Kiwi

cheers

Great story

Not a user yet, but it's on my shortlist along with an Effectrode PC2A, and Keeley Bassist Compressor. The Effectrode is slightly ahead because I can use it for guitar as well but will be interesting to see what people suggest.

I keep mulling over the idea of replacing the pickups in my Yammie MSG but am nagged by a doubt. What if the replacements don't sound all that better than the originals...? Plus the pickup surrounds will need custom replacements...a complete ballache altogether.

OK, also have a think about the HAZ Lab single pot tone control. It's frequency centres are absolutely bang on for a fatter, warmer sound. I'm not sure if they have a passive by pass through.

Have a go through an active Mackie SRM series PA wedge, you might be pleasantly surprised.

I've used the 3 band parametric circuit exclusively and they're great although a little on the quiet side. Klaus is great to deal with and has even provided some modified circuits with input buffers, extra gain and modified range for each band. Which circuit are you going for?

I've heard good things about the new 'reissue' JC40. I've always liked the sound of them even when I wasn't a guitarist. Maybe one day I'll get one.

[quote name='Grangur' timestamp='1388312472' post='2320573'] In other sections of Chinese industry the workers are beginning to demand higher pay, so the costs will inevitably move up too. Times, they are a-changin'. [/quote] I'd be very surprised if this is true. There is no loyalty between employers and their staff in China and private companies operate a 6 day working week. The moment one of them has an issue, they both part company. [quote name='Roger2611' timestamp='1388613499' post='2324126'] a lot of so called budget makers turn out some high end stuff as well, [/quote] Convincing people to buy cheaper versions of a well known and popular expensive brand (e.g. Fender, Warwick, Ernie Ball, Overwater, Steinberger etc.) is much easier persuade them to buyer more expensive versions of a budget brand though. Would actually be better to set up a separate brand and have it know the instruments are built in the same way as the expensive ones (which is pretty much what Fender and Ernie Ball have done).

[quote name='paul h' timestamp='1465193215' post='3065897'] Did you see the episode of That Pedal Show with Simon Neil? Very interesting [/quote] On Youtube? Not yet, but I will!

Well done Alex, I remember you first starting out with just an idea and messing about at home with designs and a theory. You've come a very long way from humble beginnings. It's a shame back then your enthusiasm and passion on here were misinterpreted. I hope you feel very proud of what you've accomplished and the best is probably yet to come!

Had major issues with getting a moses jazz neck shipped by Allparts many years ago. It repeatedly missed containers and took about 4 months to arrive. It was the head company who were the problem, their UK distributor were extremely apologetic and great to deal with.

[quote name='Muppet' timestamp='1465142247' post='3065560'] Spooky you say that, that's exactly what I've been doing for a while and you're spot on! [/quote] Yeah the Blues Driver appears to have become a vital component in the gain paths of so many pedal boards with tube screamers! The Metal Zone fattens up strats very nicely as well if you're looking for OTT gain. Simon Neill in Biffy Clyro uses it as an essential part of his set up.

I couldn't handle being a full time musician. How they cope with the financial insecurity, meglomania, game playing and rejection without a reliable gig is beyond me.

Find music to play that you're passionate about. Get a guitar that allows you to achieve as much satisfaction as possible in terms of sounds. Nothing beats that feeling of having accomplished something. My first serious guitar was an HSS strat - very versatile and it lasted a long time until I got into Alan Murphy's sound so had to have a Yamaha MSG (or three...). Then I got into Nile Rodgers obsessively and got a Hitmaker made (given all the Fender ones had sold for silly money). The closer I can get to the sounds on the records, the easier it is to compare my playing to what I hear. Next stop - Steve Lukather and maybe Jeff Beck on the way to learning Satch Boogie (my ultimate goal). So perhaps I'll be going back to the HSS strat for a bit.

Try it with a Boss Blues Driver in front. It'll fatten up plenty.

I have two strats - one a heavily customised 80's Chandler super strat with HSS EMG pickups and EMG TBX midboost in the electronics and a super rare Wilkinson VS100C locking trem. It does the Lukather/Valley Arts thing. On the super strat I use the bridge humbucker most with sometimes neck or neck+mid. I don't use mid or mid+bridge much. The other is a custom Hitmaker replica by Al Knight for failed attempts to channel Nile Rodgers. I use mostly the neck pickup or sometimes neck and mid. I don't use the bridge pickup at all. Having said that, the pickups are authentically awful so I have some lace sensors on their way.

Nice score! Not tempted by an MSG?

In the time since you got it, I've heard glowing reports about this model.

A TNT150 was my first giggable amp back in the early 90's and I upgraded it to a Trace AH250 and SWR Triad ASAP. Is the TNT160 standard setting quality?

It was Tom Walker's originally (one of the original founders). I have no idea how it left his possession, maybe his family sold it as part of his estate? But I'm still surprised Sterling Ball missed out on it if that was the case. [quote name='NancyJohnson' timestamp='1463130480' post='3048795'] I know it's just business, but nonetheless you'd like to think they might have hung on to #[s]000[/s]1. [/quote] Fixed for ya.