Munurmunuh

What's the problem with them?

I was thinking exactly this and was wondering how to word it. Thank you 🙏

That tort knows what it's about

This fresh installment of LB-100s is poplar - is that likely to bring the weight down a bit? I remember seeing with the previous generation that the white ones tended to be a fair bit lighter than the natural, but what woods they might have been..... 🤷

I've just learnt that my very beautiful TRBX604 has sold at Bass Direct. As I tried to picture who might have it now, I ended up having a pleasant bit of nostalgia for the second half of 2020, when it was my only bass and I was getting reacquainted with the physical demands of a bass. It broke me in gently, and sharing locked-down life with such a handsome slice of wood helped sweeten the frustrations of getting my playing up and running again. A part of me is still very exasperated with my not finding any joy in the 3-band preamp and my disinterest in its versatility. I hope whoever has it now appreciates everything I appreciated about it, and also all the things I failed to appreciate 😄

The staff are lovely in there, not deserving of having their attempts to engage with you truthfully given a kicking online.

A knackered £50 upright piano is about right for my playing, but can I appreciate the refinements of a 10 to 20 grand, er, grand? Yesss. And if I had the space and money, would I buy one? Of couuuurrrse! And will I still sound ropey af? Yes yes yes – but with a biiiig smile on my face

There's been some confusion about what the nut width on this new range of Tribute LB-100s is. Previously they were 1⅝". Sweetwater are listing some at 1½", which is clearly nonsense, just from looking at the photos. The specs on the G&L page for these new block inlaid LB-100s give the nut 1¾", like the Tribute L-2000. The G&L website has been known to give incorrect specs for Tributes, but, zooming in on the first frets of the LB-100 and L-2000, through the fuzz of photos blown up too far, they do appear to be the same: Hopefully you couldn't care less whether it was one or the other

Does this help?

I couldn't care less about slappityy-tapitty-shredityy neither, but might there be better metrics for evaluating musical worth than money? Btw, I see Craig wotsit from Bros has done very well for himself, too.

P: tone on 10 PJ: tone on 10, except when the edge needs taking off new strings (what the Ampero's amp + cab sims are doing to the sound is another matter )

Alternatively: when some people discover that there are subtleties that they are unaware of, they prefer to ascribe the reported distinctions to some kind of delusion on the part of those able to perceive them than entertain the possibility that they are relatively insensitive. Both sides think they're right, and it's really not important, so why bother insulting those who disagree with you?

"What I would always look for on a Strat was a maple neck that had been worn out, I just thought if it had all those kind of worn out patches it meant that it had been well favoured. I think I had played a rosewood on a Jaguar or Jazzmaster in the Yardbirds; I didn't like the feel of it, it felt resistant to bending, it felt like the grain was quite prominent on a rosewood, there was a definite feel to it, it felt like you were going across the grain if you tried to bend a string. [Looks down at the maple-fretboard Strat on his lap] And I never that with this – this was just like almost marble or something, it was so smooth." From 4'08" to 4'57" here:

I once heard Clapton talking (on a promo video for a Fender Custom Shop replica of one of his old guitars) about having a very strong preference for the feel of maple over rosewood on Strats. His comments were something like, the grain of the rosewood seemed to be fighting against him, whereas maple felt smooth like marble, freeing him up. So in the 60s, when new Strats had rosewood fretboards, whenever he was touring America he would be searching out late 50s instruments, preferring knackered-looking ones, on the grounds it was the good guitars that got played a lot.

When I got my first maple board I found that it took my fingertips a while to get used to having a glossy material under the strings - for a couple of weeks there was a sense of being on less secure ground, without the warm matte rosewood to reassure my fingertips as they adjusted to a new, wider nut width.

It is?

Think it might be a changeover of the range. Worth noting that the G&L website is now, alongside pictures of the new inlaid fretboard, listing the Tribute LB-100 as having a 1¾" nut: Tribute LB-100

I read this in a Chris Poland interview: I mean, Hetfield said it himself, he said that the minute you’re satisfied with your guitar sound, you’re done. If those two guys find being dissatisfied with their tone to be a life long fact....

I haven't been able to find out anything more about the 550, other than that in 1986 it was the bottom of the BB range. It's always the cheap ones that get the paint jobs I admire....

Love a nice bright white late 80s bass, so this caught my eye for the most shallow of reasons whilst looking through some scans of old brochures. BB550, MIJ, available in 1987, that's all I know. Also available in red and black.

Pls can we have a thread entitled Any experience of band members in police custody?

So the lesson learnt from previous threads - always take a backup - can now be refined: always take a pre-battered boat anchor as backup

Do we need to fear for the black and maple?