Kiwi

I owned too, sold it, dont miss it. I found it a bit brittle. I think the neck was too stiff.

I can tell you what we are seeing behind the scenes but I suggest it might be in your interests to do that offline.

Maybe you aren't completing the two factor authentication because you have pop ups blocked.

Historically we've said no because of the problems associated with establishing authenticity and the amount of workload involved in policing.

Someone else we all know shares your taste...no logo though. I wonder if that was intentional? I follow Martyn on FB because I own a trio of MSG guitars which he designed for Yamaha. He keeps talking about the latest build being his last but never seems to quite walk away. 😁 Fabulous looking guitars though.

Yes, you can drop any of the mods or admin a PM with links to the three threads and we can merge them.

Is your browser blocking pop ups which prevent you from completing the two factor authentication process?

No, completely original. It was common for them to grab a body finished in a standard colour off the assembly line and just blow the custom colour directly on top. The metallic colours were two layers. The first was either silver (or gold for red colours) with a candy tint over the top.

LPB over fiesta red - which usually fades to salmon pink

He told me he bought it in Manny's in 1959 and didn't understand all the armchair experts who didnt believe him. I asked him what he thought about the idea that it was pre production and he was doubtful. It didnt seem to be a complicated issue for him, he just bought it and played it.

They don't really sound like Wals too me. Too bright.

I got to hang out with him at a Richard Durrant gig in 2006 after hardly anyone showed up. In the intermission, I introduced myself and gushed a bit about the impact that Sky had on me as a pre-teen - before I had even developed an interest in playing a musical instrument (actually Tristan Fry inspired me to take up drums before I moved onto bass 2 years later). Bless him, Herbie looked a bit embarrassed about Sky and then he offered to buy me a pint. Afterwards he then offered to let me try out his Jazz bass. It was super light, almost like a toy and the nylon flats were like anchor cables. The controls were fragile too but it sounded just like it did on the records. Such a great memory. And let's not forget the huge amount of charity work he did, including music therapy. He was one of the good ones. RIP Herbie

You know an arpeggiator doesn't work like that. Alexander, Cooper, Hologram and others (Linn) use pitch shifting and delay for the timing. I'm getting a sense of Deja Vu. But that means getting into MIDI which is a world of faff, especially since there are currently divided loyalties between 5 pin and USB sockets and extra expense in trying to bridge the gap between manufacturers preferences. I also suggest an effects section in the Future Impact is a little redundant given how many users will already have their own preferences for effects anyway. I suggest the primary value of the Future Impact is as a generator of synthy waveformed notes either single notes or arpeggiated. That output can then be tweaked via external effects (either in a loop or in series). Adjustments can be made using knobs without the need to get on a laptop and access various menus and sub menus. Trying to cover all bases (aha) in one pedal is perhaps self defeating when more convenient options for specific functions within the FI are already on the market. I feel the pedal should play to its strengths not offer features that customers already have.

Can they do an arpeggiator with a clear attack and release for each step? I remember asking for this last time and the V3 didn't have enough room for the extra code.

Just make some 5 string pickups in EMG/Bart format and tap into a new market. Ideally 16-17mm string spacing.

He reminds me of someone: I also think he's decided get a cheap publicist, throw himself out there as a brand identity by generating a media profile and stay in people's faces long enough to see what happens. It reminds me of the same approach taken by Mononeon...remember him? There are probably others too. There was some guy over here called Biscuit who was trying to be famous for being famous. His playing is alright but I don't think it justifies the hype because I've seen gigging ' meat and potatoes' players in the UK who are better. But maybe I'm getting a bit cynical in my old age.

I'm not sure if he is, he made the Hitmaker ten years ago. He does really good work.

Generally we would discourage naming and shaming unless there is irrefutable evidence...which means the necessary legal standards of acceptability. FWIW in the case of Mick Mason, he's shamelessly promoted himself and there are multiple 'witnesses' all supporting the same conclusion. Other cases may be less clear.

This is why we have Bassbashes...:) Depending on where you live, it might be worth asking anyone attending to bring their 5er jazz bass for you to have a go on. The market is saturated with choice - in addition to Sadowsky and Lakland there is Sire, Goodfellow, FGN, Moon, Markbass, Blade, Spector (super fat necks though) amongst many many others. Sire has been somewhat of a game changer in recent years and are fairly accessible so would probably be first of my list to try. Followed by some of the japanese brands such as Blade, FGN and Moon.

Yes, a near perfect replica by Alan Knight in Bromley. Let's just say it didn't cost me the 5k Fender are asking and lacks a dusting of gold paint to make it look more yellow. But the parts are all Fender licensed apart from the body which is alder and slightly thinner than standard, as is the original. The pickguard is also a Kahler brass job, NOS from the early 80's, and identical to the one on Nile's guitar - rocking horse poo these days, I got lucky (ha). But Fender sell after market replacements now. I did have replica 50's strat pickups made in Russia installed originally but I disliked their weak ouput so much that I installed a set of 50's Fender noiseless instead and there's not only a little more gain but also no hum. Tonally it absolutely delivers that scratchy recorded sound of the original...although Nile's use of other guitars on recordings is kind of overlooked in the hype to promote mythology and fetishisation of the Hitmaker. You are more than welcome to the jazz box, but collection only...

I'm a little embarrassed by the amount of guitars as it suggests I'm much better than I actually am. But I enjoy messing about with them, pick up swapping, customising etc. But space constraints will mean a one in one out policy soon, I think. In the middle are three Yamaha MSGs (aka Image outside the UK). Yamaha's jump on the PRS bandwagon and their existing experience in copying Les Pauls for their Studio Lord range. As much as I would love to own a PRS or two, it's hard to justify when the MSGs are just as playable and (dare I say it?) look nicer. The far left one is my main guitar and had a black replacement trem installed after threads wore out on the original chrome one. It used to have the pickups in the one on the far right and the sound was very creamy - imagine the solo off Wuthering Heights. Currently has a DiMarzio Satur8 in the bridge and Air Zone in the neck positions but I'm not so enamoured with the sound. Middle one is an MSG Standard - more faithful to the LP concept and it has PRS Mira pickups for a classic rock sound. Far right one is slightly surplus but a little lighter, it has Armstrong humbuckers which sound like PAF's once they've been eq'd for recording. Smooth, nice midrange but also very balanced. The blue strat in the corner was originally a Chandler Custom Strat, their take on a Valley Arts but now the only thing that is still original is the body wood - a 2 piece slab of quilted maple. I made a neck for it last year because I was so comfortable with the 44mm wide nuts and ebony fingerboards on the Yamaha MSGs. And last summer I also made this in about a week - a hybrid of a MSG and an Aria RS Esprit (which featured low pass filters) but with a middle pickup and piezos. The pickups are passive Alembic Activators, the low pass filters are customised by Lusithand and the piezo is by Graphtec to fit the Wilkinson VSW100CV convertible trem. I'm still working on the electronics as the piezo saddles have proved to be both fragile and expensive to replace but it can do Go West after turning the bridge filter down and dialling back the neck filter a little. Piezo response is not as much like an acoustic guitar as I expected and there's a bit of a gain bump as they're going through two gain stages (filters and GHOST acousti-phonic preamp) but it'll do in a pinch...probably.

Are we including guitar stuff? 1: 4u rack with Mesa Triaxis, Rocktron 300A comp, Lexicon MPXG2, Marshall 2020 power amp through two Joyo 1x12's loaded with Celestion neo creambacks. 2: Fender Princeton Reverb II 1x12 combo loaded with Jensen N12K neo 3: Kemper Stage Profiler (with Line 6 wireless and Sure GLX IEMs) + Line 6 M5 4: Studio rack with Marshall JMP-1, Mesa Studio, Carvin Quad X and BUrman GX3 preamps into various rack effects by Lexicon, Behringer and Rocktron. 5: Hand built Fender Princeton Tweed replicas (1x8") x2

What timbre are you after? There are LOADS of good basses for 2k from Stingrays to Statii. It really depends on what kind of treble and midrange response you want and whether you have any ergonomic requirements eg. neck dimensions, body width or weight.