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Everything posted by Kiwi
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If the guy is english, it sounds like an amazing bargain!
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[quote name='LukeFRC' timestamp='1393096928' post='2376221'] explained to wife - still alive! So it's a OM guitar - sounds AMAZING this is what I picked up - and my fingers hurt in a good way!- [url="http://www.ebay.co.uk/itm/171244215904?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT"]http://www.ebay.co.u...K%3AMEBIDX%3AIT[/url] [/quote] Interesting that its NZ made! I hope the craftsmanship is OK as NZ made stuff can often represent extremes on either end of the quality scale.
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Didn't u used to be with Steps?
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No need to buy a tele when I have a Yammie MSG with coil taps. Some basic rewiring can replace the mid coil setting with bridge and neck pickups. It's even possible to wire in a small switch that allows both sets of wiring to be swapped in and out. [url="http://www.guitarelectronics.com/product/WDUSSS5L1204/"]http://www.guitarelectronics.com/product/WDUSSS5L1204/[/url]
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I use the bridge/middle pickup combo so probably won't try it out but its still a pretty resourceful trick. Thanks for sharing!
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He is quoted in one interview as not knowing what strings are on his bass apart from them being the same set that came from the factory. However, if you listen to some tracks like We Are Family and Dance, Dance, Dance the strings are definitely roundwound.
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9's feel best to me. Lots of control but with the heavier bottom 3 from a set of 10's.
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Washburn do some nice acoustics and its probably worth checking Tanglewood out too.
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I don't use it but similar kinds of software often have their own player built into the software.
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The reason why the precision bass was called the precision bass was because the frets made intonation more precise. Fender were moving away from fretless in the 50's and 60's, not towards it. Possibly because they wanted to tap the guitarist market, as has been suggested.
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[quote name='Annoying Twit' timestamp='1392833313' post='2373281'] Are these the Korean made ones? I played one of those in a shop, and thought it was very nice indeed. The one I played looked like this: [url="http://img87.imageshack.us/img87/5206/p1010012ps8.jpg"]Tobias Toby Pro[/url] other than being a four string. [/quote] Yep, dem's the ones. Really well made instruments. They also built to a budget by taking short cuts on parts that can be easily upgraded. A great buy IMO.
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[url="http://www.youtube.com/watch?v=u6znya5WhqY"]http://www.youtube.com/watch?v=u6znya5WhqY[/url] Here's one too. Sounds uber stratty.
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I wonder what a strat loaded with P90's would sound like?
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I'll be there too - the first time I've ever attended a show. Lee Sklar will be there both days BTW so plenty of opportunity to schmooze for those who are interested. He's extremely approachable.
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A friend of a now deceased friend apparently bagged an old Smith BSR6 bass from a pawn shop in Cardiff for (I think) £600. I don't shop much in pawn shops because they very rarely sell anything worth keeping.
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Tokai make some decent stuff. As do Ibanez. If you're after something for jazz then an Artcore is where I'd start. Aria have similar offerings but I've only ever played an Artcore and they're good guitars - capable of low action. Yamaha also make some good archtops - the AE100 is worth looking at.
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I use the same Ernie Balls too - 009 on top though. I like the lighter top but the lows are good for chunky stumming. Recently I replaced the strings on my Yammie MSG which were 11's and while sparkly, they were too heavy on the top for practicing any solos.
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[quote name='White Cloud' timestamp='1392730712' post='2372027'] People are incredibly [i]open to influence[/i] and are literally functioning on a day to day basis whilst in varying degree's of [i]trance[/i]. [/quote] It's not really trance, more openness to suggestion depending on how much they trust you. There's nothing unusual about the science of persuasion, however it's actually possible for competent managers at work to modify other people's behaviour over two weeks through repeated positive daily reinforcement. It works at home too. Say if your kids don't tidy up their rooms, then say to them every day something like 'I really like it when your room is tidy, it looks so nice and you do such a good job of it too' for two weeks. See if it works or not
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You looked very professional Chris, and very comfortable with the camera. I know only too well the challenges of explaining technical complexities to an audience with non technical levels of comprehension. I thought it was a nice balance between comprehesiveness and accessibility.
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I think sometimes inexperienced players don't realise that super hi fidelity recording standard backlines are unnecessary in order to hear themselves. I've also played through some players rigs on shared billing nights and been shocked at how muddy their backline sounds (and been mystified at how they manage to play in tune other than by sight). A live rig just needs to offer control, honesty and volume, in my experience. All that is needed is some adjustment to compensate for stage acoustics. The GK RB700 1x15 combo I played for a long while was pretty much the perfect gigging amp apart from the weight and those f***ing castors that kept disintegrating. Valve DI's have their place in a studio players backline, but realistically those who can earn a living from studio work are increasingly uncommon. [size=4]Besides which most decent studios these days will have an Avalon VT737SP which is increasingly the last word in DI preamps anyway.[/size]
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Jimmy Johnson's Alembic Series 1 graphite necked 5 string.
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[quote name='leroydiamond' timestamp='1392411869' post='2368586'] +1 Your on to something. [/quote] When there's PA support, rigs only need to be used for on stage monitoring purposes. FOH sound is always down to the engineer and they have a tricky enough job to do as it is without it being made more complicated by a player who is making adjustments but can't hear what he sounds like to the audience.
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Blueburst with white edge binding and a carved top specifically, like the D'Aquisto arch tops but with figured maple. I don't have much experience of playing ovangkol, all I know is that there are basses I've played that have exactly the sound I've been looking for and they have a combination of about 2/3 wenge to 1/3 maple. Unfortunately the same basses all had body shapes I couldn't get on with. But the wood combo seems to generate all the growl of wenge but, when enough maple is used, without the brittle top end. But we'll see how much growl is already present with just the mahogany body and graphite neck.
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Class D amps - do the manufacturers know what they are trying to do?
Kiwi replied to LukeFRC's topic in Amps and Cabs
I get the impression that many amp makers: 1) Just don't understand what their customers want (and how that is different to their endorsers). I'll cite the lack of dual inputs BUT the inclusion of dual preamps on some amps as an example. 2) Are in a competitive market and looking for ways to stay competitive even if the market and current amp technology doesn't offer much opportunity to innovate I can recall a time in the 80's when bass makers were in the same boat and pretty much every feature described in the catalogues for many Japanese instruments had "Pat. Pending" or "TM" by the name regardless of whether it was actually innovative or not. -
BB basses from the 80's can have pretty chunky necks but they have a fabulous P bass sound. Little River Band's bassist Wayne Nelson was a big endorser during the 80's (and sported one of the first BB5000 5 strings when they came out). The RBX series left me a little dead but are also good instruments. The TRB through necks in the 90's are also stunning value although I've found the string spacing to be very wide. For 40 quid you did extremely well.