NancyJohnson

@Al Krow (Just an update, @Graemeross cabinets are BB2s, sot Super Compacts. My error.) Graeme runs an M900 into two BB2s. Irrespective of the Barefaced blurb and frequency range claims, I always feel that an HF horn in the enclosure just gives me an nth of highs that add to my desired tone. The more I think about it the more I feel I'd like to go that route. I tried a pair of Aguilars last summer and they didn't do it for me at all. Too flat and ponky.

When all this was fields, I remember buying Gibson plectrums and they had the old Norlin comma and apostrophe squiggle under the Gibson logo. I was amazed that I could buy into a little piece of Gibson for about 20p.

@Al Krow I'm amazed how my amplification set up has changed over the years, from this huge tri-amped Trace/SWR set up, scaling back to a smallish Ashdown MAG/Line 6 POD set up, the Hartke endorsement period, racks of Tech21 and power amps. Mental. If I was starting out now and looking for advice from an amp perspective, I'd just say do your diligence and spend as much as you can on a decent head/enclosure or combo because it will last you years. If the A/O had been about 30 years ago, I wouldn't have needed to throw thousands at my backline, but I guess the road travelled makes the destination a little sweeter, eh? Head aside, the only thing I do think about changing periodically is the enclosure. I won Alex's Barefaced Big One prototype at the SE Bass Bash a few years ago; it's a wonderful thing, but my mate @Graemeross owns a pair of Super Compacts BB2s that edge things slightly tonally, plus they look a bit tidier, so maybe one day I'll look to going that route, but for now, I'm tiptop.

Owned two. A TC Electronic with the modelling thing, it was ok, loved the ease with which you could change patches, but it never seemed loud enough. Currently on a Darkglass A/O. In a band environment it's fantastic; output volume is mental and tonally it's the nuts and I'm 100% happy with what it does. At home though (or at lower volumes) I prefer to use a dUg into the effects return.

I fear for my testicles.

Officially, two Lulls, two Spectors, a Hamer, an Aria. I think my wife suspects this not to be accurate.

I'm *really* drawn to the Phil Jones, but it's at best 3-4 times more than what I'd want to spend on an amp that may only get used for 30 minutes a week!

I'd like to get something smallish that I can just use in my home office when I fancy a noodle. Don't need wattage (so anything up to 15w), it needs to be desktop/compact sized, but I would like it to sound decentish but I can plug in via my dUg. I was drawn to those Blackstar Fly combos but baulked at the 3" speaker. Anyone?

If it was the 2018 with the Babicz, then yes. A bit of a palaver buying it, mind. Seemed really worried about upsetting his wife with another purchase...went through all the tried and tested things he could say from, 'What? That old thing?' to 'I'm borrowing it from someone.' Messaging went quiet and about a hour later he shot me over a screenshot of the purchase. What a dance, eh?

We can park this. He just pulled the trigger on a 2018 Gibson SG. Thanks.

Our guitarist is a lefty, he's played bass elsewhere and owns a Fender Jazz and a Rickenbacker 4003. In the last few days he's been peppering me for suggestions for a shortscale he can just rack up in his studio and noodle on. Choicewise, no Fenders or Gibsons. He wants something a bit quirky/odd. He's looking at stuff like Eastwood or Danelectro. Anyone able to chip in with suggestions?

OK, not read the whole thread, but from a height perspective, I always liked things rattly...as low as it goes so long as the note plays. The fretbuzz just contributed to my overall tone.

Mine is red. It's a belter.

When all this were fields, I used to get the Bell catalogue and dream about Fender Jazz basses, but the reality was I kept within the bounds of reality and played sub-£75.00 Columbus copies. It was all I could afford on my paper-round and Saturday-boy earnings. I wouldn't actually dare ask my dad for a loan or shake a cup, begging for money. Fast forward to 2020, let's set up a funding website and get people to pay towards a bass. I'm sorry, but that's insane and it's a forking disgrace that you should expect anyone to pay for something you want, but hey, we live in strange times. We all want something, but most of us just suck up that we're never going to get it or we have to do a hard save to get to it. I was raised to believe that you'll appreciate the good things more if you actually put in the graft to pay for it yourself. Right, I'm off to set up a go fund me as I need a holiday. Nowhere cheap, mind. Five star, all inclusive. Somewhere warm. Oh, I want to fly there business class at the very least. Some sucker will fund it.

Dunlops here. If I'm on the market for a bass or guitar they're a same day purchase.

We seem to live in a time where putting a well known person's name on something is a thing. A Geddy Lee signature model will not make you play like Mr Lee, nor will a bass owned by <insert name here> do the same. And before anyone says anything, yes I'm perfectly aware that I own a Lull Jeff Ament bass, but I really have little desire of being in Pearl Jam.

Whaaaaaaat? More information please!

I've been known to hook my little finger around the bridge...it does seem to give you more control when you're playing 16s. Bloody uncomfortable after a while though.

lol I bought a Euro LT with some of my mother's inheritance money (cough, it's what she would have wanted, cough) and while I don't own a single Gibson at this point, we're still sitting at Thunderbird shapes 3, Spector NS shapes 2. There's also a single Precision interloper.

Right, it's done. The Tone Pump is out and, at this juncture, I've simply bypassed the tone control pots and gone straight into the output jack (I've done this previously; to be honest, as I generally play with everything open, it's fine).. Had a quick noodle, I just feel it sounds cleaner tonally and a bit more under control. Incidentally (and I forgot to mention this earlier), I was also getting in intermittent loud popping off the neck pickup if I played to hard over it, and that's disappeared too. Happy now.

Well, I've ascertained that the pickups work fine (battery out, crocodile clips), so I'm just going to whip the TP Jnr out and rewire it passive. I've never really been that au fait with active pickups/electrics. I'm fine with the John East kind of thing, that you're simply adding a big chunk of preamp/active circuit between the (previously passive) pickups and the output jack, but it's the stuff like EMGs/Barts etc. where there just seems to be fork all circuitry in the loom that confuses me. Do the pickups themselves contain some kind of circuitry? The pots?

I still feel like pulling the whole lot out, plus I'm still uncertain how the stock pickups will operate if I just went the passive route. I may pull the battery out later and dig out my little crocodile clips.

On the meet and greet thing, I felt great that Tommy Lee didn't want anything to do with these things.

I'll admit girlish crushes on the first Motley Crue album and the one with John Corabi and I'll also admit to thoroughly enjoying Neil Strauss' The Dirt. I do dip into the Nikki Sixx Instagram page once in a while. Anyhow, earlier today I noticed Schecter are making a limited number of those hideous Thunderbirdesque monstrosities (in Theater of Pain livery) along with a greeny coloured distressed Sixx Jazz Bass. Interest piqued, I stupidly clicked through a link and saw he was pawning these off after US shows at $5,000 and $5,500 each respectively per night. $10.5k a night, with many slots already sold out. Bring a guest and your camera, the blurb says. For that money, I'd expect a decent dinner with a decent bottle of red and a chauffeur to drive me home. Rock and forking roll.