BigRedX

But why use the Shergold name if you're not going to re-issue the original guitars, or at least follow on from them with more modern versions using a slightly updated styling?

Our version of this song has made the Emerson Lake & Palmer YouTube Channel's top 9 favourite cover versions

Or you buy an Eastwood Hooky. It says something when Eastwood, notorious parts bin guitar makers, are building a more accurate version of a classic Shergold instrument than the company that now owns the name.

DiMarzio pickup? Or a look-alike copy?

Vision Video on Monday night at The Bodega in Nottingham. A Absolutely brilliant, and a lot more overtly political than I was expecting, which given the current state of the world is not a bad thing. They did storming covers of "Just Like Heaven" and "Transmission" which were still possibly the weakest songs in the set, which just proves how good their own material is. Go and listen to "Dead Gods" now.

Thanks. It doesn't look as thought it would be suitable for my need because AFAICS in keyboard mode it only supports single key presses, and I need to be able to use keys with modifiers (Control + keystroke etc.) to trigger macros without conflicting with the single keystroke commands in Logic. Also I'm not sure how my macro commands would work over MIDI since they act at OS level rather than within the DAW. Pity because otherwise it appears to be rather good VfM.

Does it simulate key presses as well as MIDI commands? Can you provide a link to the manual? The descriptions on the various sites selling them are annoyingly vague and there appears to be even less information on the "manufacture's" web site. TBH I'm not keen on Bluetooth for use at gigs and would far prefer a hard-wired solution, but so far the AirTurn has been surprisingly reliable and it's small footprint means that it fits in more places on cramped stages than the Elgato pedal.

Well after the initial faff of setting up the AirTurn pedal, it has proved completely reliable over the last month of gigs and rehearsals. Of course having said that it will fail miserably at the next important gig!

If this is about the Squier Bass VI then IMO not at all. Baritone guitars are usually tuned B-B for 28" scale and A-A for 3" scale instruments. The Fender and Squier Bass VIs come fitted with strings designed to be tuned E-E one octave down from standard guitar tuning. That, to me, makes it a bass. The other thing is pickup placement and voicing. I've not tied stringing my Squier Bass VI with an A-A set, but given that the pickups work very well for bass guitar type tones, I'm doubtful that it would sound as good for guitar-type tones. The real test for me as to whether something is a bass VI or a baritone guitar is can you play full first position chords on the instrument with the supplied strings and get a clear but down-tuned guitar sound out of it? No problem at all for any of the 28" scale B-B baritone guitars I've owned/tried. A complete waste of time on the Squier with the supplied strings, or any other E-E set I've tried on there.

Yes

This has come up before. Unfortunately the removal of the original JB pickups make this less desirable.

On the couple of occasions when I have played a fanned fret bass I found I had adapted to the frets within 5 minutes of picking it up.

The first piece of music I ever performed at a "concert" in front of an audience was in 1976, aged 15, and was one of three self-composed, semi-improvised instrumentals with me on either piano or guitar (depending on which piece we played first and which I really can't remember now). Myself and two of my class-mates in the ensemble used to attend a junior folk guitar evening class and the teacher put on an evening of music played by members of all the various music classes she taught. Most of the rest of the programme was earnest teenagers playing "folk" songs or classical music and we were very much at odds with the overall theme of the concert. I think our performance was met with polite applause and bemused expressions from the audience members. My first live performance playing bass was also my first proper gig at a proper gig venue, at the Ad-Lib Club in Nottingham in 1981. IIRC the opening number was another self-composed instrumental called "Modern Atoms #2" which was heavily fuzzed bass with feedback guitar, toy-trumpet, drum machine and bongos.

As I said in the other thread, I once took my Atlansia Solitaire 1-string fretless bass along to a rehearsal for my Dad Rock covers band where it was perfectly usable for about half the songs we played and the fact that it was fretless was more of a hinderance than the fact it only had one string.

My last gig of 2024 is with In Isolation, and will also be In Isolation's farewell performance as singer Ryan is calling it a day. It will be at the Salutation, in Nottingham on Saturday 14th December. Doors are at 7.00pm and we'll be on shortly after that as we will be playing an extra-long set and it's Spellbound Goth Night at 9.00pm afterwards. Tickets are just £4.00 and if you'd like to come and see our final gig it is highly recommended that you get one as they are selling fast.

You should know enough to know that it only theory and not the law. Depends Not since 1978

Amp & Cabs Vs Modeller and FRFR?

And it would be equally valid to say that a lot of people who try a 5-string bass and then go back to playing 4-string basses do so because they haven't spent enough time PRACTICING with the 5-string bass.

There's any number of threads in the Theory and Technique sub forum about practicing, but AFAICS you haven't contributed to any of the recent ones, and yet you are happy to post on this one which means your statement is pretty much worthless. Practice doesn't attract that much discussion because either you need to do it, in which case you just need to get on and do it, or you can come up with an alternative thing to play that doesn't require you to any practice. Simple.

Warwick Reverso or his yellow Auerswald.

It is now in a separate action.

Flanging is also a lot more forgiving about the sweep time not being directly related to the tempo, whereas phasing nearly always sounds wrong unless it is synchronised to the tempo ideally with the high and low points of the sweep being at the start of a bar.

The Moog Rogue was supposed to rhyme so that should tell you how Moog should bee pronounced.

Weird isn't it? Technically a good on-board pre-amp should be little different to the pre-amp in your amplifier. In fact I would go so far as to say that a very good on-board pre-amp such as one designed by John East will probably be sonically superior to a lot of pre-amps in the actual amp.

It's never truly silent. Even though the room where I practice is separated by a floor and wall from the lounge other people in the house can hear the acoustic sound of the strings (and my foot tapping on the floor) unless they have the TV or music on.