mcnach

Pawel just bought a set of strings from me. Great communication, easy going, smooth... I'd definitely not hesitate buying anything from him or selling again. Thank you, Pawel.

I think that's to prevent complicated situations where one person pays online but another collects etc... However if TheGreek sends money to Third Party while telling the seller "I'm coming round tomorrow to collect and pay in cash", and Third Party shows up "Hi, I'm TheGreek, here's the money, can I have the bass please?"... that should be no problem, surely.

Very enlightening, thank you! And also reassuring me that I wasn't imagining things... I have sometimes used the HPF on my Mesa D800+ adjusting it to what's probably around 80-100Hz and turning up the bass control a bit. It seemed counterintuitive to me, but I liked the way it sounded. I thought people would say I was mad !

Krakatoa, formerly The Moorings. I love the place. Cool and helpful sound guy, and my girlfriend was there and she remarked on the good sound he got on the front... if all the venues worked as nicely as this one!

that is what i understood

I had a gig last night at a venue out of town (Aberdeen) where they have decent equipment, so this time I did not bring my own in order to make transport easy (we're an 8-piece). I had played there once before, and I used my own gear that time, as it was a weekend of gigs for which I already had my stuff. They had a Hiwatt 200 tube head and matching 810 cab onstage. I like 810s. I like how with relatively low volumes you still 'feel' the air moving. But I struggled to get a sound I liked out of that thing. I had to turn down the bass a lot and boost treble and mids... so I suspect this is much like the Orange Terror heads where flat is mids&treble all the way up and bass all the way down. But even then... it felt far too woofy. I guess if we were a dub band I might have liked it better... I missed the sound of my Mesa D800+ and the two Barefaced Two10 stacked vertically. That's what I used last time, and I could still feel the air moving but it sounded great, powerful, defined... well, at least when the trombone player allowed me. He likes my setup a lot and often just stands in front of the mini stack, smiling, playing his trombone while humping an invisible bear

so, what do you think what do you think what do you think?

Only the same way some guitarists need to play loud to get 'their' tone. They do not 'need' to, they want to. Same with drummers.

they make them without the black

but I did state that I read the explanation by Sandberg, with thanks, in a previous post... now who is not reading the thread? (I say this completely in jest, let's make it clear! Written language leaves so many nuances out and I hesitated before posting this in case it was taken too seriously... I fully mean that with a cheeky grin and as a joke )

Jack just bought a set of strings from me. Smooth, easy, just the way you'd like it to be. Thank you Jack!

Some do show some distortion before they finally die, so you get some warning... but others just work, until they don't. It depends on the preamp design.

That scenario is a LOT easier to avoid that you seem to imply... but fair enough, some prefer to avoid another possible failure point. I don't wait for batteries to die, I replace them regularly (once a year for me and my Stingray), and that does the trick. Except that, of course, one time I did forget. And the battery died on the first set at a beer festival. A few seconds later I realised what the cause of the no-bass situation was, so I pulled my volume knob (I have a bypass switch installed) and carried on playing. Then I replaced the battery during the first break. If a gig is ' specially important' or I'm recording, the battery gets replaced regardless... it's not that expensive

mint green...

But... that is eactly what every other zero fret guitar does: nut with slots, and then a zero fret adjusted for height. I see no need for a taller zero fret with grooves in it. I read the reason given, and if that's why they do it, fair enough, the result is good... but it seems to me an overengineered solution for a problem that doesn't exist.

one comment by one person who later says that no, they don't consider Sandberg a poor manufacturer... you're getting stuck in a feeling that was not intended by anyone here. Quote away at will... but it seems to me you're trying to find offence where none was intended. indeed. edit: and I read their reasoning... which still makes no sense to me. Is this a bit clearer now?

eh? dynamics... You probably don't expect to be told because... you'd adjust as required. Drums do have a volume knob control, and it's called a drummer.

It varies. Many have the P pickup in the same exact spot as a standard P. The two I have... one has the P half a centimetre farther towards the bridge compared to standard, and the other... the P is actually 1 cm closer to the bridge.

It can happen, yes. But it depends hugely on the actual pickups, wiring and how they're set up (balanced heights). I currently own two PJ (one passive, another with active EMGs plus preamp) and while the position with both pickups on is slightly more scooped, it doesn't get lost at all. I like a bass with presence (despite my avatar, I use a Stingray most of the time). I rarely like the Jazz pickup on its own, it sounds too thin unless I use the preamp to thicken the sound a bit, so for me the bridge pickup is just there to add to the P pickup. I play with the pickup heights until it sounds right. Generally it means one of the is slightly more prominent on the 'both pickups on' mode than the other.

This. Big 3 mm diameter luminlay markers are easy to see with normal light... and can fluoresce after exposure to UV light. There's UV lighting on many stages, or get a UV lamp yourself and enjoy bright luminous dots without prior 'charging'. I tried various stick-on solutions but they all end up moving and/or detaching. Replacing the existing markers is easier than it sounds and will look right.

I don't think there was a question that Sandberg are decent manufacturers. The only question is 'why' do they do what they do. Do their instruments work? Yes, and very well. But it seems an odd way to do things to me, and to some others. That's the only question: "why did they go that route?"

Try the white nylon tapewounds (copper version, or standard). I think those will do the trick. They can do old school vibe, but only when you want them to. They are very versatile and unlike any other tapewounds. Highly flexible too (or 'low tension') which I like too.

It depends which DRs you're talking about. The round core versions (Fat Beams and Sunbeams, not sure if there's others) are noticeably more flexible than the EXL170s I was using previously (similar gauges). But it's not as if the D'Addario nickels are particularly taut either, however I notice the difference. DR Hi Beams are more taut for sure. Not sure about the others in the range as I haven't tried them.