Chris2112

[quote name='Nibody' timestamp='1328597419' post='1529600'] Been asked to join a "Nu Metal" type band by a mate. They play in "C" tuning. Rubber band strings anyone ? [/quote] Nu Metal? Are they a serious band, or has the nostalgia scene for nu metal started already?

I didn't mind Vapor Trails ('How It Is' is amazing, for instance) but S&A struck me as a pretty strong record. Much stronger and more consistent than say, Test for Echo or Counterparts. There were a couple of plodding moments but it overall it was very good. I do think though that they need to get away from just thinking as a guitar/bass/drum rock trio and get back to either some great proggy arranging like The Camera Eye or even better, get some synths out and start thinking about big, catchy melodies again. I've said it before though, and this will not be the last time I say it, but Rush turning out an average effort (by their standards) is better than most bands could even dream of.

I would assume yes to both questions. Email them to find out!

That 'Headlong Flight' tune is pretty good! Nice riff, some great bass playing stuff too. Very enjoyable.

Hmm, these sound rubbish in these videos! I'm sure I've heard them elsewhere sounding better than that.

With this one: [IMG]http://i669.photobucket.com/albums/vv52/Baryonyx2112/Streamer1.jpg[/IMG] I sometimes wonder about it's history. It's a 1990 Limited Edition Warwick Streamer. There is so much I don't know about it. I was discussing it with Warwickhunt when I got it off him. Is it a stage 1? A Stage 2? Or is it just a 'Limited Edition'? I wonder how it got to the country, being German made, and I wonder if it spent some time in Germany before coming here. I like that it is in such fabulous condition. It could easily pass for a new instrument, yet it feels 'played in'. I have been a Warwick fan for over a decade now and I must have played hundreds of them, yet this one strikes me as being very special indeed. It sounds fantastic, it plays beautifully. The Bartolini pickups really add some magic to it, and the body woods lend the bass a tone that is distinct and articulate yet very musical. I suppose the bass is quite similar in some respects to a Streamer Stage I (in terms of wood choice, NT construction) yet I feel that sitting down with a Stage I and this bass you would be hard pressed not to pick this bass as the better of the two. I also like the fact that it was part of Warwickhunt's collection. He's been through a few Warwicks, so to get one from the 'private stock' is a privilege. IIRC, he let this one go as it's a bit heavy for his sore shoulder though he made it quite clear to me when I got it that he considered it one of the 'good ones'.

[quote name='Kiwi' timestamp='1332321296' post='1586463'] And the gap around the 12th fret? Problem with the cutlass necks was that the phenolic resin on the fingerboard wasn't stiff enough to resist string tension. All 5 I've either owned or played so far have had the same issue. I've never found one that wasn't from 1983 or 84 either. [/quote] Funny, the last Cutlass I played had pretty low action and was generally a nice player. Sounded better than a wooden Stingray too, if only the marque had been brave enough to continue and expand on this range.

Howard's Bass Place was the best. Everyone who has been there would attest to it. Good old Howard and Surly Pete behind the desk, always something interest in stock and playing something for as long as you liked was never an issue. It was a social venue as much as a shop and I met many great players there (Mark Palmer being one, fantastic playing). I remember going there with a mate from down South, and he was amazed by the place as they had nothing like that where he was from. I was at the height of an obsession with Stanley Clarke and he was madly into Jaco at the time. We just grabbed a couple of basses and ended up jamming for ages, trading licks and solos. He had this awesome phrasing going on, so I was countering with light, percussive Stan' style slap and pop and fast fingerstyle soloing with big intervallic gaps! Good times.

Nice, but they'll have to work hard to compete with Bass Direct. Bass Direct for me, is what we've needed in this country for so long but something the Americans have enjoyed for ages, a bass shop with a great stock and a great site. Mind you, this Streamer: http://www.bassmerchant.com/bass-guitars/4-string/h14622308.html looks very nice indeed. Owning a limited edition Streamer myself, I can quite safely assume this one will be great, even if it is a bolt on!

Different type of growler, son.

That Wal he had is nicer. Mind you, the Gallery have whacked a good 'Pino tax' on the prices. £5000 for the Wal? Good grief.

A Warwick Thumb/Streamer or a Yamaha TRB would be my ideal choice of a 6 string at the moment, I think. The Streamers and Thumbs win the battle for me tonally but are much harder to find that TRB's, and I've always gotten on with TRB's. Still, one of the best 6'er I've ever played was probably my Status Stealth bass, it was a real cracker.

A Yamaha TRB seems a popular choice. Mind you, you could argue [i]the[/i] industry standard 6 stringer is the Fodera Anthony Jackson bass, saying as it has been so key to developing the concept of the 6 string bass as a whole. In America, I'd say the industry standard 6 string bass is without a doubt a Ken Smith 6 string. It was practically a prerequisite in the US Gospel scene for nearly two decades, until other luthiers like MTD came into fashion.

Frankly, 16 pedals seems a bit excessive. But I suppose it can be one of those things where you can get started and it's difficult to stop. I suspect this guitarist may not have heard himself play without layers of effects in years. I tend to keep effects on my sound down to a minimum, maybe with just a touch of chorus to add a little colour. When you have too many pedals you're just tap dancing and focusing on what effect you'll use next, rather than truely playing well.

[quote name='Jack' timestamp='1335203947' post='1627254'] I do love those basses, when I couldn't find the right Ray 4 I almost went Growler. As it is, I'm pleased I stayed away, I heard bad things about them. [/quote] Pray do tell what they might be? Not the age old 'Nashville/Far Eastern Tobias basses not as good as handmade items from Mr Tobias himself' shocker, is it?

[quote name='Green Alsatian' timestamp='1334181234' post='1612351'] I wonder if Alex will be allowed to break out his effects again - I remember an interview where the producer of Snakes & Arrows banned him from using his effects. It's not the same unless he's plastered on the chorus. [/quote] Alex should really be given whatever creative freedom he wants. 'Hope' is still one of my favourite parts of Snakes and Arrows, could it be that he is the man with the answers and the ideas at the moment? I'm just getting back into my Rush records after a bit of a hiatus and I am struck by Lifeson's genius again.

They are a fantastic bass. Quite frankly, I prefer the sound of them to your usual MM bass, as they are 'all that' and a bit more besides! But they seem relatively rare in the UK, definitely more of a hit in the US. Mind you, that could just be down to the availability of stock.