NancyJohnson

I don't want to seem like I'm on a downer, but the New York bass thing has been done here loads of times. The search facility is your friend. Sadly, the days of pawn shops having a pile of dusty 60s Fenders in the back is history and New York prices are yikes. Just go to the Bass Lounge, have a chat with Larry and look at the new shiny stuff that's on sale everywhere else. P

I'm slowly falling in love with Daniel Spriewalds tone; phat and slightly overdriven. He plays for The Drills - if you're familiar with the Phil X [i]Fretted Americana[/i] videos, you'll know that Daniel is the bassist in he Drills...they generally cover something at the end of each promo. In this case, it's Superstition. Song starts at 11:45. http://www.youtube.com/watch?v=NW13vfMrsxk

Straight neck, action low enough to get a bit of rattle/buzz when string fretted.

It's still a huge wedge for a bass that's fairly common and available (minty/secondhand) in dozens of guises.

It ticks all the right boxes here, it's a good album. Loved Kotzen for many years, from the first vocal stuff on Stevie Salas' Electric Pow-Wow album, through the solo stuff/Mother's Head Family Reunion and of course I'm more than familiar with Dream Theater too. Have to say that while I'm more than aware of Sheehan's talent and legacy, I do find his tone quite hideous. I concur with the OP, the bass is too quiet and in addition, there's simply no balls in his tone. His playing is lost when his parts are up front; all the widdly stuff lacks whump.

Nice.

I just wanted something that was smart and tidy. Have to say that it was Vince @TB that told me that the Neutrik Powercon chassis was 'D-Shape' and would fit. He actually lost money on that part of the deal, but credit to him for telling me there was an alternative to the £40 glorified kettle lead that they're selling.

Quick question...who was the member who had the Alpha/A/Alpher bass? If you were standing at the back of the stage looking out towards the seating, he was at the 2.00 o'clock position. P

I recently bought a Temple Audio Duo 17 floorboard to accommodate some dirt boxes,tuner,an ABY switching box and PSU. Three photos below. It's been quite dreamy to be honest. I was never a fan of Pedaltrain or Velcro...here pedals are attached to the board by a cleverish system that involves attaching a bracket to the underside of each stompbox (with strong double-sided tape), which then aligns with the holes on the surface of the main board; the brackets can be removed easily enough. The unit's connection is made permanent by flipping the board over and tightening a nut on the bracket which locks the effect unit in place. There's some larger holes on the board surface to allow cabling/jackplugs to be routed under the board which can then be kept tidy with electrical ties. Power and amp connections are done through modular end panel connections. I felt the Temple power option was a bit too expensive, so just went with a Neutrik power plug system, which fits into one of the end panels without any need to make alterations to the board. Very happy. P

The BBC have a format that is sadly filling their schedules, be it bake-off, Strictly, dressmaking etc and this show will fall into that. Well get 'musical' non-entities like Edith Fecking Bowman acting as pseudo managers and it'll be all you-have-to-play-covers nonsense. Well, screw that.

It's nice to see their name on here. My mate Jay is their drummer. He also plays in Heights with another couple of my mates.

Enjoyed today immensely. Good to put names and faces to their onscreen identities. Lots of great basses on show. Thanks for organising!

From memory (I think CMI) were rebranded Ibanez guitars. They was a link with Marshall as well - look at the scooped M in the headstock decal.

Warmoth used to make chambered bodies, but they're expensive and you'll also be hit with the double whammy of shipping AND import duties.

George, can I ask something quite arbitrary? I know you have a passion for things Rush/Geddy Lee; you've been a Rickenbacker player for a long time and it's pretty clear you reached a fork in the road and you're smitten with the US Signature bass, but I'm curious. I'm wondering whether the US signature edition would actually have gotten a look in had it not have had Mr Lee's signature on it somewhere? P

Thunderbird. Get a Thunderbird.

Aah, Japan. Never seen that clip, so thanks for posting. Obscure Alternatives remains one of my top five albums. I saw them a few times in that early period, they were just too good. Too good. Much prefer the early stuff.

Likey.

This will be at the SE bash in a couple of weeks.

[quote name='Lenny B' timestamp='1441536806' post='2859547'] The conclusion is that the dirtier the guitars, the fewer effects I use. [/quote] Good call.

I've put a small board together to give me a bit of front end dirt (Sansamps etc.) and put this together to go into the front of a clean class D head. I was toying with getting a chorus until I used one a couple of days ago. I play in a couple of power/punky trios and my bass tends to sit full and phat in the mix...just felt that while my bass sounded good in isolation, in a band context the effect was lost; you could hear the bass, but the effect was negligible, especially when the guitarists started using more stomp boxes. Not for me, I'm afraid.