molan

[quote name='EBS_freak' timestamp='1483616354' post='3208653'] I would like to see his personal bass - I know he was excited about it all, only got the tease shot of the packaging. [/quote] I'll try and get a picture at some point. It's a real 'one of a kind' custom build and we worked together on the specs. Apart from one major feature I've been waiting to see it as I was going to get something based on the same lines.

I've been holding back saying anything about Vic because it's all a bit too personal and I'm really torn up about it but one thing I'd like to mention here is how important Vic was in 'discovering' new products in the bass world. Especially in the area of amplification. He was instrumental in bringing over things like the Julie Monique, Demeter integrated heads, Suncoast preamps, tks Engineering cabs and quite a few more. His ear for voicing on these was absolutely wonderful and he had a knack of being able to hear, and explain, subtle differences between amps and cabs - even down to marginally different tones from amps of the same make but with different power stages. He also had a great vision for exactly what he wanted from his personal setup and I'm pleased to say he was able to realise this just days before his passing. I've yet to view his personal custom bass but, even in his absence, I'm very excited about seeing it. I just wish he could have been there so I could hear him play it through his beloved Monique

Just found this little interview with him; https://youtu.be/59kD9TKjjTc Lots of interesting little insights into the world of London Theatre playing

Yes, Ian is an Overwater and Epifani man I think. I hear that there's quite a few OWs in West End pits.

I went to see Dreamgirls at the Savoy Thestre on Monday and had central seats in the third row of the stalls. I was totally blown away by the bass playing I could hear (but not see) throughout the show. Amazing tone, beautiful playing and the bass sat perfectly in the front of hour mix. Not sure if there was an amp/ cab I could hear as well but it really was a phenomenal sound. I'd go as far as to say it was some of the best live playing I've ever heard. Note perfect, not as much as a single click, pop, squeaky string etc. I was so impressed that I thought I'd try to find out who it was that had made me smile so much. I didn't have a programme so wasn't sure if the band members would be listed but I did find the MD's name online. Then I Spoke to a friend who's a west end pit player and he said he knew someone who was a serious 'bad ass' player and he suspected it was him. I then found the MD on twitter and tweeted him just to say how much I'd enjoyed he show and particularly the bass playing. He replied to me and I asked if my friend's suspicions were correct and he confirmed they were! So - the player in question is Ian King. A serious pro who's been in many West End shows and also happens to be a member here as 'Kingbassist'. Absolute top class musician and right up there at the top of the tree of London theatre players. You can hear him in action here: https://youtu.be/pxZevYx6vcw

[quote name='therealting' timestamp='1482457979' post='3200800'] Interesting - since most of an electric instrument's sound is in the electronics, what pickup did it have in it out of curiosity? I've got handwound Bareknuckles in all of mine. I'm not disputing your experience by the way, just curious. [/quote] I can't remember I'm afraid It was a J rather than a P but definitely one of the more lacklustre J's I've come across. I've hung on to a CS P though and gig with it quite regularly now. I have to say I don't agree at all that most on an instrument's sound comes from the Electronics though. If that were the case we'd all be playin the cheapest Chinese copies with upgraded pickups and pots because the wood and craftsmanship would be immaterial . . .

[quote name='therealting' timestamp='1482456156' post='3200796'] Likewise I owned a FCS for a while and eventually ended up replacing it with a much better MIJ Fender. I've generally been pretty disappointed by the FCS examples I've tried, bar a couple of roasted maple ones and a Todd Krause Masterbuilt I tried in MusicZoo in New York (they were VERY expensive though, close to vintage prices). Not all Bravewoods are to my taste, particularly the heavily reliced ones which I think look overdone... but I feel the same about the heavily reliced FCS ones, I'm a light relic guy. [/quote] My issue with the Bravewood I owned was that it simply didn't didn't sound very good. It looked the part, albeit a bit rough round the edges, but it sounded very thin and bland compared to a genuine vintage Fender. The CS basses I've owned were much closer in tone to the originals. My reference points were a '63J, '64P, '72P and a pair of '68J's. I felt I could use the CS basses as genuine gigging alternatives to the real vintage ones but the Bravewood just didn't capture a decent vintage tone. I guess out there in the 'everyday' gigging world a faked relic'd bass would fool more people than a genuine Fender because most audience members have cloth ears and will be 'listening' with their eyes, lol

[quote name='therealting' timestamp='1482455714' post='3200794'] I'd generally agree with you, but Bravewoods are no cheap replicas, they're much better instruments closer to the Masterbuilts IMO. They also seem to hold their value better than Fenders. Obviously do what you like, it's your money and it's just my opinion. [/quote] I owned one for a while and thought it was a pale imitation of the 'real thing' but obviously it's all down to personal taste

If you're going the vintage replica route then I'd go with Fender over any cheap replica builder 7 days a week. They blow away the replica builders and hold value so much better. In all seriousness, the latest Fender CS instruments are so well made and a joy to play. The copyists make a decent effort but their value plummets from new whilst CS Fenders both retain a decent chunk of their original cost and some even appreciate in value

No - but I do know someone who converted a 5 to 4 which works well.

Just organised a sale with James which went incredibly smoothly and with lots of friendly nattering along the way. He transferred payment to me ahead of schedule and kept in touch all along the way to let me know when things were happening and that the amp I sold had arrived safe and sound Definitely someone I'd recommend at any time!

There's also an element of 'made in the Far East therefore of lower value'. Having met a lot of customers in the shop I've heard this sentiment many times. There are a lot of Brits who have a basic view that anything made in the east has been built to lower quality standards and with ultra-cheap labour. Doesn't really matter which country either although there is a vague hierarchy with Japan at the top and China at the bottom. I'd say most of our customers couldn't say where Ibanez are made so they don't benefit from any Japanese connection. A lot of European countries value far eastern manufacture a lot higher, especially Japan, and will pay higher relative prices. I don't know enough about Ibanez values in EU to say whether they sell for more there or not. Overall I think their value comes from this perception of generally lower quality combined with a lack of clear brand values and positioning. As a side point - Too many guitar manufacturers forget the importance of brand building. There are a lot of 'everyday' players out there who don't understand or value the benefits of a really well made instrument or stuff like expensive woods and electronics etc. They are just buying into the brand that has tangible values to them - Fender being the most obvious example of course.

[quote name='NJE' timestamp='1482245332' post='3198799'] God I wish I had a bass that nice in my house let alone sat in the attic Nice bass though and I completely understand the MusicMan GAS, I have had two and I need to go back to one ASAP. [/quote] It's not alone, there's about 15-20 others keeping it company, lol A few are mine and others are in storage. I should add that the loft is carpeted, insulated and has low level heating

[quote name='VTypeV4' timestamp='1482259585' post='3199041'] I had the 15" combo version - it was truly awesome albeit somewhat arkward to move.. I only sold it as I managed to get my Trace V4 back but if that hadn't have happened then I'd still have it. Don't be put off by the ~100w rating as I'm sure through those 2x10s you'll blow the windows out! Mine could find the limits of it's internal speaker although it was way too loud in any normal situation by then.. Probably the second best Trace I've owned - and I've owned lot's of 'em! - only trumped by my V4 [/quote] I had one of these. My main gigging amp for a while but then moved on to an SWR SM400 which I absolutely loved. Still one of my favourite ever amps. I like the Twin Valve but struggled to get a tone from it that I really liked. Bit of a pig to move around - I fitted some castors but it wasn't an ideal shape / balance and always felt like it was about to topple over, lol

[quote name='thodrik' timestamp='1482250890' post='3198887'] I would agree. Though I have had a Metro for about seven years now and have only started using the 'vintage tone control' knob this week! [/quote] It's my most commonly used control on my NYC, lol I use it in active mode to make broad adjustments to my tone. Wide open for modern stuff and rolled back for older songs.

I was at my amp tech recently and he was working on a Trace head. He showed me the quality of components and design - all very basic and he wasn't impressed. I think his comment was something like a "catastrophic failure waiting to happen"! To be fair, he's a real perfectionist and it takes a lot to impress him, lol

[quote name='dave_bass5' timestamp='1482246002' post='3198817'] Its like one of those jive bunny albums where there is a common beat going all the way through only this time its just the same 3 chords. [/quote] Isn't that simply the history of all blues recordings

Just heard a track from the album on the radio. It really stood out and was a breath of fresh air after yet another dull 5 minutes of Joe Bonnamassa

[quote name='Gibbo9876' timestamp='1482187615' post='3198381'] For me I would say Billy Sheehan, undoubtedly a fantastic technical player but after trying (and I mean really trying!) to get into his music I just dont get it sometimes. Its either a little restrained or completely overkill. But hey I'm a huge fan of Geddy so guess this is all opinion. [/quote] I'm the complete reverse, lol

[quote name='PaulGibsonBass' timestamp='1482185627' post='3198349'] Mark King (*flinches at coming onslaught...*) Clearly an incredibly talented musician, but all that rapid percussive stuff doesn't do a thing for me. [/quote] Completely agree. Whenever I see him playing this is what I hear: https://youtu.be/VElv-wrqWIA

Sadowsky have had a clever 'vintage tone control' for quite a while. Works in both active and passive modes. Available as a complete bolt in fitting or just as controls and wires

I think I have one lurking in the loft. I'll have a hint later