40hz

Another yep for the GP12 SMX. It had the blendable valve on the front end. Made the tone ever so slightly thicker but no real difference otherwise.

A definite improvement. In fact, IME the best set up would be as follows ; Lane Poor pickup - Much wider sounding than the SD, I've got recordings somewhere on my computer AB'ing them. Aguilar OBP1 - self explanatory Hipshot bridge - My favourite of the Flea bridges. String changes in seconds and a nice chunk of metal to resonate with no side saddle movement.

I much prefer the Aguilar OBP pre-amp. It suits the mid-forward character of the bass more than the Bart NTBT. It also sounds a lot fruitier than the Bart, giving the notes a more aggressive, harmonic edge. The bass Freq on the Aguilar sits at 40hz, in the kickdrum zone. The Bart is at 30hz. Treble on the Aguilar is at 6hz, which I found much more musical than the Bart's 10khz.

https://www.ebay.co.uk/itm/Warwick-Streamer-LX5-Natural-Oil-Finish-Made-in-Germany/303668588521?hash=item46b40eefe9:g:l3EAAOSw5Z9fShlU I have never seen wood like this on a Streamer LX? Appears to be spalted maple with a flame centre? Bit fancy for an LX, is this original? It's bloody gorgeous at either rate and I'm struggling to resist! 😃

Is this a characteristic of flats in general?

I'm not sure on the thickness, but if I use a pick, I like using really thin ones. I find you get more 'bounce' on the string with them.

Apologies if this question has been asked a million times, I can't seem to find a specific result in the search tab. What strings would people recommend that have a huge, unhealthy amount of midrange? Steel or Nickel. Thank you in advance!

If you're anywhere near the Stratford-Upon-Avon area, you're more than welcome to pop by and give the BH550 (and Spectracomp by extension) a whirl.

I'm pretty sure you are spot on there. All the Bart pickups I've seen have rounded off corners compared to the sharp and angular SD.

I like this about the Spectracomp. It's like having 3 distinct compressor characters with one turn of the control.

Or is it? 🤔 the logo is fainter on the later pickups. I'm thinking given that I've seen 98' 99's 01's and 02's with the embossed logo, then 06's, 07's and the modern day ones also with the logo. The only timescale I can't account for is 03-06. So IF they ever existed without the Bart logo, it can only be this time frame? I'm still going with they've not existed without it and the plain ones are in fact the SD. It could even be as simple as Modulus not listing it correctly on build sheets for customers and stating Bart, when a SD has been fitted? Thanks for additional research guys!

Bumping again for anyone who has ever owned a Bart equipped Flea? Having done further research I can't find a single image anywhere (secondhand pickups etc) that is listed as a Bart without the embossed logo. Indeed the Bart original Musicman pickup sold today HAS the embossed logo on it too. I'm inclined to think that there has never been a Bart pickup without the name embossed on the casing and the ones that people think are, are in fact the Seymour Duncan pickup.

This is amazing. Congrats to all!

With regards to the TC BH550 - The toneprint is modelled on the Spectracomp and is without doubt, the best compressor I have used. I even tested out a few compressor pedals before CV struck in a local shop and didn't think any of them were near the level of the onboard Spectracomp Toneprint.

If your drummer is too loud, turn him on to an electric kit. A lot of the newer ones are indistinguishable from the real thing, sound-wise. The drummer in one of my covers outfits uses one (as he also hates playing loud) and it really cleans up the group sound as a whole.

Not wanting to derail a current for sale thread, I'm intrigued to know what year/s that logo-less Bartolini pickups were installed on Flea Basses. Of the 3 Fleas I've owned, 2 were Seymour Duncan pickups (which are unmarked and flat black in appearance) and the other was a Lane Poor (easily identifiable by having the circular logo). I thought that Barts were removed as standard fit option and replaced by the Seymour Duncan by the mid-late 00's? Having done some research on them, Barts all appear to have the logo up until the early 00's (that I could find) and I've seen later ones from 06 (and indeed the one for sale from 07) that still have 'Bartolini' marked across the pickups. Was there a point in-between this where they removed it? or did it come later? Just wanting to know if anyone conclusively knew, or could shed any further light as I thought I had everything down about these wonderful basses!

You're right, I've also definitely seen them around that figure, I was just being slightly more optimistic than perhaps I should have been!

On a slight tangent, I finally listened to Dream Theatre today thanks to this thread. Reminds of the boss battle type music on old Sega/Nintendo games. Fair play to EB for doing something a bit odd, always good in my book.

https://www.ebay.co.uk/itm/Warwick-Streamer-STD-Standard-Electric-Bass-Guitar-Germany-2000-Roadworn/254677744048?hash=item3b4bf9f9b0:g:RZwAAOSwiVpfKrA4 Apologies if this belongs to somebody who frequents here, but this is a bit of ambitious price. Even when mint, this would be worth around £250-300. It does have a lovely wenge neck on it and I like the colour combo.

If it's the same MEC pickup that I have in the Rockbass Streamer (which I believe it is) it's a common thing that's been discussed. They are super quiet pickups. IIRC the stock pots in the basses have too high a resistance for the type of pickup.

On the originals circuit in Oxford, although most of the actual PA's themselves are quite beefy, there's absolutely no chance of getting by on the monitors in any of the venues ( I went through a period last year of testing this theory, trust me 😂) so I still have to haul my Epifani UL210 and TC BH550 to all gigs (not that this is any big chore as it's a light set-up). If you're playing covers/functions and you've got a PA that has been formulated with this in mind, then I can see no need for an amp/cab at all. Horses for courses, we're all playing to different audiences in different ways.

I love this track from Power, Corruption and Lies.