Delberthot

OK, so we had about 20 threads about level 42 last month so I thought it may be a good idea to have just the one for the current UK tour of Cheap Trick. Not long back from seeeing them in Glasgow and thought they were absolutely amazing. They are all on top of their game. Rick Nielson is still as mad as a box of frogs and must throw thousands of plectrums into the audience during the night. His son Daxx is very very good and possibly the happiest drummer on the planet. He never stopped smiling the entire night. Tom Petersson played the same Waterstone 12 string the entire night which was very sparkly and changed it for the encore where he brought out a big gold flake one. You are never aware of the bass during the night until he stops playing and then its so so empty. The 12 string adds so much to the sound. Robin's voice is as good as ever and he hit every note perfectly. I can;t remember the last time I was so buzzing after seeing a concert. Easily the best gig of the millenium for me. I got some fantastic photos and 7 plectrums. I'll post some pics in the morning.

Akai Unibass - 1 Ashdown Chorus - 1 Ashdown Drive Plus - 1 Asdown dual band compressor - 2 Ashdown sub octave plus - 1 Behringer chorus - 1 Boss CE-2 - 1 Boss ODB-3 - 1 Boss TU2 - 2 Boss TU-12H Boss OC2- 2 Boxx chorus ensemble - 1 Digitech Whammy - 1 Dunlop Bass Cry Baby - 1 DHA VT2 - 2 EHX Bass Micro Synth - 2 EHX POG2 - 1 EHX Qtron+ - 2 Guyatone MD-3 delay - 1 Korg DT-10 - 1 Maxon CP9+ - 1 Moog MF-101 - 1 Moog MF-105b - 1 Sansamp Bddi - 4 Way huge swollen pickle - 1

[quote name='dincz' post='1011843' date='Nov 4 2010, 11:34 AM']The thing that really puzzles me is that the EPQ900 delivers 390W (peak)/channel into 4 ohms, but 900W bridged into 8 ohms. Where do the extra 120W come from? Is this some kind of weirdness of Class H? Or have Behringer's marketing people just pulled figures out of the air?[/quote] They've pulled the figures out of their ass

you just turn your keyboard upside down and it does it automatically

I'm probably going to be thinking about getting myself a multieffects in the new year and have been looking at the Zoom B2.1u but like the previous models I've seen, they rely on using a letter and a number Are there any that let you use a name like the Boss GT-6B does but one that doesn't require a degree in electronics to operate? Alternatively for the Zoom owners - how do you remember what patch is what?

I was originally going to stack 2 compact Trace 2x10"s under my Gallien head for a small but potent setup until the opportunity came up to get myself 2 4x10"s. I still think 2 cab setups are the best as you can easily use 1 if you are using a PA or if it is a really small gig and only need a second one if its a big gig or there's no PA. An alternative would be something like a Trace 2x10" combo with a 1x15" cab under it for bigger gigs

There was a talent show at my primary school when I was 11. Me and my best mate at the time were going to mime and dance along to Dancing in the Dark by Bruce Springsteen. Another mate of mine suggested that I should borrow his acoustic guitar to look the part. I ended up buying it off him for a fiver and playing along to Queen songs. Got another acoustic for my 12th birthday which was better. Christmas of the same year I was asked to choose what I wanted out of the Littlewoods catalogue so the choice was obvious, or was it? Everyone wanted me to get a guitar but I noticed that the bass they had, a Marlin Slammer, looked identical through 12 year old eyes to the Precision that John Deacon used on One Vision so it had to be that. That was accompanied by a Squier 15 watt guitar combo and a yellow curly lead just like Brian May. I played every hour that I could, played every song I heard and joined my first band when I was 14

Yes. Despite looking really long and unwieldy they're only 30.5" scale

Don't see these coming up very often - this is a bargain [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=220691926283&ssPageName=STRK:MEWAX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...e=STRK:MEWAX:IT[/url]

I play with the tips of my fingers so I always cut them right before a gig but only the right hand index and middle unless the others are getting too long

I have almost a phobia about my amp packing up so 9 times out of 10 I buy brand new so even if it does go its under warranty. I'm happy to trust the most up to date lightweight cab or a 20 year old Trace Elliot

I was able to do practically any gig with my Shuttle 6.0 and Schroeder 1212L with or without PA support. It was the ultimate compact, loud rig

[url="http://edinburgh.gumtree.com/edinburgh/27/67912427.html"]I wonder what kind of bass it is[/url] Damn they've just added a description - it was funny at the time

You'd be amazed how that can happen professionally as well. I have a book on Cream and Jack & Eric's guitars are left handed, or rather then picture has been reversed and no one's bothered to check it. I was expecting one of those pictures that seem to be all the way through Ebay at the minute that look like someone has taken a close up picture of their guitar in a dark hole cos a lot of the stuff appearing in pictures could be anything.

Bout time I did a review for my Gothic Thunderbird. A very different animal to the standard Epiphone Thunderbird IV. Main differences include: 1) Jazz bass width neck ( 1.5" ) as opposed to the standard 1.73" 2) Mahogany body rather than alder 3) Ceramic pickups rather than Alnico (I'm assuming that's what they are) Some people have noticed that the pickup spacing is different as well but I don't have a standard to check it out. For the Eagle-eyed, you may notice that this bass is very similar to the Nikki Sixx Blackbird. That's cos they begin life as the same bass. The main differences being the pickups, the controls (or lack of) and the Blackbird Optigrab. [u][size=4]Fit & Finish[/size][/u] This bass is very well put together. The neck joint is very tight and everything is situated exactly where it should be. There are no rough fret ends on this bass - in fact I've never come across any rough fret ends on any Epiphone bass I've owned. The headstock is joined to the neck by means of a scarf joint which makes it more solid than the single piece Gibson ones, or indeed the Epiphone Explorers that use a single piece of wood for the entire neck. Single piece necks are weaker and therefore can suffer a break more easily. This bass is finished in what could only be described as the easiest to mark finish ever created to go on a guitar. Its a dull matt paint finish with no apparent laquer top coat. After some time you may find that areas that you are constant contact with become shiny. Scratches are so easy to make, you could even make one with your fingernail. It wouldn;t be deep but it would show up on the finish This bass uses the common 3 point bridge found on on most Gibsons and Epiphones. They're terrible. a pure pain in the proverbial to adjust. They are floating so there is minimal contact with the body which we are always led to believe is essential for a bridge to transfer sound from the strings to the body in order to resonate and so on. One issue that many Epiphones suffer from is the inserts that hold the bridge in are prone to coming out. This occurs especially when you try to lower the action most of the way down - you may find that as you turn the screw, the insert starts coming out with each turn. The solution is to glue them in. Why they don't do this in the factory I don't know. [size=4][u]Playability[/u][/size] Thunderbirds are completely different to play than your usual Fender or Fender clone by the fact that you have a large upper bout at the bridge end where you would normally have a nice contoured part to rest your forearm on. This requires a different technique which also combats neck dive The pickups on this are very growly, helped in part by the mahogany body to produce a very gnarly animal which can very easily overdrive your preamp. The solution is either to lower the pickups quite a bit or use the active input/pad on your amp. The neck is superslim, like the slimmest Rickenbacker neck you've ever played and like the Rick, the taper from nut to body end is very small which makes it more comfortable to play in my opinion The heel on the body is quite bulky so it is difficult to easily get up beyond the 17th fret - in fact its almost impossible. Then again, you're a bass player, why would you ever want to above there anyway [size=4][u]Weight & Balance[/u][/size] This is a heavy bass. I'm not sure exactly how much but its a lot heavier than it looks, helped by that mahogany body. And on to the big issue (nothing to do with the homeless) - neck dive! Right, for a bass to balance properly you really need the front strap button to be around the 12th fret. This bass has nothing after the 16th fret so that's why it will try to hit the floor any time you let go of the bass. The 3 best things you can do are firstly to buy yourself a big wide ass neoprene strap like a Comfort Strap. I have a Brooklyn Gear one that I bought from Stringbusters many moons ago which is more or less the same strap. This will also help to combat the fact that its a heavy bugger. I am by no means a big hard man, well I am big, but I can comfortably wear this bass all night using this strap. Use anything else and you'll be in pain in short order. I still have vivid memories of using a standard leather strap when I had my Stingray and having to take the strap off my shoulder and rest it on the other one after a while cos there was no padding to absorb some of the weight The second thing is to move the front strap bottom as close as you can to the magic 12th fret position. The closest you can get it is on the end of the heel which gets the strap to about the 14th fret if you use straplocks which helps push it out that wee bit further The only snag with this is that you need a strap with a very narrow end in order to comfortably be able to get it on. What I did was to find myself a strap with a very narrow end, cut it to about 3" long and connect it to my comfy strap by means of a nut and bolt using a couple of washers I had left over from a previous set of Dunlop Strap locks. The third and final thing is to buy a Hipshot Supertone bridge. The sheer weight of this will also add bulk to the end of the body, helping combat the neck dive ever further. It is a hell of a lot easier to adjust, offers string width adjustment and is a solid mass of metal which helps to solve our string to body transfer problem that the Epiphone bridge on stilts causes. [u][size=4]Sounds[/size][/u] If you want a bass that will cover most styles of music then this is it. I use it in a wedding/function band where I could be playing King's of Leon one minute, the Scissor Sisters the next then onto Nat King Cole (was a merry old soul) and it has never let me down. It will do thuddy, clear and crisp, nasal Jazz bass sounds, grindy rock and whatever you want to throw at it. The best setup for me is a low action so that when I dig in with my fingers or use a plectrum I get a bit of rattle and clank. The sound when using the bridge pickup solo'd is the best. I very rarely use the neck pickup. Just a slight amoung to fatten up the tone a bit [u][size=4]Overall[/size][/u] This is my third Thunderbird. I sold my first one when I couldn't get it to balance properly and didn't consider another until I was sure I could get it to balance properly. With the above mods which are very easy to do you can create a very playable, not to mention very cool bass. The Pro models are coming in at £250 and this one retails at £199. I'd still take this one over the pro for 2 reasons, namely: 'Proper' Thunderbirds are passive and secondly; I've heard so many stories about the terrible fretwire they are using on them causing premature fretwear. The first bit is of course only my own opinion and they could be easily changed to passive. The second one is worrying if frets are wearing out so quickly on what looks like a cracking bass. Gibson/Epiphone basses have never been as popular as Fenders so are never going to hold their value that well - for example I've seen 1960 Precisions going for £4000 and a Gibson EB2DC for the same period fail to make half that amount. A 1975 EB-0 going for 2008 Fender MIA money as well is another example. You get the idea. [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Thunderbirdnew/DSC08779Large.jpg[/IMG] [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Thunderbirdnew/DSC08777Large.jpg[/IMG] [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Thunderbirdnew/DSC08788Large.jpg[/IMG] [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Thunderbirdnew/DSC08776Large.jpg[/IMG] [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Thunderbirdnew/DSC08785Large.jpg[/IMG] [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Thunderbirdnew/DSC08783Large.jpg[/IMG]

Whack the crap out of it. Change the strings every 4 or 6 months. Lemon Oil the fretboard once a year - assuming I have the bass that long. Taking it out of the gig bag is the last thing I do when setting up for a gig and the first thing I do after one is put it back in.

[url="http://www.youtube.com/watch?v=Cm_4M-nBpCE"]4 year old Chromes on a P[/url] [url="http://www.youtube.com/watch?v=cYzCUk-A24o"] The best flatwound sound I have ever heard[/url]

Solved! Sample of 14mm thick engineered flooring and a sheet of A4 Fablon from Ebay £3.14

what a cock, I've put it in the wrong section - should be in the wanted section candygram for Mongo, Mongo like candy