All Activity

Which one was that?

I've made a career from it.

Happy 2026 to you Danny. I’ve been slowly getting back in to studying after the winter colds/flus/covid worked their way through everyone in my house since the start of December - sadly no joke! I hope all is going good for you.

You had me at "oikish malevolence"

I've got an Orange Basscrush 50 which I bought to use for practise as trying to get my Orange Terror bass at a sensible volume wasn't happening. I've been really happy with it - I can get the sound I want, pretty close to my live sound through the Terror bass, but at a low enough volume not to disturb the neighbours (too much!). My only grumble would be that the tuner can be a bit hit & miss at times, but I can live with that. If I was going to gig with it I'd have probably bought the 100 as it has the DI out and if I'm only using 1 cab for a gig I prefer to use a 15"

Playing a B string may give you the same notes as down-tuning, granted, but in no way whatsoever does it give you the groove, swagger or oikish malevolence that down-tuning until your strings rattle does; you're right, they just don't get it at all.

I have to say that I delight in not understanding when I get spoken to like that. A sort of mulish, wilful ignorance, if you will.

I also have:

This splendid comparison put together by a Basschat member should be of interest to anyone thinking about buying a used Stingray:

I remember reading a thread about pre-EB MusicMan basses on Talkbass and one poster who played bass during that era was recounting how when the first Stingrays hit the shops they were a revelation in terms of quality compared to new instruments from established names like Fender, Gibson and Rickenbacker. He also emphasised that at that time, MM basses were considerably more expensive than a Jazz Bass, P Bass or 4001. I had an '82/83 Charvel-era Stingray and it was pretty well-made, from what I remember, but the EBMM basses were a level above in terms of overall quality. Over the years I've not encountered many people having problems with pre-EB basses due to construction issues originating at the factory. Vintage MusicMan basses are all pretty sought-after and I've never heard of any production eras to be avoided. Maybe the bad ones didn't make it to the shops.

I found a little dab of clear nail varnish on the stop screw helped lock the thread to keep it from drifting out of tune. A bit of graphite (pencil lead) or other lubricant in the nut slot will help with tuning too, allowing the tension to equalise both sides of the nut as you switch the lever. These days I play a 5er though

To All - Cheers for the great feedback - Very much appreciated - - I also did contact Chris at Overwater - Jay

The Agi DB680 doesn't break up - it's surprisingly clean, and surprisingly tame (IMO) in comparison with the pre in a DB750. Great for fine sculpting but not for grit or break-up in my experience. The Millennia TD-1 (half rack I think) doesn't break-up either.

Be interested to hear your thoughts, does it have a proper Ashdown personality, and just how loud is it?..

Touch too much- AC/DC

Looks like a nice Ampeg B15 she's using in the background as well