T-Bay

Regular user of 66s until I discovered Warwick reds from a threadon here, similar sound but last 2-3 times longer and half the price.

Nope, it’s a first for me. I have had a couple of Precision’s but didn’t get on with the neck profile so thought the jazz may be a decent compromise. It’s reassuring to hear that the sound is ‘typical’, I do think the better definition/ level on the higher strings will make it stand out a bit more on some songs but I think I may miss the trouser flapping effect of the Gibson.

Therapy, amazing first (mini) albums Baby Teeth and pleasure death, first full album was stunner, then sign to a different label, go mainstream, drummer gets peed off at new direction and leaves and downhill from there. Glad I saw them five times while they were brilliant.

Update time as I collected this off my mate today. The serial number suggests it was made in Indonesia in 2009 which I think rules out the affinity series. Any info on this would and possible models would be gratefully received. The neck pick up is a Seymour Duncan with noticeably larger poles than bridge one and a much better tone. The neck feels very nice, not as perfect a profile as the Thunderbird but that’s a personal preference, it also feels about 15cm shorter. Sound wise it’s quite intriguing, the E string lacks the bottom end of the Gibson (there’s a surprise I hear you saying) and feels a little thin to my ear but much better on 100% neck pick up. The D and G strings are much hotter though, the pick up is at quite an angle but even still those strings really blast out, far more cutting than on the Gibson. Tuners aren’t that nice but I have Grovers and Hipshot ones on my other Basses so no great surprise. I will put new strings on and give it a clean but overall it seems a really nice bit of kit for the money. It won’t replace the Gibson (except at the rougher pubs we play perhaps) but I a want to play it a lot more and then seek out a genuine yank Fender to compare it to. You can tell it’s built to a budget but for the money I think I would struggle to get much that sounded better. A clean, some minor TLC, new scratch plate and possibly knobs and it will be a keeper I think.

I keep looking at these on PMT. but they never have any in stock at the Brum one. I may have to make more of an effort to find one.

You can’t go far wrong at £60 can you? At least that’s my theory!

Looking at Affinity logos it could be, could also be a small Fender one, will find out when my mate drops it off but looking mostly likely it’s an affinity that has been upgraded a bit, still a bargain at £60 even if I factor in a set of strings and couple of other tweaks.

It’s a Gibson, but not expecting this to match up to that, more a dip my toe in the water before I commit to buying a Fender. I know you can play them in a shop or at someone’s house but I find I need a decent length of time to decide if it fits me or not somthis seemed a decent way to do it and be able to get my money back if it’s not for me.

Here is a pic from the ad, it looks like a VM to me, based on pickups and pick guard colour but whether it is or whether these are additions I don’t know enough to determine.

Aahhh, this one has been ‘improved’ by the addition of a Fender logo. I will get it next Tuesday so will have a better idea then. Are there any markings in the neck pocket on these?

Is there an easy way to determine if it’s an affinity or not? The neck profile is important as that’s what I don’t get on with when I have tried precisions.

Mate has sent me a better pic and it has a Seymour Duncan pick up in - the neck one, no markings on the bridge one though. But that’s a nice surprise!

Not IEMs but I have a fair bit of experience on handheld radio kit. A licence is simple and cheap and can make your life much simpler as far less people use those frequencies. I have been at events where many people were struggling to get any signal and we have had no issues. I know it’s extra hassle and expense to do it properly but could be worthwhile and most folk just seem to ignore it anyway.

Surely someone local to that area must have one they would be happy to loan out for a few beers in return.

Being a set in the Mould Thunderbird lover my previous experiences of Fenders has mostly been limited to a Precision I had off here. The fatter neck felt like a cricket bat and it never got past the occasional use stage. Recently I have been having GAS for a Lake placid blue Jazz, no idea why. So today I spot a cheapish Squier Jazz so thought what the hell and put an offer in. I was as surprised as anyone when it was accepted and my mate has picked it up for me tonight and I get it next week. Soooooooo now good/ bad are they compared to a yank one? Is it worth upgrading any bits? What are the variations and how do you know which is which? Will it give me a feel for what a Yank Jazz would play/ sound like? All I know so far is that it’s black on black and someone has put a Fender logo on it (yeah I know.......).

It’s truly amazing what you can get away with, when I was given the advice I mentioned I had only been playing a few weeks and thought the person (very experienced) was having a bit of a joke but it has been the best bit of advice I have had really. The worst thing you can ever do is stop of let your face to show you have messed up.

Well at least some good has come of it!

They sold three! Who to?

I fully appreciate I am the least musically talented person in our band. I am also the hardest working when it comes to practice. I am never the least prepared...... pluses and minuses.......

I quite fancy a didgitech drop pedal to make life easier for some practices and rehearsals, also have gas for a Jazz in Lakeland blue for some reason.

I have a midget and compact with a 1000w Orange terror head, never been found lacking, in fact when used outside it was (according to our drummer) clearly audible nearly half a mile away so volume isn’t an issue. I am sure the OP would be happy with his proposed purchase.

You really are an unpleasant individual, you know nothing of my ancestry. FYI, my ancestors fought tooth and nail for civil and workers rights, my father died very young as result of poor social conditions when I was a kid. I was brought up to love all people, all colours, all religions, all backgrounds. You would do well to do the same.

Teen spirit didn’t come from Derby but it still spoke to me, I didn’t grow up in London but pretty vacant and god save the Queen were in me, The idea that location should in any way shape or form determine musical style/ interest/ quality is so against everything that good music stands for it’s painful. I remember being in a students union, filled with hundreds of people very few ethnic minorities amongst them, singing free Nelson Mandela at the top of my voice along with pretty much everyone else in the room. Music transcends boundaries, breaks down racial stereotypes and brings people together, to suggest otherwise makes scary reading to me.

It also depends what you want the effect to do, I run my chorus before the distortion but always have them on together. I don’t want the chorus to be obvious, just add some ‘width’ to the sound. If I run them the way suggested above from the magazine the chorus effect is too strong for what I want to achieve.