warwickhunt

I'd possibly look at putting you question in another section of the forum Colin as the 'sales' section is technically just that; items that are for sale. It could be viewed that you were inviting offers on the instrument which is against forum rules and opens up the doors on this part of the forum for much speculation and pulling apart of your instrument... which again is frowned upon.

Not sure it's the correct place to stick this up!

Strange as I've pushed a lot of watts through a single on of my DBs and no break up from the driver. I know it sounds daft but was the actual connection/coupling as secure when swapping between the amps and cabs? One thing that I would say is that I've had experience of amps that have indicators (LEDs etc) that showed everything fine but I could hear clipping and turning down the bass/input/output etc. sorted it out (I've also known amps that 'indicated' clipping or reaching limit of meter and in fact they were miles from any point of clipping)... so I wouldn't necessarily trust any VU meter or clip lights as much as I'd trust my ears.

Doh! Totally missed this as well.

I managed to watch Weller and crew but have to confess that despite giving everyone else a chance, I ended up hitting mute and doing something else till the next band came on! My personal gripe is the sound. OK you could argue that what you are hearing is a 'real' ambient sound of the studio live (or at least I hope that is the excuse) but FFS in this day and age there should be no excuse for not getting quality audio broadcasts.

WTF!

[quote name='Conan' timestamp='1334597928' post='1618311'] That's an extremely patronising and sweeping generalisation. It is also inaccurate if you are suggesting that bands that play "for fun" are somehow less worth their wages than a so-called professional outfit. The differentiation is not in quality but in outlook. So "pro" bands I have seen were awful, whereas some "hobby bands" as you call them are brilliant. The only difference is their motivation. [/quote] Couldn't agree more. I play in a hobby band with 4 other guys and they are fantastic musicians who have honed their talent for over 30 years each (we are all in our late 40's), that's 150 years of accumulated knowledge and experience (including 2 of the band being employed as music teachers in state maintained schools). I can honestly say that we could mop the floor with a great number of bands who claim to be/or are, 'Professional'.

Some drastic tension on that bridge! The front is nice and flat/flush and there is absolutely no give when you try and push down but I appreciate what you are saying that it could be a case of the string tension/pressure bending the anchor points up... though being able to see the thing in person I don't believe that is the case.

Saddles are chromed. So is there a simple means of distinguishing a CMI from a S'bury and do any of the others have these features? Not that it matters, it is purely out of interest. To summarise; bound neck and body (binding doesn't meet behind the bridge) thru-neck stereo outputs closed tuners pearloid (plastic?) inset inlays lacquered (Rosewood?) fingerboard bridge isn't flat to the body at the very end (not lifting, it is meant to be thus) single truss rod with a (brass) nut as opposed to recessed bullet

[quote name='ash' timestamp='1334519745' post='1617184'] Shaftesbury's have quite a chunky neck - slim nut width but fatter than a say an Ibanez.or Aria. [/quote] Difficult to draw a conclusion as I don't have an Ibanez or Aria to compare it to! The neck certainly (if my memory serves me right) feels a little fuller than the last pukka Ric that I tried but feels very even from neck heel to headstock join.

The TR cover has been painted over with a 12 letter word beginning with 'R'! The more I've looked over the paintwork the more I think it could be original, my concerns were due to the stripe down the fingerboard edge and some flaking/chipping around the binding BUT I think paint would flake and chip on the edges of binding (the binding has eased off a mm or two in one or two places [just a cm or so]). I'll research CMI a bit further. The bass has a single TR with an external bolt as opposed to a bullet socket.

I was getting £200 for a 4/5 piece playing pub covers 20 years ago... still getting that now! Market forces dictate that pubs around here can't pay much more than £200-£250 and many bands are getting £150. Saying that I wouldn't do a Private function for less than £500; nothing to do with the extra work involved in getting to the venue early and soundchecking before a guest is anywhere in sight... I just hate Weddings/Birthdays/Private parties (in fact if I had my way it would be a minimum of £1000 ).

Just snagged a Ric copy; Shaftesbury I believe, can anyone confirm? It has stereo out (though only mono appears to work), thru-neck, closed back tuners, cream binding (binding on neck then a thin 'binding width' stripe of unpainted neck); unsure as to the originality of the black paintwork (not that it matters). Oh and it sounds uncannily like a R**********r! [IMG]http://i54.photobucket.com/albums/g119/warwickhunt/100_2235.jpg[/IMG] [IMG]http://i54.photobucket.com/albums/g119/warwickhunt/100_2226.jpg[/IMG] [IMG]http://i54.photobucket.com/albums/g119/warwickhunt/100_2238.jpg[/IMG]

Just to add that I was >< this far away from getting that HT322 cab off ebay, however Karlfer snagged it instead and I seriously kicked myself as I imagined that from all of my research while the cab was on ebay, it would have partnered the TF fantastically well. Saying all of that I'm not sure that the tone v weight compromise would be worth it over my Aggie DBs.