Doctor J

Alternatively, if someone is reporting a stolen instrument only after an ad goes live and have no proof whatsoever of ownership and no pictures of it outside of those in the ad, the police are not going to spend a lot of time on it.

The ad had been around for a while before I went for it, but It's really very nice 🙂

It changes every now and then but, at the moment, it's El Presidente.

Got blown up in Return of the Jedi?

Surely one is UB40 and the other is UB42?

For me, EQ should be the finishing touch to fine-tune a solid fundamental tone. From there you can gently caress to perfection to suit taste and circumstance. When you have to chase something decent to begin with, it limits what you can achieve with the instrument - and not just for active instruments either.

No forearm contours Over 40mm nut width Matching body and headstock paint with maple fretboards Thumbrests and thumbrest screw holes I love active basses but if it doesn't sound good with everything flat, it has to go Relics, especially home made ones

Yeah, it's common, people.

"Unchecked electronics" usually means "checked, not working, not bothered to fix"

I replaced a Bartolini system in my Bacchus 24 with a 5-pot, 3-band EQ Glockenklang setup. It's a very well made and very transparent setup - it does not colour the sound as much as other pre-amps I've tried. You really need to like the raw sound of the bass you're putting it in.

I generally agree, I love post-Cavalera Sepultura, for example, despite being a fan since BTR came out, which seems to be quite divisive, but Jim Martin is the one where I think the music was noticeably weaker afterwards, despite the considerable ability of those who replaced him. The strained relationship between them, coupled with Jim's general cantankerousness and refusal to follow the bass made for enthralling music. They lost a lot of what made them so unique when Gould became the big dog, there was far too much of the guitar following the bass by design. They veered towards more traditional songwriting than jam-based creations and sacrificed a lot of what made them great as a result... to my ears, anyway 🙂 I preferred Moseley's shambolic drawl, too, but there's no denying the brilliance of the first two Patton albums.

It takes more time for a low frequency wave to be generated, it doesn't suit speed at all. Fast downtuned stuff usually sounds like mush. Why rush? 😁

As for the difference it makes... even though Geezer never tuned down to match the guitar, there is weight to the early version which is missing from the effort a few years later when they tuned to E

I've been a fan of tuning down since I started playing in the late 80's. The first band where I was actually able to downtune was when I wrote all the music and we played slooooowww, which formed in 92. Since Sabbath had tuned to C#, we decided to go "one lower" and tune to C. It really suited the music. After I left that band, they continued, playing the songs I wrote, but tuned to E. It was awful 😂 Since then, I have played in bands who tuned to dropped-D, another who went between B standard and dropped-A and another who tuned down to A standard but had some songs in dropped-G. It's down to the music you're playing, that darkness and weight really suits lower tempo, heavy music. The last stuff I put out was tuned down to A. There is a lot of joy to be had playing the same octave as the guitar and then introducing to low A on the bass for effect. It's something I have always enjoyed immensely since I was a kid, but it's definitely not right for all music types. Some examples...

Not associated with this sale. It's hard, so very hard, to go wrong with a Japanese Sadowsky Metro https://www.basschat.co.uk/topic/462683-sadowsky-metro-mv4-hpj If you're comfortable with putting one together, make one. That's what I'm doing. I have a Warmoth J neck coming soon and a Highway One body waiting for it with an EMG Geezer PJ set. I'll most likely replace the body but it's the starting point to getting what I want, which I can't find as stock anywhere.

I can only think of two reasons why you'd stick to the same manufacturer for both - their amps and cabs are exactly what you're looking for - they're paying you to be seen with their gear Other than that, buy amp and cabs which best match your requirements and budget, regardless of brand. There's not really a technical reason to stick to the same brand. Most of them don't make their own drivers anyway.

Recording forum here?

It's RHCP after a Health & Safety inspection with all danger and risk eliminated. Lukewarm Chilli Peppers, goggles and rubber gloves.

Bought just one? 🤔😂

There is no reason why the fretboard has to be parallel with the body. In fact, many instruments have the neck angled in relation to the body. It's certainly no reason to send it back. Have a look at some videos on doing setups. It's fairly straightforward to do once you take your time and understand the principles.

There is also more information here

You need to register in order for them to know who you are and how to pay you, but registration is not an onerous task, it would appear.

These should do it without needing to drill, fill or file anything. https://www.thomann.de/gb/schaller_bmc_ebassmechanik.htm Just measure the width of the hole in the heastock to make sure the bushing fits properly.

Since I can't really comment on that which went before I started playing and, therefore, can't definitively prove basses actually existed in the olde times, I can only offer my own perspective 80's - Aria Pro II 90's - ESP 00's - Ibanez 10's - Alembic 20's - Levinson Blade