ezbass

I would have thought that the potential for condensation was the biggest issue. I always bring mine in in the winter, just in case.

Yes, I was going to suggest the PJ Flightcase, but it’s not what I would affordable. Great gear, but at a price: love mine.

Cool! 😎

Is that a Roadworn? If so, I had one of these and the necks are quite substantial and you’re not wrong about the growly pickup, definitely takes no prisoners. Cool purchase; enjoy.

Stone Age Mountain Way.

Mine was more in jest (thus the emoji) but you make some good and recognisable points, sadly. Sorry @AndyTravis we seemed to have derailed the thread a little.

Fixed 😂

The problem is, unless you're a gifted salesperson who loves the cut and thrust of negotiation, it's just not artistically rewarding and isn't sexy (I hate trying to get gigs, it's soul destroying and I used to be in direct sales). However, it is required and probably why folks have managers/agents.

He's always had some of the best gurns in the business.

Great bass sound on those Andy - kudos.

I do like some Joe Walsh in my day. Their voices work well together. 5 treble guitars seems a bit excessive though.

If no one is really going to really push and market the end product, is it really worth throwing more money at? Perhaps it might be worth taking the time to decide what, if anything, you think could be better about your current recordings and if a re-engineering/remix might not be a better use of funds. The two bands I’m in (albeit cover bands) have both made recordings at the same studio, but with different engineers. One recording is fine but, to my ears, sounds flat following the final mix down (the roaring Ric I could hear in the first rough mix ultimately became a tame, generic tone). However, the next guy we used, a fabulous, energetic, young chap called Henrik, delivered a far more ‘alive’ product, akin to the actual performance, when he rode the faders and he delivered the final mix faster too. Ultimately, it’s whether everyone can afford both the money and time and then have the oomph to market it in order to make it worthwhile. From your précis of the situation, @AndyTravis, this sounds unlikely. Hopefully, I’m way off base and totally wrong, as I hate to pour cold water on folks’ creative output.

Steven Wilson played bass on most of To The Bone and used a Ric (at least that’s what he is using in the video of the making of), no homages to the CS tone there IIRC.

What Were Once Vices... What an album! I can’t hear it without thinking of lazy summer days when I was just a lad. I’m going to have to play it now.

That was a fine, fine shop. I'm pretty sure I met Jon on my visits. Ah, those were the days, Wals and Jaydees just hanging there, drool coursing down my jowls 🤤

Man that configurator is a dangerous thing. My 2 Elwoods are both 33" scale (41mm nut) and the difference that inch makes, given my hand size, is remarkable, everything just falls to my fingers so naturally, especially the fretless.

I saw JW at The Fairfield Halls with Quango (basically Asia without Downes and Howe), absolute quality gig. JW was also with Wishbone Ash for a while too.

Nick Beggs is another prog stickist. Although he uses Spectors when not tapping.

Maybe drop MM an email? These guys seem to do custom affairs https://www.herrickpickups.com/products/custom-covers-parts/

Thread resurrection time. A keyboard playing and jazz loving friend of mine just shared this on Facebook. Very Mahavishnu, but not as extreme. Dave Weckl being brilliant as ever and Mohini Dey really nailing the low end on that Cort. However, for me, it's the doubled violin/guitar 'head' that makes me hit replay (reminds me of the Dixie Dregs).

I find the pre amp a bit clinical for my tastes, at least the one I had (Glockenklang?). YMMV.

We need someone to bring out a big, brutal head called The Troll.

The Sandberg’s pre amp stood out like a pair of doggy’s doodahs to me (I used to own a Basic VM). Didn’t like the Sire (too muffled) and it was a close run thing between the a Fender and HB. Just did the PJ and the Sandberg stood out as different again, albeit non as pronounced as the JJ test. The Sire P p/up, fingerstyle was dull (again), but the bridge J was better than its JJ counterpart. Of the four it was, once more, a toss up between the HB and Fender, with maybe the Fender just winning on the J tone.

👏👏👏