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  3. I used to rehearse there too circa 2004 / 2005 😻 Sadly my holidays are less exotic.
  4. Is it a wolf tone? My bass developed one in the same place as you, but I found a wolf tone eliminator helped a lot. It's a small metal mass which screws onto the afterlength to counter the resonance.
  5. My mm Sterling has a jiz spangled plate🙄 (I say tort, but it’s predictable)....
  6. Yes. But early days. Ask me again in a few months... In the meantime, you're clearly on the verge of getting another Stomp or Native yourself, I can tell!
  7. Have you tried hx edit yet? It’s pretty easy too
  8. If you check out the Zoom B1X-4 / B3n patch idea thread you can see that the basic ToneLib layout is very intuitive for each individual effect, with ready embedded software explanations on hand for each parameter. Add easy drag and drop features and you have something that provides a really 'accessible' and easy workflow - that makes creating and editing patches both a doddle and a lot of fun. It's just such a darned shame that Zoom are limiting their offering to the sub £130 multfx budget end of the market. If they would iron out a few minor niggles (eg low level 'digital noise' underneath the notes) and add a little more capability / DSP, I'm sure there are many Zoom fanboys (and girls!) who would readily part with another £45 to £70 on top. I'm sure with time I may come to view the Helix interface similarly. But not necessarily. You will have seen Jimfist's much more articulate post on why he is much happier with the Zoom interface than that of much more capable multifx, due to the easier workflow. And he is someone who has spent many many hours tweaking multifx pedals over many years.
  9. If you check out the Zoom B1X-4 / B3n patch idea thread you can see that the basic ToneLib layout is very intuitive for each individual effect, with ready embedded software explanations on hand for each parameter. Add easy drag and drop features and you have something that provides a really 'accessible' and easy workflow - that makes creating and editing patches both a doddle and a lot of fun. It's just such a darned shame that Zoom are limiting their offering to the sub £130 multfx budget end of the market. If they would iron out a few minor niggles (eg low level 'digital noise' underneath the notes) and add a little more capability / DSP, I'm sure there are many Zoom fanboys (and girls!) who would readily part with another £45 to £70 on top. I'm sure with time I may come to view the Helix interface similarly. But not necessarily. You will have seen Jimfist's much more articulate post on why he is much happier with the Zoom interface than that of much more capable multifx, due to the easier workflow. And he is someone who has spent many many hours tweaking multifx pedals over many years.
  10. That's come up nicely. Next I suppose you'll be asking whether it should have a white or a tort pickguard.
  11. Don't overthink it! It's a bit of fun not a scientific experiment. I couldn't swear to tell a start from telecaster by its sound, but plenty of times I've recognised guitarists like Hendrix, Clapton or Billy Gibbons on a recording, often in odd contexts, like Clapton on 'Think I'll Go Back Home', a Steven Stills track. And I can be fooled by imitators, like SRV doing Hendrix. So someone's 'signature' sound is rather like their voice. They can disguise it and others can imitate it*, but some people have one distinctive enough to be recognisable. *Chetaing is easy. I've got an Ibanez '335', plenty of gain, bridge pickup and back off the tone -bend a few pentatonic licks and you get instant Clapton. Or use a modelling amp...
  12. Vanderkley 210MNT perhaps? I've got two, which is highly unnecessary seeing as one is more than enough for pub and club gigs!
  13. Stanley Clarke - I can tell if he’s had something to do with a film score/soundtrack. The phrasing and note choice - even if he’s not playing bass.
  14. I’m not to sure this is as easy as folks claim it to be, you probably only recognise them if they are playing within their normal genre, get them playing on something entirely different it’s pretty hard to pick them out. For example and ease, use ten of the ones already listed above playing say Mustang Sally as of the original recording, I personally would have a job saying who was actually playing bass, by this I mean not Mark King slapping all through it but playing it straight as the original recording.
  15. Well... I get paid on the 28th, and if my Squier Jag bass sells then I will definitely still be interested. Would you consider trading for an OLP Stingray bass with the finish sanded off with a brick? It sounds as good as a MusicMan!
  16. Now I’m thinking of that exploding seagull trick.
  17. I have a nasty type of Ai arthritis, AS. I use compression gloves but usually after playing. Hands in hot water before, comp gloves after. They are made of neoprene and all though they are fingerless the friction between the fingers wouldn’t be good..... they do help playing 👍🏻
  18. But I wouldn't put bicarb on my chips
  19. Vinegar and bicarb make a powerful cleaning combination
  20. Strangely enough the cheapest - the Mikey Way. Can’t give you a good reason why, the other two sound better, guess that it’s just I’ve done a couple hundred gigs with it and it feels part of me.
  21. Overdose - AC/DC He just plays one bleedin’ note but it works so well under the guitar chords. It really makes the song.
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