Delberthot

I still love my OC-2. I've tried the poly versions but nothing quite does it for me like the slightly glitchy Boss pedal. I did have a DOD octave pedal years ago that was hellish. Couldn't play a C anywhere for some reason

Literally just finished putting this back together. When I bought it it was described as in excellent condition. the seller forgot to tell me that he had got his mate to spray paint it from its original natural korina to black, to the extent that he painted everything including the pickups. the pickups are to one side until I figure out how to get the paint off them without damaging them and so that they still look Ok so I have the set from my Thunderbird in there just now. I couldn't work out the point of 2 volumes a tone and a selector switch so I've just wired it up like a Jazz bass It sounds pretty amazing so far but I'm not sure if I'm going to keep it. I just can;t see past my Thunderbird.

[quote name='JTUK' post='1088497' date='Jan 13 2011, 07:37 PM']Because they aren't that great, IMV. I don't think they are in the same league as Markbass, for example, and that is ok, as long as the price reflects that.[/quote] If you're talking about the range as opposed to the brand then I'd completely agree. When I was looking at the cabs in that range they did seem a bit cheep and cheerful.

I'm using an EMG HZ in the bridge position of my Thunderbird. I think its a fantastic pickup. very clear and articulate, even though I'm using flats

Cos they aint TC, Ibanez Promethian or Mark Bass? Its been a while since I've been over there but I suspect that ther will be a lot over on Talkbs. Gallien just isn't trendy but it is damn reliable

Just to be completely different, I accidentally created a rig with an old school sound. I've always loved Gallien Krueger amps but got fed up with heavy cabs so after much deliberation I bought one of the new Laney NX115 1x15" cabs. right off the bat I absolutely loved it. I'm playing an Epiphone Thunderbird using mainly the EMG HZ in the bridge position with a bit of Wilkinson soapbar in the neck. for the last couple of months I've been using roto flats. This combination gives me a fantastic, warm, punchy vintage growly sound which is clear enough for me to use it with my function band playing all the old standards, some dancey stuff and modern rocky stuff like KOL & the Fratellis. I'll be having the first gig with it at the end of February with the rock band but i reckon a bit of boost on the GK should tip it over the edge to the 70s rock (Free, Bad Company, Thin Lizzy, Golden Earring) that we do as well as the more modern stuff. i don't remember being so happy with my gear for such a long time, even though they're not trendy brands

Someone's Pinched me Winkles - Rolf Harris Judy in Disguise (with glasses) - John Fred and his Playboy Band I play the Spoons - Clive Dunn If - Telly Savalas Rocketman - William Shatner

I just love playing music and don't care how often I have to play something. I've found that the songs I enjoy playing live are the ones I would never listen to at home and some songs that I;d like to do live are really boring to play along to and very rtarely do the two cross from playing to listening and vice versa. I never play a song exactly the same twice anyway so every night its different. Not because I get bored with it but just enjoy trying stuff on the spur of the moment Level 42 didn't play Love Games or Mr Pink when I saw them last year and that annoyed the hell out of me as for me they pretty much define Level 42. Cheap Trick never did Ain't That a Shame but the rest of the gig was so amazing that it didn't bother me one bit

That is very, very cheap for what it is but then again it isn;t everyone who's up on the value of stuff. He may have bought it very cheaply years ago when Ricks were relatively cheap second hand

[quote name='Chris2112' post='1085115' date='Jan 11 2011, 07:17 AM']He's going for a power lunch.[/quote] For some reason, after I saw the picture I read this as 'Power paunch'.

If you are looking for a lightweight bass that's well put together with a very slim, fast neck the I'd have to say the bass collection. I spent an entire day in Glasgow trying everything. I had about £2000 in my pocket to spend on whatever I wanted. I went home with a Bass Collection. One of the new ones. The older ones are well worth a look as well. Made in Japan, Gotoh Tuners, some with gotoh bridges. choice of fretted and fretless 4,5 and 6 string versions and loads of different ranges from a simple passive PJ to a 6 string zebrawood topped, gold hardware active jobbie

I would have to ask that before you start learning about chord tones, parallelograms, argepeggios and loads of other stuff that I have never heard of before reading this, what do you want to achieve? What do you want to be doing with your talent? Personally I just played along to everything I heard and built up my speed and skill from there. If there was a song that I couldn't master I left it a couple of weeks/months then went back to it. I am not trying to be disrespectful to the players who believe that reading, studying modes and other stuff are important its just that they've never been important to me and I don;t feel that I have ever missed out. In fact, I think I am a better player for it as I don't think in terms of chord structure and other stuff like that, I just play what sounds right. Wait, that makes it sound like I think I am better than you all because I don;t know chords etc but what I am trying to say is that for me, not knowing what all of these things are have been beneficial to me. If on the other hand you want to be a studio session musician or do pit work Then perhaps what has been said previously is the best thing for you to do and what i have said is complete bollocks. the biggest thing I ever discovered is that a song can only progress so many different ways (unless its big band swing that goes all over the f***ing shop) I couldn't consciously tell you what the chord patterns are but the knowledge has come in very useful over the years both for learning new songs and playing requests live that I've never played before

Used them off and on over the years as most of us have. Started going through a Maiden phase and started a thread about Steve Harris' strings which eventually culminated in me buying a set or regular Roto flats at the end of November. I absolutely love them. they're 'my' string

[quote name='BigBeatNut' post='1082995' date='Jan 9 2011, 11:15 AM']Any idea where labellas sit on your scale ? Similar to Rotos ? (Labellas and TIs I know fairly well, not the others) Andy[/quote] Unfortunately I've never used LaBella flats before, only TI, Chromes & Rotos. [quote]thomastic flats are great, med. tension but very high quality string. i believe they do 5 string poss 6 string sets[/quote] They do do a 6 string set which come in at a very painful £50 when compared to Roto flats as a 6 string set for £32 I had a set on my Ibanez SR1016 and they were amazing. I much prefer TIs with active electronics for some reason.

I played only 5 string basses from 1994 to 2005, then moved to 6 strings for a year. The main reason i got a 5 string was because I was a Nathan east fan, loved the Chilis and decided to get a black 5 string Stingray like Flea used to record Funky Monks on BSSM. That was my main bass and used it almost exclusively then had a muck around and moved to 6. for a few years i went through 4, 5, 6, 8 and 12vers before going back to the 4. Unless something comes up in the future where I simply must have the extra strings, i can't see myself moving away from 4. In fact, i can't see myself moving away from my Thunderbird

[quote name='Shambo' post='1082889' date='Jan 9 2011, 04:22 AM']I'm interested in this as well, wanting a recommendation for quality high tension flats for a 5 string.[/quote] D'addario Chromes. They're crazy high tension. I remember buying a 4 string set of my usual gauge, 45s, and they were stupidly high tension Roto flats are perfect for me as I play right at the bridge on my Thunderbird. Seem to be about half way between TIs and Chromes.

I'd rather make sure the strings were wound on properly and take my time than use a machine

At the end of the day, you're going to have to try both basses in gigging conditions to find out if you prefer the HW-one to the Squier. One of the most disappointing Fenders I have ever played was a US STD Precision. I've had fretted and fretless VM Jazzes and thought that they were very well put together. When I bought my Thunderbird, the idea was that I would try it to see if I got on with the shape before going for the Gibson but a combination of horror stories about the new ones regarding QC and the fact that my Epi plays so damn well and sounds amazing meant that it never happened. I'm in a unique place just now of being 100% satisfied with the bass I have and not interested in anything else. I still look at other stuff but nothing jumps out at me anymore. I suppose 70+ basses will do that to you. You need to get out there and find out if what you have already is the right bass by trying what you believe to be better and comparing them

That's one of the basses I have on my list that I'd still love to own

Fleabay are cheapest - you can get them from the Bass Parts Resource but they're more expensive

It depends if you plan on keeping the '51 long term. they are now discontinued so prices are on the rise. modifying one would drop the value. Have you considered getting a regular P and doing it? Something along the lines of a mex or even going for one of the Squier vintage 50s things the same shape as what you already have.

I wonder what the chances of it being produced in the Sterling line are of if it proves popular enough? You could always ask the question on the EBMM forum

i was out on the sauce last night and fell on my arse several times. I managed to get 2 small but stinging cuts right on the tip of my left hand middle finger. Luckily I don;t have any gigs until the end of next month