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DWBass said:

Nice. Quite possibly my next bass.

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They are exceptional. I don't even look at my other basses anymore. It would be nice if they were about a lb lighter, like the MLs, but it isn't worth it for the added $.

SBassman said:

I am a career long person in tech - IT/app dev. I always used Windows machines. I am in the process of moving all my stuff off of a Windows 11 machine and onto Google Drive and a Chromebook. Time for a change. I don't do super massive very app-specific stuff at home these days. There are only a few things I need, and I found them in the Google world. My very inexpensive Chromebook runs circles around my Win 11 machine performance wise, and I suspect smooth sailing as far as virus protection, corruption, etc.

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It's interesting, for phones I love my Android Samsung, hate the iPhone. For computers I could not get the Chromebook to work for me but I love the iMac.

It's like bass, whatever works for you works for you.

Free Bassing said:

Went for strings ended up with a bass.

$459 used, it just came in on a trade. plays and sounds fine missing it's hard shell case and pick guard, also it was kind of scuffed up so I thought that was one of the reasons it's so inexpensive, but apparently it's just a road worn version

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I scored a Fender Mike Dirnt like that about 6 years ago. MusicGo Round had taken ine in on trade. I saw it in the their repair area. The manager told me the neck was warped and they were going to liquidate it on eBay.
I told him I could use a project bass abd could save him the trouble of listing it. He let me plug it in and check it out. I offered him $250 and bought it.
Took it home, removed the strings and the neck. Neck pocket and butt end of the neck looked fine so I reassembled it, installed new strings and the and made a few minir adjustments to the brudge and truss rod.
I believe the neck ad been removed but when reinstalled wasn’t properly seated in the neck pocket.
I played it for a couple of years and then sold it for $800. Great bass but kinda heavy.

Bowedtoothdoc54 said:

I think I got a pretty good deal on it and as long as I don't loose money on it I will be happy. Plus it looks pretty cool and sounds awesome

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Bowedtoothdoc54 said:

I think I got a pretty good deal on it and as long as I don't loose money on it I will be happy. Plus it looks pretty cool and sounds awesome

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I have been looking for one for a while. Had one in 2000 but it was crushed when our van flipped over on tour. It was one of my favorite bass amps at the time and I've always kept an eye out for one. I'd love to buy it off of you anytime you may want to sell it. - Russ

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New (old) Amp day for me! With a road case. I got to play it for about five minutes before I had to pack up for 7 hours straight of no-amp gigs on in ears .

I hope I’ll have a reason to take it out on stage sooner rather than later!

Oh, and welcome to Talkbass, weed.

Mike

Gopherbassist said:

Probably getting beat up by Bill Shatner somewhere.

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Haven't you heard? The Gorn hooked up with a Tholian. Said it was "hot sex."

Well...I got her back (my Foundation...I didn't lose my lovely wife!)!! Did some work for the friend that I had sold her to and he responded by giving her back to me! A little truss rod tweak and tilt adjust and it settles right in at 5/64 at the octave. Sounds utterly fabulous! Way better than my Dyna with the same Super Ferrites.

Kim

Pics along with my original receipt (the sales clerk got the last digit of the serial number wrong on the invoice--but the others are correct):

Running the Lusithand and Broughton at 18v and EBS at 9v...this rig eats electrons for breakfast ️

JimmyM said:

Nooo! You, Sean? Never!!!



You know what made me quit poking holes? Two things:

—-Mick Jones of Foreigner saying it’s a lot harder to write a hit song than one that isn’t

—-Working with so many entertainers who were allegedly “washed up” and seeing them out there making a pretty good living doing smaller (and often bigger) shows that fly under the radar of the industry.

Anyone who gets this level of fame will always be able to do something, even if the mania dies down some.

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thank you for the reality check! i promise i am not this cynical in real life, hah

Yup.

Nic K. said:

A little late in the conversation, but I just bought two SL 112 from different companies here in Europe. The first one I got was from Vietnam and was actually about 2 kg. heavier than it should be (ca. 13,4 kg). The second was USA built and was 11,4 kg!

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Interesting..

Well, I'm answering my own question. The G string is lone enough for my 35". I did not clip the unwound part off too much that gave me a little extra wrapping around the post. My C string is currently still a .030 Prosteel. It blends well enough with the elixirs that are on the bass now. i played a gig last night and it sounded great. I did order a 032 C string. Almost 20.-buck for one C string. Kills me. But they do sound and feel good. Hopefully they will keep the zing. So far on the Elixir sets that I do have no degradation. I played a bunch of outdoor gigs in high temps with the.With regular strings I always need to change them even after just one of those gigs. So far so good.

DanAdams said:

The concept is neat, but would only be appealing to me if the fretboard could be raised to match the fret height for the fretless section.

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The fretless fingerboard section is at fret level on the Adrian Younge model. In fact I haven't seen many or any half-fretted basses that weren't built that way.

Even the Ibanez Ashula has the fretless fingerboard section at the height of the frets, and it's half-fretted by having some strings with and some without frets.

Reviving an older thread here maybe, just installed an older set of the "Original P bass pickups" by Fender (not CS or 62'). I keep hearing people say the lows are lacking. Well, it really depends on the strings guys, these 52-110 "Jamerson" strings on this bass (with Jamerson neck) obliterates the first four frets on the E string with low end punch. I supposed if you use light gauge rounds or some other brand thinner gauge flats it could sound weaker. These pickups in conjunction with the thick gauge Labella's (and a pro set up) absolutely knocks the vintage sound out of the park. I love them!

2saddleslab said:

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It's back in action!



Replaced the tuners with the new style Gotoh Resolites.
Redid all the wiring for a better scheme, as well as cleaner cavity and shielding:



Frets leveled, crowned, polished, etc., made a brass nut.

Sounds beastly! Plays really well. Excited to try it at band.
In the meantime, it gets to hang around with some relatives...

Oh man, this thing is sweet. I've been playing it into a Subway DI+2 and monitoring via phones. My target is the big, thick yet defined 'recorded' bass tone. Think John McVie in FM's Dreamin. Anything Marley.. Big Head Todd Sister Sweetly era. Monster thick but somehow not flabby....

I can get close with the Subway alone but it takes extreme settings to get there. With the Frequency Distiller. I can put it on a footswitch and set it to compliment my basic tone from the Mesa. the HPF on the Mesa helps!

The possibilities seem deep. I need to log more time...

friskinator said:

In non-tire related news, my parking brake in my BMW recently stopped working. Dealer diagnosed as a button/switch gone bad. They apparently have to replace the whole console to fix it. Quote: $2721.15. The part itself is over 2K. I guess I'll live without a parking brake.

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That's insane..... over engineering at it's finest.

Most of my parking brakes work, other than the big yellow Blazer, the 10 second Camaro and my plow truck...... those backing plates & shoes left the chat years ago from all the salt it sees.

I prefer the manual parking brake versus the electric ones, but I have no say in how they're building them now.

We don't need to continue this.

Absolutely a quality instrument. That bass is from a brief time when Kramer and Spector were aligned with import versions being built on the same line with a few distinct design differences - in this case the body shape, diamond inlay and headstock. They shared the same pickups, electronics and hardware that were at the time state of the art and still very servicable, Spector still uses that design that was a collaboration between Stuart and Ned Steinberger who designed the original NS Bass concept. IIRC and IMHO otherwise they were essentially equivalent in sound, feel and quality. Those knobs were used on the import line pretty much exclusively but there were also a limited number built in the USA that wound up in pro or famous players hands or a few select shops.

Jackson was also a competitor at the time who also made an excellent line of guitars and basses import and domestic, I was never a fan of those hockey stick headstocks that were all the rage in the 80's. FWIW I always thought that reversing the way the strings go on the A D & G tuners would get less drastic angle and a had a few cllients that I was able to convince to try that.

I also run the XVive U4 and found volume to be lacking. I've been using a Rodyweil RO-04 Mic Preamp inline with the monitor mix from the mixing board and find it has unlimited volume boost for my CCA and KZ ear buds using the U4 now. Rodyweil cost is about $100. You can boost the dB coming into the U4 and then only use as much volume on the U4 receiver as you like (no need to crank it up). Made a world of difference volume wise. Very clean signal also.

As far as I can remember +6 dB is studio line level, not consumer line level.
Depends where you plug it in if you need the higher signal level.

ardgedee said:

If an artist is only able to have their music on one platform, your argument might make sense. But they are not so it doesn't.

On the other hand, as a listener I can subscribe to as many services as I like but I can only listen to one at a time. So as long as my listening to a track on Tidal pays the artist more than listening on Spotify, then I should listen on Tidal.

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Well I can put it in another way. As an artist I much prefer my audience to listen on Spotify, I'm glad whenever anyone listen and enjoy any music I have made, reagardless of where and how, but from a financial point, I prefer my audience to listen to Spotify, as Spotifys algorithms will learn who else to play it to, from my regular audience, which means in real life, I get tons more plays, and occassionally new fans/listeners aroud the whole world, that I otherwise couldn't reach.

This goes for anyone making music, that some people out there actually really like. Most other streaming platforms try to exactly the same, but fail massively. Like if you listen to Louis Armstrong on Tidal, it will suggest that you listen to Metallica afterwards. I don't know if algorithms are that difficult to deisng properly for that purpose, or where it's at, but I see from my own experience, that only Spotify is functioning this way, and as an artist I think it's great.