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Grand Wazoo

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  1. Grand Wazoo
    [size=4][b]Will the OP i.e. Original Poster own up and show us where he found this link, please? [/b][/size]
  2. Grand Wazoo
    Can't find a link anywhere, it must be a wind up! I hope the OP has a link to show, and yes I do hope it's not a wind up
  3. Grand Wazoo
    There's no discussion about this, I am going to buy it now.
  4. Grand Wazoo
    forgive my ignorance on the matter, what does the tone pump do? and God in Heaven, please can you permanently erase the thought of a breast pump from my head?
  5. Grand Wazoo
    I have no experience with Spector basses but I see this on ebay remaining in the "affordable" range, what do you reckon it's really worth or what would be the limit you would bid on for it? [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=300432583607&_trkparms=tab%3DWatching"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...=tab%3DWatching[/url] Thanks
  6. Grand Wazoo
    MusicMan basses have the right formula, in my views their StingRay 5 started it all, way back in the 90's with the most comfortable fiver to play and their B strings is the tighter (in terms of sound defintition, that is, not tensile strength) in the market, not floppy like many other in the high end spectrum, and they've only gone and better it with their Bongo 5, 25th fiver, Big Al 5 and even their Sterling 5. Give those a try see how you like them.
  7. Grand Wazoo
    I forgot to add my newly aquired twins... here they are:
  8. Grand Wazoo
    [quote name='matski' post='852847' date='May 31 2010, 07:10 PM']You are not wrong, but this bass has been tampered with a lot in it's lifetime. Originally the truss rod was only adjustable at the bottom end of the neck and the headstock end of the truss rod was hidden under the little teardrop wood inlay - just like the ones pictured above - but this bass was out of my hands for a long while, and the guy who had it changed it. It's not pretty, but it does make adjustments easier... If I could be bothered I would remove the neck and take a pic of the hand-written date on the base of the neck which dates it to '82 and the stamped 'EX' which identifies it as an export (from Japan) model. Surprised you didn't notice that the tuners were also not the right ones, after our previous discussion a while back about extremely stiff reverse-winders On this pic the tuners are the Schallers which I replaced with the period-correct wood-gouging vintage type.[/quote] No it didn't occurr to me about the tuners I though from the front they looked normal, my JV also had reverse tuners and a strap button on the back of the headstock too.
  9. Grand Wazoo
    Well my friend, for the bass you are getting, you are not getting ripped off. I say this with the hope that it is in as conditions as it was when new, and without any "dodgy" mods being carried out. In a nutshell at the time they were made these were built with some fantastic ash bodies, and the sunburst colour always showed some very beautiful veneer lines, menaing these were not just odd pieces of wood stucked together and heavily painted in solid colours to hide the horror of non matching timber and plain jane slabs. Also, they featured top quality components, like pots and wiring which where faithful to the vintage American ones. You say the man is asking for £750 well if you can haggle and get him to come down a peg or two than it's all good but whatever you pay, I repeat if the quality is pristine and all is original you're on to a good thing. But can I tell you how much I paid for mine in 1982? I was living in Italy then and I paid 289'000 Italian Lira which at that time we had an exchange rate of £1.00 = 2'200 ITL hence I paid something in the region of £131.36!! The man in the shop screamed at me waving his italian arms all over the shop, "taka de bass befora i change a ma mind you sonnamabitch!"
  10. Grand Wazoo
    [quote name='matski' post='852736' date='May 31 2010, 04:24 PM']This is a piccie of the headstock logo situation on my (real) '82 JV Precision. [attachment=51036:headstock_front.jpg][/quote] See? I find that pic very questionable, while the stickers look right, I am certain that both the JV Jazz and Precision had the truss rod adjustmentat the base of the neck not on the headstock, unless this is a rarity, I find it very hard to place it.
  11. Grand Wazoo
    This list includes in no particular order currenly owned, and 2 which were stolen from me 1. Paul Reed Smith BASS 4 - The real one from 1989, bolt on neck Alder / Maple it's a P-Bass killer that turns into a reggae machine, it was modified with an Alembic pre-am / eq, but I still have the original kit in case I wish to return it to factory specs. (Now I have retired this bass together with the PRS 5 into storage to preserve for posterity as I don't want to wear them out) 2. 1982 Fender Squier Jazz JV Series - Stolen in 1993. 3. 1991 ESP Jazz with Bartolini - Stolen in 1993 together with the Squier JV 4. EBMM MusicMan 25th Anniversary, the Rolls Royce of basses. 5. EBMM Bongo 5HH - because it's sh|t hot 6. Fender CIJ 51 reissue Precision Bass - best thing I've tried in years - all original except for pots and wiring, no need to change the pickup, as it's pukka just as. 7. Squier Classic Vibe 50's Precision - all modifiied under the hood - pickup, wiring and pots. Best, cheapest and lightest bass I've ever owned. Thank God for basswood. 8. Squier Classic Vibe 60's Jazz - moo moo - as above all modified under the hood. 9. Squier Classic Vibe 60's Precision - Fiesta Red - as above all modified under the hood. 10. Stingray 5 - Now featuring a Seymour Duncan AlNiCo 5 motherbucker!
  12. Grand Wazoo
    Musicman20... I understand your frustrations, but I also believe that both Darren at the Bass Merchant in Colechester and Strings & Things (the official importers) would have done backflips to have your Classic returned and swapped for a perfect one, if only you'd wished to, and a big part of me tells me that perhaps you were too quick triggered in deciding to return it for a refund. The comment you made about 2 or 3 band EQ is a totally different matter that maybe you should have elaborated before making your decision to buy one, after all EBMM has been offering 2 EQ stingray 4's as special order for ever, just to satisfy the old school types. Finally as for the mutes, trust me, it's nice to have a bridge with them on, but any bit of foam will do and it's way easier to replace in case it wears out whereas the EBMM mutes are difficult to source and you need to undo the blades from the bridge to fit new ones. I slide a 1/4 inch of foam on and off at the bat of an eyelid on my basses. P.S.: I told you not to click on that link, didn't I?
  13. Grand Wazoo
    Ed Friedland highlights another great review in his own way and what a review it is. p.s.: Musicman20 you shouldn't watch this. [b][url="http://www.youtube.com/watch?gl=US&v=rJN72FvjST0"]Watch it here[/url][/b]
  14. Grand Wazoo
    I have done a bit of a search on the old google and found some very informative links... to start with the pics below shows the exact headstock logo as appeared on the very first Squier models: [size=3][b]Note how the Jazz had an 80's Fender logo, whereas the Precision had the earlier spaghetti logo[/b][/size] [i][size=3][u][b]There are a lot more of info on this link: [url="http://www.21frets.com/squier_jv/index.htm"]The Squier JV Pages[/url][/b][/u][/size][/i]
  15. Grand Wazoo
    I agree on the Bongo 6, they are effortlessly easy to play, light weight and a powerhouse of sound to boot. [url="http://www.youtube.com/watch?v=lS0mQDmQzAs"]http://www.youtube.com/watch?v=lS0mQDmQzAs[/url]
  16. Grand Wazoo
    woooo reading these posts its like listening to a bunch of sicilan widows talking about a legendary sea monster that took their husbands from them!! HAHA, it's not mithology! It was a transitional stage when Fender was testing the waters for the sole purpose of allowing the public to accept the new Jap Squier range. lol I might be an old boy but my memory doesn't fail me. In fact I remember reading that way back in the 80's that the reason for a Fender logo with the small Squier one was done so that the public wouldn't think of these guitars as "counterfeits". I owned a Jazz bass like that which was stolen from me. It was incredible, and if I had kept it, this would have been worth a lot. That is the only half pic I've got left of it.
  17. Grand Wazoo
    What's a good one? £££? I am growing tired of cables getting in my way.
  18. Grand Wazoo
    Well let's see... this is a no brainer. 1) Original US Vintage would be on my top list up to the late 60's but I couldn't justify the expense. 2) I wouldn't touch a mexican with a barge pole, I tried umpteen and they all had issues, some of which I couldn't live with. 3) I voted for Japanese reissues because of their superb quality and faithfult reporduction, they are the better value for money than any of the modern American made ones but at the same time, they are hard as hen's teeth to find 4) You didn't include in the poll option the Squier Classic Vibe which is a serious contender and my option no.2 after the Jap reissues. 5) As for the recent made in US, they are beginning to get better once again because from the mid 70's to up to the 90's and 00's they've been all over the place and buying a good one was a gamble, you get one good one out of 10'000 and I am not fond of the new push/pull/active Deluxe series, it's like tarting up a Mona Lisa. They ought to keep it original and trying to make it as good as it used to be when Leo designed them
  19. Grand Wazoo
    [quote name='WHUFC BASS' post='850172' date='May 28 2010, 10:57 AM']To my eternal shame, I've been playing gutiar and bass since I was 13 and never once have I learned how to set up a guitar. I'd love someone to teach me properly as it can save you wads of cash over the years. Maybe something someone could organise - I'd definitley be up for learning.[/quote] Ok, it's not rocket science and you can start reading this link thoroughly and I strongly advice you practice with a "spare" bass as a guinee pig, but first read here: [url="http://www.jerzydrozdbasses.com/akcndfr54jdhrei567/Ultimate_Guide_ver100.pdf"]http://www.jerzydrozdbasses.com/akcndfr54j...uide_ver100.pdf[/url] If you are in London and you get stuck, we can sort out a meet with a few of you's who would like a demonstration, and I can give you some tips.
  20. Grand Wazoo
    [size=7][b]BUMP!!![/b][/size] Buy me you basteeds!! If you are in London I'll even deliver it to you by car.!
  21. Grand Wazoo
    [quote name='funkle' post='849871' date='May 27 2010, 10:12 PM']Bump.[/quote] how about a swap? StingRay 5?
  22. Grand Wazoo
    Well we haven't seen the bass so none of us can really pass judgement, there will always be a mixture of horror stories as well as happy endings. I have heard of someone in this very forum who recently bought an original Music Man bass and had to return it because it had unspeakable "issues" that you wouldn't really expect from a £1200 instrument made by such a valued manufacturer as Ernie Ball MM, but you know sh*t happens, and yet I am a great fan of Music Man stuff and I own 3 + 1 on the way (Big Al 5) of these basses and never had any issues, believe it or not, I work for a shipping company, and my last one was loaded from New York to London on a cargo ship, stored in its original case and outer box in a ship's container, and crossed the Atlantic on a weather deck in December! When it got her was cold as ice but after I let it climatize in my house and gave it a random set up, it was as good as gold. The last bass I bought was A CIJ Fender 51 reissue, which when I received it I wondered why the bridge saddles were set so high at their max height, yet with an incredibly low action, just couldn't work out the reason for this odd set up, the truss rod was set perfect with the right slight curve as it should be, until I noticed that I was able to move the neck in and out with my right hand, to my surprise the 4 screws holding the neck were barely hand tight and as a result the neck was sitting way up, and not tight in its pocket, which is why the cowboys that set it up in that shop had to raise the saddle to the max to avoid the fret buzzing like a snare drum. Bunch of muppets the lot of 'em. Anyway I am lucky to be able to set up my own basses and having worked in a guitar shop many moons ago I was trained on fixing most set up faux pas, which is a skill that I really treasure these days and one that has saved "my life" on more than one occasions. I suggest that unless you are able to set it up yourself you have it looked by a professional and if there are any charges for the work that you get the dealer to pay for it, if they are incapable to fix it themselves. if indeed the bass is a duff one then by all means take it back for a refund. But don't give just yet.
  23. Grand Wazoo
    Hi chaps, before this hits the eBay, I thought I'd give you a chance to buy this off me. Against my better judgement, I have no time to play with effects, and this lovely multi-effect processor which I only bought last March 2010 it is still in it's box, and unfortunately, doesn't get any use. To me is just a toy that is getting no play at all, but a more creative and patient musician can make full use of it. Here is the invoice proof of purchase date: As the item is new I'll take £250 for it and will post it free anywhere in UK. If you need more pics, please ask, here are the basic features of this pedal: The Zoom B9.1ut bass effects console combines the most technically advanced audio engine with the warmth of a classic 12AU7 tube to produce the richest tones imaginable. Its ultra-fast ZFX-3 processor means all the world’s most famous amplifiers, cabinets and effects are modeled with stunning accuracy. For the discerning bassist, the B9.1ut represents an impressive and powerful solution for creating rich, detailed bass tone. 96 kHz Sampling Provides High-Resolution for Sonic Accuracy Delivering high-resolution, 96kHz sampling processing with 24-bit A-to-D and D-to-A conversion, the B9.1ut rivals the processing equipment found in the finest studios. This means that the wide pitch, timbre and dynamic ranges created by modern bass styles are handled without degradation, ensuring clear, transparent sound. Advanced ZFX-3 Audio Engine The outstanding performance of the B9.1ut is made possible by its ultra-fast, 32-bit, ZFX-3 engine. This highly sophisticated processor means that every nuance of your performance is delivered as you imagine it, because the power of this processor reproduces every possible amp model and effect with true clarity. Accelerator Features 12AU7 Tube Combining the raw processing power of the ZFX-3 with the 12AU7 tube accelerator produces richer harmonics and organic tone. By adjusting the mix balance, the thick characteristics of the 12AU7 tube and the striking clarity of the ZXF-3 can be adjusted so that saturation is natural and focused. The World of Bass at Your Feet With the world’s most famous bass amplifiers and stomp boxes at your disposal, you have all the low end drive and sonic transparency of timeless classics. From Ampeg, Fender, and Marshall as well as more recent models such as Hartke, SWR, and Aguilar, a whole world of bass tone comes complete on the B9.1ut. Create Exactly the Right Bass Tone for Any Situation The B9.1ut’s cabinet simulator emulates the low frequency characteristics and sonic behavior of vintage and modern bass speaker cabinets. This gives you the full dynamic range of bass you get from large speaker cabinets even when playing through a flat-response system such as headphones, studio monitors and even when using a small practice amp. Turn the cabinet simulator off to return to a direct amp sound. For live or studio performance, the B9.1ut gives you the right tone when and where you need it. Studio-Quality 6-Band Semi-Parametric Equalizer On-Board A built-in 6-band semi-parametric equalizer provides tone flexibility and control on a level that rivals gear found in studios around the world. Center frequencies can be adjusted for each band, and the EQ curve can be set to peaking (narrow/wide), shelving, low-pass, or high-pass. Dedicated knobs in the preamp section make it easy to adjust the boost or cut amount for each band. 112 Effects Specially Tuned for Bass The B9.1ut offers a versatile collection of 112 effect types arranged in 10 modules. They are optimized for the dynamic and wide-range signal created by the modern bass. The effect selection includes limiter/compressor for controlling peak levels and ensuring uniformity, auto wah and resonance filter, octaver to produce ultra low notes, defret to simulate a fretless bass, detune for a chorus effect and other eminently usable choices. There are high-quality studio type effects such as delay with hold function up to 5000 milliseconds, vintage tape echo, stereo chorus with exceptional sonic clarity, flanger, phaser, pitch shifter and more. The module insert position can be specified for the preamp section and wah/filter effects to accommodate even more advanced creativity. Versatile Bass Synthesizer On-Board for Additional Flexibility With its full bass synthesizer on-board, the B9.1ut provides modern, fully editable synth sounds. Its mono synthesizer offers a choice of three waveform settings: sawtooth, square and PWM. The 4-voice synthesizer creates rich and deep harmonic voicings. You can also use the foot switches to play the pedal synthesizer. Two types of filtering with excellent tracking are also available. Z-Pedal Opens Up New Dimensions The built-in Z-type expression pedal developed by Zoom captures up/down and sideways movement for controlling more effect parameters with subtle changes. In addition to conventional expression pedal parameters such as volume, wah, or pitch shift, you can control the mixing balance between direct and synthesizer/drive sound, adjust the rate of modulation effects or control the delay/reverb mixing level. The Z-pedal lets you build highly complex sounds by assigning up to four parameters each in the vertical and horizontal direction. Of course, there are also effects specially designed for use with the Z-pedal for a completely new realm of bass pedal performance. 80 Artist Preset Patches for Stage and Studio In addition to its vintage amp and stomp box models, the B9.1ut comes preprogrammed with artist-created bass sound settings for major genres such as rock, jazz, and funk. Doug Wimbish, JD DeServio and Eric Struthers have each provided customized preset patches. Enjoy professional-quality bass tone thanks to 80 preprogrammed patches. And for additional creativity, storage capacity for another 80 patches is also provided. Looping Function Records Phrases of up to 5.4 Seconds With its looping feature, the B9.1ut lets you record a bass line while creating additional layers over the loop. You can overdub several phrases in real time, or play a solo with looped phrases in the background for a great live performance. Advanced User Interface Optimized for use On Stage Designed with all the functionality and ease of a traditional amplifier, the preamp section on the B9.1ut lets you make gain, level, and 6-band EQ adjustments on the fly. In every aspect, the advanced user interface of the B9.1ut is designed for stress-free, efficient operation, letting you achieve the tone you want so you can focus on your performance. The footswitches are highly flexible and can be assigned to patch changes, bank changes, module on/off switching, hold delay on/off switching, bypass/mute control, tap tempo input and more. World's Fastest Patch Change: 7 ms With the fastest patch change available, the B9.1ut eliminates dropout when switching patches. Its record-setting speed of 0.007 seconds means the B9.1ut literally never misses a beat. Change the patch in the beginning, middle or end of a solo, or any other time during your performance, without dropout. Built-In Auto-Chromatic Tuner Also Supports Multi-String Bass The auto-chromatic tuner can be called up instantly. Bright LED indicators make the note readout easy to see on a dark stage. Its calibration range is 435 to 445 Hz and mute tuning is also possible for enhanced onstage flexibility. Zoom Noise Reduction (ZNR) On-board The built-in ZNR circuit developed by Zoom provides optimized performance for bass. While minimizing any alteration of the original sound, ZNR removes unwanted noise in the playing pauses. Even the tails of long sustain notes come out beautifully with natural release that is ultra-quiet. Low noise: 120 dB S/N Ratio and -100 dB Noise Floor Specifications such as a signal-to-noise ratio of 120 dB and noise floor of -100 dB demonstrate a level of performance that is unsurpassed. Background noise is a thing of the past, leaving you free to produce only superbly transparent bass performances. Sturdy Metal Chassis and Tough Enclosure The solid metal chassis ensures that the unit can stand up to the rigors of use on stage. On the road or in the studio, the B9.1ut will not let you down. The sleek rounded shape of the sturdy enclosure and its chrome-plated switches and knobs are as elegant as they are durable, proving there is no sacrificing beauty for brawn. DI Functionality with Stereo XLR Connectors The B9.1ut has a built-in set of stereo XLR outputs that lets you establish a balanced signal path for clean sound. Go directly to a mixing console or PA system without additional gear. A convenient pre/post switch makes it possible to use the effects from the main outputs without passing through the A/D converter when using the XLR outputs. USB Audio Interface The USB port on the B9.1ut provides audio interface capability for recording to digital audio software. To utilize the sounds of the B9.1ut in a computer-based recording environment, simply connect the unit via USB to your computer. The B9.1ut comes bundled with Cubase LE 4 so you can start creating music right away. And because playback from the software application can be monitored on the B9.1ut itself, you can record and monitor with no latency. MIDI Interface On-Board The ability to exchange MIDI messages with other devices opens up a wealth of performance and data management possibilities. Switch patches in conjunction with a MIDI enabled preamp, or use the unit as a real-time controller for external MIDI equipment. Connecting the B9.1ut via its MIDI interface to a computer allows the use of dedicated editor/librarian software* to edit and store patch data. Free editor/librarian software can be downloaded at [url="http://www.zoom.co.jp/"]http://www.zoom.co.jp/[/url] AUX IN Jacks Accommodate External Sources External sources such as a CD or MP3 player can be connected to the AUX input for use as backing in a jam session. Or use the connectors as a stereo line input for the USB audio interface. External Send/Return Loop Connectors A compact or rackmount effect or other device can be connected in an external loop and used as part of a patch. Send/return levels as well as on/off status are stored as part of the patch. With the B9.1ut, you’ll find new ways to use your favorite effects and enhance your creativity in many ways. Amp/Stomp Box Models Marshall 1992 Super Bass + 1935A A vintage tube amp featuring the characteristic warm and mild Marshall overdrive sound. Great for the active bass player leading a band. SWR SM-900 + Goliath By mounting a tweeter in the speaker cabinet, this bass amp succeeds in combining a rich low end with clear highs. Very popular among slap bassists. Ampeg B-15 + 1 x 15" combo Vintage combo amp preferred by James Jamerson. Creates a warm and rounded bass tone often heard on Motown records of the 1960s. Acoustic 360 + 301 Solid-state amp embraced by many top bassists of the seventies and eighties such as Jaco Pastorius and John Paul Jones. Tight midrange and warm low end are its major features. Aguilar DB750 + GS410 High-class handmade bass amplifier endorsed by many of the world's top-level bass players. Clear outline and powerful, clean bass sound are its hallmarks. Hartke HA3500 + 4.5XL With its aluminum-cone speaker, this classic bass amp and cabinet achieve clear reproduction over the entire range. Famous for its great response and transparent sound that preserves the original character of the instrument, this was the sound that Jaco loved. Polytone Mini Brute III Compact vintage combo amp with a single 15-inch speaker. Characterized by a distinct midrange, the setting is great for jazz sessions. Gallien Krueger 800RB + 401RBH Best-selling model used extensively by rock and heavy metal bassists. Renowned for its gutsy punch and solid bass sound. Fender Bassman 100 + 4 x 12" cabinet Tube amplifier with silver faceplate from the early days of the electric bass. Creates a vintage bass sound that is a perfect match for vintage playing. Trace Elliot AH-500 + 1048H / 1518 British-made bass amp with a firm core and distinct contours. Makes those phrases flow easily and smoothly for rock and pop. Walter Woods M300 + Bag End S-12B This bass amp gives prominence to the original sound and brings out the character of the instrument. The smooth and natural sound is also favored by many upright bass players. Tube Preamp (Zoom original) Simulates a high-class tube preamplifier such as those used in recording studios. Creates a solid yet smooth and supple sound. Sansamp Bass Driver DI This amp simulator recreates the characteristic drive feeling of a tube device. It is a favorite choice of bass players both for live playing and for recording. Ibanez TS9 Tube Screamer Stomp box often used as booster for tube amps. Produces natural overdrive sound that clearly brings out those picking nuances. Boss ODB-3 The ODB-3 is designed specifically for bass and belongs to the famous Boss OD series of overdrive stomp boxes. It produces aggressive overdrive characterized by flashy highs. MXR Bass D.I.+ Foot pedal type preamp incorporating a clean channel and a distortion channel. The B9.1ut simulates the sound of the distortion channel with its solid body. Dallas-Arbiter Fuzz Face Fuzz pedal famous for its unique round "face" design. Aggressive vintage fuzz sound fueled by the energy of germanium diodes. Boss MT-2 Extreme distortion pedal for the ultimate metal domain. Characteristically fat distortion in the mid and low range creates ultra long sustain. Electro-Harmonix Big Muff Since its introduction in 1968, this vintage fuzz pedal has fascinated many great bassists. Long sustain and thick, sweet distortion are its most prominent characteristics. Digital Fuzz (Zoom original) This digital fuzz effect developed by Zoom will go places where analog simply can't. Its "broken" quality ushers in a new fuzz generation. Ultra-fast 32-bit DSP ZFX-3 processor on-board 96kHz sampling rate / 24-bit A/D/D/A converters for accurate bass models USB interface for connecting directly to a computer 3D Z-Pedal allows for multi-dimensional parameter control 6-band semi-parametric EQ for complete tone control World’s fastest patch change speed: 7 ms One 12AU7 tube for natural overdrive/compression and drive/volume 112 effects specially tuned for bass 80 preset artist patches + 80 user patches Built-in Zoom Noise Reduction Versatile bass synthesizer on-board with filtering and waveform control Stereo XLR output for stage or studio Built-in MIDI interface External send/return loop on-board Sturdy metal chassis for roadworthy durability Intuitive interface great for live or studio use Steinberg Cubase® LE 4 software included Specs: signal-to-noise ratio of 120 dB and noise floor of -100 dB Free editor/librarian software available for download at www.zoom.co.jp 21 AMP/STOMP BOX MODELS
 Ampeg SVT + 810E All-tube bass amplifier incorporating original Super Valve Technology. Thanks to its gutsy drive sound, this has remained one of the most popular bass amps ever.
  24. Grand Wazoo
    [quote name='gafbass02' post='848154' date='May 26 2010, 07:49 AM']How are you getting along with the Zoom?[/quote] The zoom, me? Oh.. don't use it much, to be honest it's just a toy, has some nice sounds which I only use it to mock about recording various tracks, but when I gig, I only ever use a compressors. When playing "real man's basslines" I don't like effects much. Nothing sounds real or natural through the zoom so it slightly puts me off. One man's meat and all that...
  25. Grand Wazoo
    I was talking to Charlie Chandler today and asked him what did he know about Leo Quan and the scarse availability of their Badass bridges, apparently production it is on a hault at the moment due to Glen Quan's ill health, however there is a high level of interest from Fender to buy off the design rights and the manuafcturing plant, but no one really knows when that will happen.
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