NancyJohnson

[quote name='No lust in Jazz' timestamp='1502284482' post='3350460'] Either way - I've just had a session with the 'Who Killed Nancy Johnson', You tube collection and enjoyed it. [/quote] Where do I send the cheque again?

Paul Schuster at Lull texted me and said it'll be a killer bass, so my expectation is fairly high. A few years back I was well into double figures bass-wise and while I'll admit is was a lot of fun having them, it was kind of ridiculous, to the extent that periodically I wouldn't be able to list all of them. Anyhow, I'm down to five or six now, three of which are definite keepers. While I don't need to sell the Thunderbird Gothic now, I can see it getting less and less use as time goes on, so I'll just leave it up for sale. If it sells, fine, if not, that's fine too. I can't believe it's been two months since I ordered it. It should be here October/November. I'll report back when it's here.

[quote name='stingrayPete1977' timestamp='1502185648' post='3349789'] I don't even know what 'post hardcore' is? [/quote] Wikipedia is you friend in this instance: [url="https://en.wikipedia.org/wiki/Post-hardcore"]https://en.wikipedia...i/Post-hardcore[/url] [media]http://www.youtube.com/watch?v=EOFdvxkzop8[/media] [media]http://www.youtube.com/watch?v=06GOu9JjHDM[/media] http://www.youtube.com/watch?v=AHuNcPbt5Ms

Musically, we're a four-piece post-hardcore band, gig wise our crowds number 30-50. As we're not fans of playing to an empty room, we've been trying to formulate an intro strategy that just makes people realise we're about to play, rather than walking on stage, doing final tunings and standing around like lemons until our singer decides we're good to go. I'm not talking about intro music, for god's sake, no, just something we can play. The cough, musicians in the band, cough, all seem to think that we need something throwaway that we just play, big noise or something like the start of this live album (obviously without 'Konnichiwa Tokyo' bit): [url="https://steviesalas.bandcamp.com/album/bootleg-like-a-mug-live-in-japan"]https://steviesalas....g-live-in-japan[/url] I do kind of like the Salas thing, but at the same time, this appeals: [media]http://www.youtube.com/watch?v=oTdOcGTiyjQ[/media] HELP

[quote name='blue' timestamp='1502132057' post='3349517'] Did you get paid? Blue [/quote] Bwahaha. Oh, stop. You're killing me.

I played a sh*t-hole in Wardour Street, London on Saturday night. St Moritz. It was a dungeon with a labyrinth of rooms and the place stank very badly of cheese, so much so that I actually gagged when we went down there initially. Stage was about ten foot square, about a foot high. There was a fecking great aircon unit on the low ceiling over the stage ('Over six feet tall? Mind your head then.'). Vocalist insisted on standing on the stage, knocking into everyone, terrible sound, just terrible. We only did it because we thought it would look good on our CV. I'd rather have stayed home and watched the athletics.

Last summer, Andy/Wolverine and I spoke to Alex/Barefaced about having a dual speakered cab (2x12 or 2x15), that would run in parallel (one input/both speakers) or dual-channel (two signals/speakers working independently) modes. I wouldn't be bothered if the enclosure had a switch to facilitate this or if the cabinet simply recognised whether it had one or two Speakons plugged into it. Running two 1x12s or 1x15s isn't really an option. I run a dual channel poweramp and would genuinely like to (try and) run a Sansamp GED2112 pre-amp into this and utilise the dual channel output rather than combining the GED output into mono (via a passive mixer) before it hits the poweramp. Alex said it wouldn't work well (and I respect what he said), but I'm curious whether anyone as tried it.

Emperor's New Clothes.

I tended to do the bulk of the writing and pretty much just sat in front of a PC plugging away on DAW software, then I'd circulate. All good. The main issues (aside from not even bothering to listen to what I'd done) is/was discipline, laziness and ignorance on the part of band-members when they tried to collaborate. Corrupted session files, not knowing how to use the DAW software, recirculated files that were all mixed with all vocal or all guitar, or even better, overdubs that weren't even in time because of latency issues. I've just started a new project where we're going to try and send sessions around, but part of me is dreading that unless the guy I'm working with knows what he's doing, I might be doing more firefighting than writing.

[quote name='Sibob' timestamp='1501506073' post='3345103'] If Lull starts doing an SG shape.....I'm in trouble! Si [/quote] Ask them. Go on, Paul Schuster is on Facebook. The dark underbelly of bass-guitar purchasing starts there.

[quote name='Sibob' timestamp='1501494117' post='3344954'] It's not difficult is it, bring out a Thunderbird in some cool finishes (stealth TB anyone), with some modern pickup options. Dingwall have proved that the shape isn't dead, people still love it. Another SG, long and short scale, with some decent pickup placement. Sure stick with the standard pickup placements as a 'classic' sub-range, but offer some options at least. An SG with Mr Novax' new 'Darkstar' clones in a more typical spacing?!....they'd sell out (I'd buy one anyway haha). Reissue the RD Artist, every post-rock band in the world would buy one. Garnish with some actual colour options and you have a heritage infused bass range to get excited about. Not the committee designed guff that they're coming up with now. Si P.S. I am available for consultation Gibson, I'll likely be cheaper than whoever designed the EB-5 range [/quote] [quote name='NJE' timestamp='1501496127' post='3344974'] Exactly what this man said! committee designed basses that no bass player would buy. I would love to see a thunderbird with some Darkstar-esque pickups in some retro colours or some sparkle finishes, anything other than the dross they churn out. [b]Look what Mike Lull has done with the thunderbird too, lovely looking basses.[/b] [/quote] I'm done with Gibson for now and when my Gothic sells (hint, hint), there'll just be tumbleweed in the Gibson storeroom at Chez Johnson. Yes, I know Neeph is the Gibson King and I'm supposed to be/was King Thunderbird blah blah/whatever, but my smart-money is going on Mike Lull basses from now on. More colours, more options, cough, more money, cough.

[quote name='Grahambythesea' timestamp='1501364835' post='3344320'] Does anyone else think the Embassy looks remarkedly like the Fender Dimension? [/quote] Shouldn't that be the other way round?

I don't think I'd ever buy another P/J style again, but the Michael Anthony does look fantastic. [Edit] I wish these reviews would do more pick playing...it's really not all about fingers. [media]http://www.youtube.com/watch?v=8NlWr1CPczc[/media]

All in all, you have to love Tech21...they are making some pant-wettingly fantastic gear at the moment (and you can quote me there, Mr Barta). Had it not been a case of freeing up funds to cover my new Lull, I'd have been over the GED2112 like the proverbial tramp on chips. If that dUg thing comes out in rack format, I'll probably end up with a 6U rack with both of them in it or a pair of 4Us.

The weirdest thing for me was the recording of the bass dry. You're just kind of used to playing with a distinct level of drive; when you hold a note and it just sustains, that was effectively absent when you're recording.

A mate has this in his studio...you record the bass clean/dry and apply the effect during mix/mastering. You can't get decent results applying the VST during recording. It's a lot of fun, mixing heads/cabinets, mic options and positioning, but there is a high likelihood that you will probably just discover your desired tone and more than likely just stick with that forever. Another observation is that once you start mixing, the tone will become indistinct and just sound like any other bass.

[quote name='NancyJohnson' timestamp='1499332286' post='3330760'] Nanowebs all the way. Because I'm a tad anal about recording when I change strings and what is on each bass, I can happily advise that I changed the Elixir Nanoweb nickels (set#14066) on my Lull yesterday with a set of steels (set#14677). They'd been on eight months. In that time I've done about 20 sweaty gigs and rehearsed (four hour sessions) pretty much every week. The D&G were still pretty good, but the E&A were just at tipping point between sparkle/whump and were losing clarity and the intonation was going off a bit. Yes, they're expensive (£35) but I'd have probably gone through three, perhaps four sets of other brands in that time. [/quote] Another little heads up, I bought some Mugig Soldier brand strings off Amazon - two sets for under £10.00. I only really wanted a set to use on a set up I was doing, but they're surprisingly good. I've done three or four long jams with them, no real reduction in sparkle. [url="http://www.amazon.co.uk/Mugig-Strings-Nickel-Plated-Roundwound-Steel/dp/B01LWAXGT3/ref=sr_1_fkmr2_2?ie=UTF8&qid=1500543003&sr=8-2-fkmr2&keywords=soldier+bass+guitar+strings"]http://www.amazon.co.uk/Mugig-Strings-Nickel-Plated-Roundwound-Steel/dp/B01LWAXGT3/ref=sr_1_fkmr2_2?ie=UTF8&qid=1500543003&sr=8-2-fkmr2&keywords=soldier+bass+guitar+strings[/url]

[quote name='CamdenRob' timestamp='1500308232' post='3336832'] 25,000... ... hopefully one day there will be another as good as the finding of the waistcoat wearing conservatory lunging Trace Elliot guy. [/quote] We did find though, didn't we?

Blimey!

Honestly can't see what's wrong with the BBOT to be honest. Sure I used to swap out the bridges on my Gibsons (because they WERE absolutely sh*te), but the olde Fender bridges are fine; up/down, back/forward. In a blind test (no feely), I doubt anyone could tell the difference.

Columbus Jazz Bass. Aah, my second bass. £65. Adam Music, Staines. 1977/78. Beyond that, I know nothing!