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  2. Alfik

    End of an era

    @JPJ She is her New House. She spend rest of her life in recording studio - the best place for her Beauty. She works perfectly. Tone is beautiful - fast, punchy, clear, articulate and aggressive if needed ...and much better than in any other SWR (I had almost all models). This is simply the best bass amp in the world for Clean HIFi sound. Because of symmetrical Tuner Our working as Second DI and symmetrical FX loop - She is ultimate studio AMP. This allows recording both DI and Post EQ and perfect work as power amp for reamping and for other preamps. I mix DI and post EQ signals on FX loop plus add a little bit of Bass intensifier and therefore no modification of Aural Enhancer is needed - She have tons of low mids - which was always a problem with SWR. Very clever engineering. The said She will always love You. I take of her - she will record many albums with great music I hope.
  3. I quite happily practice at home with a Tecamp Puma 900 - a 900W class D head - into a Barefaced Supermidget. It's not too loud....the amp has volume knobs - they work both ways. I use the same rig in rehearsals but on larger stages i replace the Supermidget with my Super12T.
  4. Do you have any audio clips I can listen to?
  5. It certainly looks nice, I don’t think I’ve ever played a slab body before, with it having no contours it can’t be comfortable I’d have thought
  6. Certainly no one on here would know Nice guitar. Looks a bit like a mini Lowden. GLWTS
  7. @godathunder, I think you are asking right questions. First of all, class D amps are measured in a different way than old A, AB, or B class amps. Then the distortion figures may differ a lot from manufacturer to another which offers a big variety to publish watts. Watts are funny, because everybody understands one figure - that is only faintly related to loudness. Where are discussions about sensitivity (dB @ 1 W/m), loudness (dB), frequency response (50 - 4000 Hz ±6 dB) and so on? The only reasonable way to measure loudness sure requires a system (amp + cab). Sometimes it would be very eye opening to arrange an open air test session where anybody could bring a system to the place and then someone with decent equipment and noise source would make measurements.
  8. We had a song about Dee-Dee, but changed a few of lyrics and it became 'Supermodel in Cocaine Shocker!'. Go figure. 1-2-3-4!
  9. Was Gerald wild when you captured him…..
  10. CD sale went sweetly. Top Basschatter!🙏
  11. Sweet!
  12. Beautiful full history of those receptacles. I could be interested, PM’d.
  13. Oh my. I'm going through a bit of a Steven Wilson crush at the moment. I feel the guy seems to have invented a machine that does 72 hour, ten day weeks. Just staggered at his output. That said, Headphone Dust, his online store. Just seems to be a great opportunity for SW to bypass whatever label he's on and just issue audio. I bought his The Raven... album; £15 buys the ATMOS/5.1, stereo versions, videos, demos and artwork. He's also going to be issuing live stuff in spatial audio as well. The spatial audio is in MKV format (essentially a digital container similar to that you'd get if you ripped a Blu-ray or DVD) and will just play back through a home cinema system. Just push it up to a NAS and use Plex. Easy! Part of me genuinely hopes he expands this store to include other artists that he works with as well.
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  14. kuetsum

    Jad Freer LUCE

    Drooling for Luce Love the form factor and what it brings you.. But my shallow pocket don't allow
  15. Television - Marquee Moon
  16. Thanks they are fantastic basses, very reluctant to sell it, one of the best fender jazz basses that I have played
  17. Man you are so fast. I was looking for it flats as well. 🙈😢
  18. Today
  19. I am selling two lightly used Thomann E-Bass Case ABS hard cases. They are not brand new, but they are well kept and, if anything, gently seasoned by travel. They look like this: https://www.thomann.co.uk/thomann_ebasscase.htm They are objects of a certain quiet seriousness: rectangular, black, unpretentious, built not to impress but to endure. They have travelled London to Dublin, Dublin to Liverpool, back again, and eventually home to London – companions to the small upheavals of rented flats and changing postcodes. They have waited in hallways while keys were located, leaned against unfamiliar walls, and rested in the polite half-light of rehearsal rooms. They have crossed thresholds more often than stages, and have done so without complaint. What they have not known is neglect. No airline conveyor belts, no rain-lashed festival fields, no catastrophic encounters with gravity. They have been carried, not thrown. They have been closed with intention, never slammed. They have performed the humble but essential task of containment. Cosmetically, they are in very good condition. I cannot see any scratches on the shells. Along the seam – where the two halves meet – I may have placed a strip of paper tape as a precaution, simply to avoid cosmetic rubbing over time. It was a preventative gesture rather than a response to damage, and it has done its quiet job. Underneath, all is as it should be. Inside, the plush black lining is soft and reassuring, the padded neck support steady, the internal compartment ready for cables, tuners, and the small debris of musical life. They fit most standard electric bass shapes (and then some) comfortably and offer that rare and civilised sensation of closure – the knowledge that something fragile has been properly enclosed, making their bearer slightly less anxious about gravity and door frames Retail is around £69 each; I am asking £80 (somewhat negotiable) for the pair, which strikes me as fair. I now possess all the cases I require – indeed, according to my partner, I have surpassed that threshold and entered surplus. These two stand in the corner like retired sentinels: still capable, faintly dignified, waiting for reassignment. There is something almost unjust in their idleness. Tools such as these are meant to move, to accompany, to guard. They deserve another instrument to protect, another set of hands to lift them, another series of staircases and train platforms to traverse. They deserve to close once more around wood and wire and quiet intention. Ideally, they will be spared the frequency of house moves that marked their first chapter, though they have proven themselves equal to the task. If your bass is currently entrusted to a soft gig bag and optimism, this is your moment to upgrade its existential security.
  20. This looks like great fun and a real experience. Looking forward to more updates and pics. Jonny
  21. They do heaps of colour options and lifetime warranty
  22. Here you go... https://www.winspearinstrumental.com/products/cable
  23. Unused flat wound 4 string sets: La Bella 0760M Deep Talkin' Bass .052-.110 flat wound £25 Rotosound Tru Bass RS 88LD .065-.115 long scale nylon flat wound £20 Thomastik-Infeld Jazz JF 344 .043-.100 long scale flat wound £25 Please add £5 postage for each/2/all
  24. That's what we do, and did with Atomic. We all learned the full-length version but after we'd been through it a few times, we all agreed it was too long and meandering to play live. We couldn't nail an arrangement we all liked - the closest we came was to heavily prune the lead into and out of the bass solo, and finish on a shortened verse with the final 'Atomic' sung a capella. But we had gigs coming up and half-a-dozen other songs to learn for them, so we just let it go. I've suggested reviving it a couple of times, but no-one seems that keen. As an aside, Atomic's not the only Blondie song guilty of going on too long - when we did Heart of Glass, we decided to go with the Miley Cyrus arrangement as that felt much tighter. It goes down well.
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