EliasMooseblaster

I'm sure it's just an optical illusion caused by the fanned frets, but it looks to me like the neck is bending slightly downwards...the most extreme form of neck dive?

Airick the Half-a-Bee?

Good god, I don't even know where to start...the bass guitar string sitting on top of a packet with a picture of an upright on it...the description which is for a 4-string pack of standard gauge Warwick Reds, with no mention of a high C...and not just the ridiculous price but the offer to bung them twelve quid a month for the next two years. Consider my mind well and truly boggled.

Time to dust this thread off, as I think I might be developing a mod addiction. I installed the DiMarzio. It sounds wonderful (https://www.youtube.com/watch?v=OJSTRSG-ILU for a demo) The other night, I replaced its volume pot with a push-pull, and after a couple of hours of faffing and head-scratching, I have it switchable between series and parallel.) Now, I'm looking at the rotary switch again...and wondering if there's a way to wire in a fourth setting which puts the bridge pickup out of phase with the neck. Who's feeling brave?

Your real name is Finbarr Saunders, AICMFP

Funny you should say that - I still use an original flavour Little Bastard 30 for both. It's great for recording as it still has a nice warm tone even at modest volumes, although you'll need some good soundproofing if you want to push it harder. Similarly, it's done me well for smaller gigs and can be astonishingly loud with the right cab. (Though I do defer to a CTM-100 for larger venues!)

I always feel bad for laughing, because I know their grasp of English is infinitely better than mine of Japanese...but then, "One Seymour Duncan pickup is arranged from the rear..." - well, if that's what you're into...

I think I'm right in saying that some similar firms have come a-cropper when enough employees/"sub-contractors" have banded together to take them to court - I'm sure someone like Hermes or Deliveroo was ordered to changes the terms of their contract to offer basic workers' rights such as sick leave.

Heaven: walking into a shop like the Bass Gallery, and seeing all the beautiful instruments lining the walls, which quickly becomes... Hell:...when I see the price tags hanging off them.

It's quite a practical design, really - it doubles up as a bottle opener

Ah, I didn't realise they were flogging the HT as all-tube...that is a bit cheeky. I do like my HT-1, but there's no way an amp that small has a valve pre AND power stage! I have opened up an Artisan 15; didn't really stop to examine the wiring, but judging by the size, weight, number of valves and lack of PCBs, I could believe it's all tube. That, and it does sound incredible!

Actually, his computer hid it automatically, before jumping off the desk and claiming to be a Golden Retriever. PC gone mad, I tells you...* *hoping Rich isn't a Mac user so that this tenuous sub-Dad joke holds together...

How rife are these porkies? I was aware that the HT series were a valve pre but a SS power stage, but I was fairly certain that the Artisan series were all-tube...have I been mistaken all this time?

Children's songs take a dark turn as Bananas in Pyjamas Forget The Safe Word...

Yeah, phrases like "valve-inspired" make me think it's probably SS circuits modeled to sound like valves - and I suppose valve bass combos are a bit of an unusual beast as it is. I suspect you're right - if there were any, you'd expect them to be waxing lyrical about how many different 6L6s or KT88s are in each stage, and so on.

So does anyone know if these actually contain valve stages, or are they just simulated valve stages in some of the voicing options? I know valves aren't every bass player's cup of tea, but I always felt the great strength of Blackstar guitar amps was their valve tone - I'd certainly be interested to hear how it translates to bass.

Can the filter pick a random element from an array of strings? I'd personally be all for randomly replacing 'snowflake' with 'farty old witch', 'toilet smell', or any of the other mature and witty epithets found in the highly cerebral Viz comic strip "Spoilt B*st*rd"

Wasn't it also Johnson who called Chuck Berry "a c**t," then, when interviewed years later and asked "is it true you once called Chuck Berry a t**t?", clarified his stance said, "that's not true; I called him a c**t." Always tickled me, that did. Perhaps I've too long since accepted that a lot of my favourite music was made by horrible people, and if they turn up to be nice people then that's a bonus. I think if they come across as nice or funny people then that gives me more time for them as a person, but not necessarily their output. I've certainly found more time for Noel Gallagher (certainly in comparison to his obnoxious brother) and James Blunt more recently, but it doesn't warm me any more to their music. Similarly JK Rowling: I think she can be very entertaining on Twitter, and I like what she stands for, but I still can't get on with Harry Potter.

They certainly didn't: there's an interview with the group from around that time where Townshend expresses his surprise that some writers and critics were devoting so much time to analysing the song, when he was just going through a bit of a whimsical phase and being a bit more light-hearted with his writing. Further evinced by the single they were there to promote at the time, which was I'm A Boy.

Oh, I don't know...I'd say gin is definitely superior to Coke!

As it happens, Daltrey actually sings the "US version" one of the better-known live albums (think it's IoW 1970). I agree that the line almost certainly bore no ill intention. It does sound rather ham-fisted nowadays, but then so do plenty of other lyrics from that time. You can understand why the US label wanted it changed - the context is very important. The US release went out in April 1966, while the Civil Rights Movement was in full swing (coincidentally, two years almost to the day before the assassination of Martin Luther King), and I can imagine that the label would have been wary of any lines - however neutral their intention - that might have inadvertently whipped up any further tension. I don't think anyone's going to accuse your band of racism for singing the original line, but I also understand why it makes you wary. Maybe it's worth pointing out to the singer that there's an alternative lyric, which sounds better. You don't even need to make it about the racial sensitivities of the line - I've seen equally spirited debates over whether the first verse of The Kinks' Lola should end with "cherry cola" or "coca-cola"...

That is a gorgeous specimen...I'd be tempted if I didn't already have something which looked very, very similar: http://www.schecterguitars.com/vault/model-t-lh-detail !

I would encourage you to go for it. I've had one of the passive version (Model T Studio?) since 2013, and it's still one of my favourite basses.

Oh my...I do rather like the look of that Schecter CV - anybody on here had the pleasure of trying one of them?

I had a similar problem when I first started using mine in a band setting. For the longest time I was frustrated with the tone going quite "woolly" when I turned it on. So I cranked the tone control higher and higher in the hope of getting more definition, and it didn't seem to make a difference. So I went back to the instruction manual...and I *think* the tone control actually works more like an "enhance" or pre-shape control, i.e., turning it up creates more of a "smiley face" EQ and sucks all the mids out of your tone. By contrast, "my sound" is built on a strong mid-range - no wonder it seemed to disappear when I had the pedal's tone up at 8 or 9. Nowadays it hovers around 2 or 3!