, say a slightly misspelled URL - www.reverbs.com?- which you might not notice. Always check the URL for authenticity and consistency with the company's domain if you are in any doubt.
  13. We'll have none of that finger-chopping talk here- inspiration only.
  14. Did it for years in the 80s and 90s. Various situations and either used for replacing Keys or keys and drums. I know what you mean about the cheating feeling but in my defence, I had played/ programmed all the tracks myself. There were/ are considerations to be made as to how you will connect with the track and whether or not you want the audience to be aware of any click tracks but they're all surmountable.
  15. Agree with those who say that you can't predict exactly what an instrument will sound like by just the wood choices and also those who state that even two pieces of the same species will be different. Don't agree however with those claiming it doesn't have any effect at all. The four basses clearly sounded slightly different from each other and interestingly, for me, there were two I preferred the sound of consistently compared to the other two. Also have to say that we didn't get to hear the pure electronic sound of the bass because the mic was live all the time so all the acoustic clattering and rattling was mixed in - would that sound be more coloured by the woods than the pure electronic output from the pickups? I suspect so. Right there in that video you can see the potential pitfalls of commissioning a custom instrument if you have a very fixed idea of how that instrument will perform.
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