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Showing content with the highest reputation on 09/05/23 in all areas

  1. cetera
    Vids starting to come in from our 'Bootleg Rock Show feat. Leather & Lace' tour..... Here's Extreme's 'Get The Funk Out'...
    9 points
  2. Rayman
    Gotoh 707s are fitted, nice new set of Newtone strings…… almost finished, all I need now is the eagle decal for the pick guard.
    9 points
  3. Phil Starr
    I had a chance today to see/hear the very first LFSys 10" cab, the 'Monza'. As far as I know there is nothing like it on the market yet, and it may be the next step in the evolution of bass cabs. A 10" cab that will be a genuine one cab solution. So I had a pleasant afternoon playing with speakers. @stevie brought across the Monza and one of the 12" Monacos to demonstrate and I have an LFSys Silverstone of my own. @bussonetthebass came along specifically to compare these speakers. We used a Bugera BV1001M with controls set to flat. We've measured the frequency response and know it to be just about neutral. We tested mainly with a Fender Highway One jazz fitted with Fender noiseless pups but also with a American Deluxe P bass and a Japanese thunderbird copy by Burny(Fernandes). Now it's hard to describe the sound of these three speakers because normally you'd describe a speaker by their 'voicing' and the voicing of all three is essentially flat. deliberately they add almost no sound of their own so the differences are minimal. Although each has it's own crossover design they all cross over at 2,000Hz and everything above that is essentially identical. What you hear is what comes out of the pickups, what you would hear in the recording studio direct from the pickups. The Silverstone has the flattest bass response and sounds the warmest of the three. The Monacos have a tailored bass response with a drop in bass at around 200Hz and then a shelved response after that. It's designed to avoid boominess at high volumes when used live, subjectively you can hear the bass goes all the way down but it doesn't become obtrusive at high volumes it movesfrom a lovely clean deep bass to a real slam as you crank the amp. The 10" Monza sits between these two, the bass is well controlled but retains a slight warmth. The outstanding thing about all these speakers though is their clarity across the rest of the range which is more than just a family resemblance. They do this with zero sibilance too, no nasty tizz from a cheap tweeter it all just sounds very natural. The other thing is that the sound is very even as you move round the room 60deg off axis either side and you hear pretty much what you hear 10deg off, I saw @bussonetthebass (Jules) walking round to test that claim so hopefully he will comment. Changing basses brough instant and very obvious changes in the sound. A lovely thud from the Japanese T-Bird a slightly polite but recognisable P sound from the P but our favourite was the Jazz with the upgraded PUPs. It all just sounded so clean. So how loud does the Monza go? Well it is a little quieter than its 12" siblings more than 1db and less than 3db so call it 2db (I didn't measure) Given that the Monza will handle double the power of the Silverstone (+3db) that means in my opinion it will match pretty much any drummer for volume with the right amp. I've been gigging my Silverstone with a Warwick Gnome round the local pubs so I know that is 'enough' for a pub band. With the Bugera or anything else that puts out 300W+ into it's 8ohms I think we now have a 10" bass cab which will do any pub gig or monitoring and fill a room with a 100 people in it without sweat. I think it might be the first truly one cab 10" solution for a gigging bassist. So what is special about it. On the surface it is a 10" speaker in a lightweight 30litre box with a horn tweeter, nothing revolutionary there. The differences are down to three main changes but significantly is the chosen 10" driver it has a huge 3" voice coil which allows it to dissipate more heat than a smaller coil so the driver is rated at 600W continuous. it's a long coil too so can handle a lot of low frequency excursion. The second part of this is the crossover because of the design of the bass driver it has to come in lower down and the horn has to cope with more of the mids. You can see the horn through the grille and for a small cab it is massive. The crossover itself is more complex than anything else you'll find in a bass cab and not only divides up the bass and treble but looks at the phase responses around the crossover frequency bringing the same level of design detail as you would get in a top end hi-fi speaker. It's more normal to see the 'crossover' in a bass cab to be no more than a high pass filter protecting the tweeter but allowing all sorts of problems across the crossover region even in cabs costing over £1,000. Finally this cab is built out of lightweight 12mm poplar ply and extensively braced. None of that is new of course but not many cabs can claim all three. There are cabs made of thinner ply extensively braced and others made of poplar ply unbraced or with limited bracing. You can buy PA speakers with similar care over the crossover but they won't have the same specs for the bass driver as this cab and will be in a plastic cab and as an active cab you won't be able to use it with your favourite bass amp. My conclusion was that if it had been available at the time I'd have gone for the Monza when I bought my cab. I think it is all the cab I'd ever need, I go through the PA nowadays at gigs so it would only ever be for monitoring or something I'd use if the PA was inadequate, or in emergencies where I'd need to fill a medium venue from back line. It has no sound advantage over the Silverstone but it will do the same things in a smaller cab. I've heard the Silverstone up against the BB2 and the Vanderkley and they aren't in the same league, they both have a more coloured sound. The BB2 is lighter but the smaller Monza is an even easier carry and fit in the boot. I'll leave you to decide if this little cab is a next step in evolution.
    7 points
  4. neepheid
    In a song like that (I'm looking at you, Highway to Hell), I don't do nothing while I wait for the chorus. I ham up pretending to sleep. I get a chair and take a seat. I go sit with some punters at a nearby table. I annoy people into getting off their butts and onto the dance floor. I clap above my head.
    7 points
  5. maxoges
    This came out on the used market really cheap. I couldn't resist it. Too cooI! I shielded it and changed the pickups for a pair from a sire bass I had laying around. It came out sounding great! No need the do any other mods to it! The squire pickups mesured 5 ohms and the Sire pickups 7 ohms. I was going the remove the pickups anyway because of the shielding-job. The Squier pickups sounded fine, but were a bit weak. The tuners were supriseingly good. They're no hipshots, but i'd use them live.
    6 points
  6. dclaassen
    Maybe I am in the extreme minority, but learning a lick that is iconic to a song ("I Wish" comes to mind) and then working it out so it is accurate and so I can play it correctly every time is part of the fun. Yes, granted "All Right Now" is not high art, but lots of folks come down to the venue, dance, have fun, buy drinks, and generally make the landlord happy which is, for most of us, the ultimate point of the exercise. Is it fun to play "La Grange" for 20 minutes...not especially, but in some venues, it fills the dance floor. Happy people enjoying music is a good think, and I personally would rather play "Mustang Sally" to a full floor of happy people than something way more challenging to an empty room.
    6 points
  7. bussonetthebass
    I consider myself supremely fortunate to have been invited to meet with Phil and Stevie yesterday to sample the current 3x LFSys cabinets, the two 12" cabs, (Monaco and Silverstone), and the 'hot off the press' 10" Monza. I'm very much a self-taught plodding amateur bassist, but I do know what I like in the way of sound from a bass cab, and also being somewhat small in stature and of later years, the size and weight of the cab is also important to me. I can't really add much to the expansive objective comments made by Phil above, but I can say I wholeheartedly agree with all of the subjective comments! What I can add though is that I did indeed wander around the room listening to each cab 'off-axis' and noticed that the dispersion on all three was exceptional even at close to 90 degrees. I can also totally agree with Phil's comment about "I think it's all the cab I'll ever need". Given that I am currently cab-less with a GK amp awaiting a mate and with a few gigs lined-up over the summer I have decided to make a Monza mine! Thanks again to Stevie and Phil for giving me the chance to audition the whole line-up! BTW, pictures for the Monaco and Silverstone are available on the LFSys.co.uk , and you can imagine the Monza looking like a smaller brother!
    5 points
  8. MothMan
    Kenny Rogers - The Gambler
    5 points
  9. Quent
    Hi everyone. FINAL Drop to £385 inc UK Delivery ( NO offers at this price ). Now considering TRADES rough value £500. Trades : for approx £500 value for 4 string Active with Passive switch/ Push Pull. 2 pickups and Blend control. Tone Control in the passive mode. Must be in excellent condition and 4.1kg , 9lbs 3oz maximum weight. I will not sell my ESP LTD for less than this final drop to £385 including UK delivery. I will withdraw this bass by mid January. More bass for yer dosh than most on here so please read the detail below. I had this bass at The Gallery but have decided to get it back home and try again here. If you want the gigbag + D Tuner which fits but doesn’t match the others , the price is * £425 *. The old replies from my first posting of the bass here in summer 2023 are still on view. Excellent build quality, finish, top electronics and versatility. UK only delivery included. See recommendation in comments below by Harlequin74 ( July 15 ) who played the bass at The Gallery. ” Just a quick recommend for this bass. Tested it at Bass Gallery when there to pick up another bass. Lovely bass, with fantastic build quality and amazing tonal variation with John East preamp. Looks lovely too. “ I bought this 2002 (ESP) LTD DLX J-1004 in June 2020 from Basschatter “Bass Wielder “. He had upgrades done professionally about 5 years ago and it gives a superb variety of tones. It’s exactly 5kg , 11lbs using my accurate scales but is very well balanced and is therefore fine with a wide grippy shoulder strap and when you’re seated it’s reassuringly plonked and stable on your thigh compared to some light weights. Upgraded with 2 pairs of switchable Hot-Rod coils and a John East Uni-Pre. It has a lovely dark rosewood neck with abalone markers and side dots. Ash body with golden Quilted maple top and gorgeous binding containing abalone shards ( looks like that). So a hell of a lot of bass features and top electronics on offer here. Notice the great top edge contouring (photo) with rear scoop and front curve for arm rest comfort. See further details below for the Eternal Guitars and Hot-Rods detail on the windings and 3 way switches for each pair of coils. Series/Parallel/Single. The Modifications. *East UK Uni pre - Active /Passive bass pre-amp that simply is world class. *East UK BLI - battery low indicator tells you when 9v is almost out of power. Easiest to look at the Uni Pre using the John East link below. See 5 knob version. No noticeable change in Vol when pulling / push Passive tone knob ( sits above the line of 4 knobs on my bass). Line of 4 goes Vol Blend Mids/sweep Treb/Bass with pull for extra sizzle. The Treb knob is slightly scratchy when turning it but fine once in position. The passive tone works in active mode too but for me best turned full on for best clarity from the active EQ. *Hot-Rods custom made pickups - Specially made for this bass. It is like having four Jazz style pickups in a two shell package (3 way switchable between each pair of coils). The combination of this and the East UK has turned this instrument into a very versatile beast. From Marcus Miller slap to Jaco jazz to Pino P-bass if you have the skills ! 20 year old bass but only has a few small marks on the thick gloss coated body so they look no worse than a bit of dust on the bass. See arrows on photos. 1/2 inch crack in the gloss only, under the neck pocket, see photo looking under the neck joint. It’s stable so is not an issue. Some pick playing lines on body under strings at playing area. It’s quite a vintage golden colour on the body top. One or two minor scratch marks if you peer very closely and an edge gloss chip on the headstock (tuner-side ) so minor cosmetics only considering the age. I’ve polished the frets and a fretboard clean with a little oil. Frets look like they’ve had a proper levelling because it plays superbly, no buzz and actually sings when not plugged in. Minimal neck relief and the strings run from 2.2mm to 1.8mm E to G at 12th when fretted at 1st. Room for the saddles to go lower. This is all making me have second thoughts about selling again. Selling to help fund other purchases. I’ve had my fun with this (ESP)LTD J1004 experimenting for hours with the brilliant John East Uni-Pre, Two 3 way switches and some blending of the pups. It’s endless what you can create. I need to start replacing some basses if I’m to experiment further. I’ve spent up and now have no room to have more basses. A Note copied below on the bass’s modifications , from Dave at Eternal Guitars and (Hot Rod) Pickups. UK to Bass Wielder ( Hope that’s ok BW. All technical ) Unit 8A Littlemead Business Centre, Tangmere Rd, Chichester PO20 2EU, United Kingdom "Hi. Glad that you like the pickups so far! Okay, wiring: they are wound and wired in a similar fashion to a normal humbucking pickup but of course with the exception that each coil is a true Jazz bass pickup. To wire them in series you will need to join the red and green wires together and cover the join with tape or shrink tubing. If you plan to coil split, then the joined red/green will go to your switch. White is live and black is earth. Some details on the pickups: the neck pickup is two Jazz bass pickups wound to vintage specs and placed side by side - both pickups use forbon flatwork and eight magnetised poles. Either could be used individually if desired for a 'true' singlecoil sound or in series (as supplied). The bridge pickup is slightly different - it uses a vintage spec wound Jazz bass pickup nearest to the neck but the coil nearest to the bridge uses identical flatwork and magnets but with a 'hotter' coil wind. When selected on its own this coil will have a thicker and warmer single coil tone than a traditional Jazz bass. I hope this helps and please let me know if you need any help wiring them up... : ) Cheers for now, Dave Walsh Eternal Guitars & Pickups . Chichester. UK “ 34" scale Ash body w/quilted maple top and gorgeous binding with abalone shards. ** Maple neck w/dual graphite reinforcement rods** V advanced for 2002. Rosewood fingerboard 38mm nut width Abalone dot inlays w/model name at 12th fret Hipshot Gold Ultralite tuners, satin. Separate Gotoh gold D Tuner , polished. Hipshot "A" style satin bridge w/string-thru-body option. 21 Frets Brass nut **String through body or Bridge. Sounds: Extremely versatile and you can load the strings via the bridge or through the body. Has 45-105 Elixir Nickel plated steel strings ( Nanoweb Coating ) and they still a lot of life in them. I’ll insure the delivery ,probably UPS as usual. Very close offers welcome but this is very fairly priced for a beautifully constructed bass with superb electronics and versatility. Choose with or without D tuner and gigbag. £40 more with those. ( 435 + 40 ) Don’t forget you can zoom in on the binding and quilted top by tapping a photo first which gives a better quality photo, then zoom in. Thanks for looking. Quent
    4 points
  10. fleabag
    So they sound great, and now we see they look utterly gorgeous. Very professional looking cabs.
    4 points
  11. ezbass
    I often play standing up at home, depends how the mood takes me. I have my strap length pretty much the same length for standing or sitting, so no deviance there (or very little). However, the OP needs to sit, so let’s help with that.
    4 points
  12. Maude
    I've got a fretless BB1100s which I'm in love with. Can be found around the £500 mark.
    4 points
  13. mcnach
    I just ordered a B1X Four... it was almost rude not to I have moved to using multiFX as I'm depping with various bands here and there in addition to my regular bands and it gets tiring rearranging pedalboards, so I got a B6 last November. Really cool unit, but I find it's easy to use up all the processing power once you start getting into a few effects plus preamp/amp/cab sims, which I'm really keen as I'm also trying to get into mostly an IEM setup. The B1X Four just seemed like the perfect companion to put into the B6's FX loop. This thread was a great read, thank you all
    4 points
  14. BigRedX
    And it's a lot easier on a short-scale bass as the original was played. Don't try and do it on a 36"scale Overwater like I did!
    4 points
  15. Gasman
    It’s strange how misguided the punters are, liking songs that many musicians seem to find so terribly boring...
    4 points
  16. Viperpunk
    I did it! 😁 I loosened the truss rod. Everything is fine, no one died. I don't know why I was so worried 😆 No casualties unless you count ages it took me to tune the strings back, that time will never be recovered. The quality of life improvement... Oh my! Massive! I almost feel like I'm cheating now, it's hard to get buzz! Well not really but considering the difference it is great. And I didn't even listen to it amplified after surgery yet (yes I know bad practice for a noob to play acustically, I was very bad today). A bit more loosening will probably be good at some point but I am happy for now and will leave it alone. Unless it will get worse after it settles. Thanks everyone for all the help I got here! I get you! I totally get that and love that kind of tone as well. It didn't work for me though, neither playing hard or the tone. My headphone device probably not capable to do that. Maybe in the future when I build up my strength and gear 😆 (I swear I forgot how to write in english in only five years. Use it or lose it I guess)
    4 points
  17. CraftedInLondon
    Bergantino IP310 - powered cabinet. Used only with roadies and tech support, and in the nicest of smokeless venues. 1KW of studio-quality volume. Just add a preamp. Replacement wheels, and a well-travelled cover, but otherwise 100%. Solid power lead included, with the necessary Powercon/Neutrik connector. A flawless performer, and more output than you'll ever need (probably) I'm near Bath/Bristol, and will happily demo over a coffee. But the weight and size means no postage, I'm afraid. I can deliver within, say, 100 miles. No trade offers, thank you - I've got more amps than strictly necessary. Thanks for looking.
    3 points
  18. police squad
    Having played in a 60s duo/band nearly 25 years ago, I learned lots of Searchers/ Gerry and the Pacemakers/ Freddie and the Dreamers etc So I thought, last chance to see the Searchers. They were incredible. Frank Allen is 80 years old and John Mcnally is 82. Their voices were excellent. Fabulous harmonies, all the high notes were there too Big shout out too, for Spencer James (the new boy, joined in '85). Great Voice If you get the chance to see any of their remaining dates, get along
    3 points
  19. Dan Dare
    If you sit on a stool to play, remember to hold the neck as close to vertical as possible and play jaaazzzz. Nice.
    3 points
  20. Waddo Soqable
    Of course.. I'm a Dentist...
    3 points
  21. stevie
    Here is a pair of cabs in the back of a Honda Jazz (on top of a pile of shopping bags).
    3 points
  22. stevie
    Here are a couple of quick pics. The more glamorous ones will take a bit longer.
    3 points
  23. NancyJohnson
    10cc.
    3 points
  24. stevie
    I'm not sure what Bill's problem was with Celestion but they've provided TS parameters for their bass and PA drivers for as long as I can remember. They don't usually publish a full set of parameters for their guitar drivers, however, as there's not much point. But they are available. Marshall used this speaker in a 2x15" reflex bass cab, the 1551, but I don't expect it went very loud.
    3 points
  25. Rayman
    This thing is a BEAST! Phenomenal tone, like a piano on steroids….. I’m a bit shocked at how good the pups sound with the new loom…. absolutely killer bass. I’ll post the final thoughts when the decal is on.
    3 points
  26. fretmeister
    Get another Hartke of the same model. Bigger cone size = more bass just hasn't been true for decades. But mixing cones (make and size) always leads to EQ compromises that you just don't need. The perfect EQ for the 4x10 will be different for any other cab. So just get another of the same. It's almost always the best choice. Then if you want more bass, approach it from the other way. Cut the treble / mids and work on the low end only, then add back the mids and treble.
    3 points
  27. sirmuppet
    Ok so thought I'd update this. I took the bass apart and put it back together again. Same issue. What I then tried was swapping the bass saddles around and that seems to have sorted it. There was nothing there that was obviously an issue but guessing something was out of whack. Still not a massived low end sounding bass but it doesn't sound bad now. Cheers again for all the tips.
    3 points
  28. Reggaebass
    @How1, you might like this
    3 points
  29. Paolo85
    That's a very interesting point. I remember an Andertons video on short scale basses where Lee said something on the line that they sound a bit more like a guitar. To me, a tubby short scale sounds even less like a guitar than a long scale bass. But I guess if you think of it as guitar-like, you play it as guitar-like, you'll hear it guitar-like
    3 points
  30. neepheid
    The bass body is just the chair next to it after Salvador Dali was finished with it?
    3 points
  31. BigRedX
    Are these your own songs or covers? If they are covers and you are having them professionally duplicated (CDRs) or replicated (proper glass-mastered CDs) you will need a MCPS licence whose cost is based on the number of covers and the production run of the CD and will need to be paid for up front. All the CD manufacturing brokers I've used in the past make you sign a form either stating that you own the copyright on the songs or that you have the relevant licences with details before going ahead with making the CDs. All the CDs I have produced have all been originals so I've always been able to tick the section that says I own the copyright, but a quick look at the MCPS web site reveals that 100 CDs with more than 25 minutes of non-original music will cost just over £70 with VAT for the relevant licence. One thing to watch for duplicated CDRs is that their life-span is considerably shorter than glass mastered CDs. Properly looked after about 15 years before they are unplayable if you are lucky, often a lot less. CDs are still relatively easy to make so if you want to sell them your presentation has to look professional. Single wallets are fine for "singles" but an album should really be in a gate-fold wallet or a jewel case - ideally with a 4-page booklet and a printed tray insert and with an eye-catching design. Anything less will look cheap and tacky. Also get your audio properly mastered and edited, a live performance will benefit even more from this. Whatever you decide to charge (personally for an "album" I'd suggest £10) get a Sumup (or similar) card reader. They are cheap to use and a couple of sales that you would have otherwise lost because you couldn't take card payments will more than make up for the up-front cost. I was at a gig on Friday and would have bought a CD from the headlining band but they only accepted cash which I didn't have, and it was chucking it down with rain so trying to find the nearest cash-point was out of the question. Also have someone who can "man" your merch table at all times because the time when your are most likely to be selling stuff is immediately after you have played when the band will be breaking down and packing away the gear. And finally if you just want to make some extra money for the band your are much better off producing a T-shirt where a 200% mark-up is perfectly acceptable and your punters then turn into walking advertisements for your band.
    3 points
  32. Rich
    Used to do ARN in a blues-rock trio I was in many years ago, I sang lead though so I at least had something to do in the verses! I loved the solo bit once I'd cracked it. Definitely up the dusty end for the higher notes with an open string drone.
    3 points
  33. Stingray5
    1989 EBMM Stingray5. I've owned this since 1998 when it immediately became, and still is, my main go to bass.
    3 points
  34. How1
    3 points
  35. Rayman
    In the words of Shed 7, I’m “Going For Gold”….. and going for a tip of the hat to the Rex Brown signature Gibson… Gotoh bridge goes on, ”James’ Home Of Tone” loom, Gold knobs, Gold Dunlop buttons…..
    3 points
  36. Mykesbass
    Clapton on the John Mayall album cover?
    2 points
  37. Phil Starr
    It's the same sized cab as the BC110T (which if people aren't familiar is a home build design by Stevie which we published on Bass Chat during lockdown here) I have to confess that despite having better cabs it's my go to for rehearsals and small gigs. It's a really nice little cab and weighs nothing. The Celestion bass driver in it is a little gem which doesn't have the lumpy response peak that most bass speakers have, that lets you get away with a simple high pass filter for the horn driver which basically takes over where the bass unit starts to roll off. The crossover point is higher and the 10" Celestion has fairly modest power handling. It sounds great but won't go so loud. Fortunately our recent drummers are very controlled. The Monza is a very different beast, it goes lower than the 110T and the bass is much tighter and more controlled due to the much more powerful motor system in the bass driver. It is also a 600W speaker. You are going to get some of the slam you get from a much bigger speaker. The crossover point is nearly an octave lower (I think) so the midrange is sweeter and the dispersion of the Monza much better. We didn't spend much time comparing the BC110T with the Monza, it was just idle curiosity on my part to hear my own cab and we were surprised that it wasn't disgraced at that sort of volume. The sort of clarity from the Monza is at another level though.
    2 points
  38. andyaber
    Johnnie Remember Me John Leyton
    2 points
  39. Nail Soup
    I don't have a dedicated chair for practice, but I did adapt my home-office chair for music by removing the arm-rest things.
    2 points
  40. Happy Jack
    IMHO these can't be beaten: https://www.bax-shop.co.uk/guitar-stool/konig-meyer-14044-performance-stool-black?utm_source=google&utm_medium=organic&utm_campaign=surfaces&gclid=CjwKCAjw3ueiBhBmEiwA4BhspC7eN5VfvECNYAwL0wb-9BBNX9FoQDY3gNz4iKd59C07eXbzz6zv1BoCuPAQAvD_BwE Especially if you get the back-rest too. Cheap they ain't, but they'll last as long as you do and they're very well designed and well made. It's not as if you'll need to buy a replacement every few years.
    2 points
  41. stevie
    Phil plugged the BC110T in and we had a quick listen during our auditions. In view of the cost of the self-build cab, It held up surprisingly well. It was clear and well balanced but you could easily hear the effect of the higher quality components used in the Monza, which took everything to the next level. Considering the 110T took me an hour to design, and the Monza several months, I'd jolly well hope so, too.☺️
    2 points
  42. fretmeister
    It depends on the core construction. Round core strings will unravel if you cut them before putting a steep bend in them. Hex cores will usually stay ok as the edges of the hex shape gives the wrap something to grip on. But even then hex can come apart too. It's always better to take the same approach to both, just in case. So when you have decided on the right length do the tight right-angle bend for the bit that goes into the centre post hole before you cut it. Some strings - like DR and Newtone come with instructions for this, but really it's the best way to do them for every brand.
    2 points
  43. dclaassen
    My last band that played this got grumpy when I played in the verse.....
    2 points
  44. Mykesbass
    Lovely track from the Mighty Diamonds, great vibe and terrific vocal. But...bass line. Nothing wrong with it, I just wanted some space. Anyone else?
    2 points
  45. Paul S
    Paul Rodgers. Not that many years ago I saw him at a relatively small theatre (Palace Theatre in Westcliff, for those that know it) and he stood at the back of the stage away from any mics and could still be heard quite plainly. Chaka Khan (Chaka Khan) also - really powerful voice.
    2 points
  46. jd56hawk
    For that price, the chair is included, right?
    2 points
  47. fleabag
    It's been a while since i actually laughed till i puked. Looks like something recycled from i dont know what. Yes i do - neck from a Black & Decker workmate, body from a wheelbarrow. Someone should humanely take an axe to it. And forget the humane bit
    2 points
  48. Happy Jack
    2157 Euros (plus Import Duty & Shipping, plus VAT on the lot) and a 12-month waitlist for an instrument where the only evidence of actual craftsmanship is (might be?) the shaping of the neck? I have a Westone "The Rail" parked next to me as I type this. I think I know when I'm well off.
    2 points
  49. Powertripper
    I should have expressed more clearly in original post that I meant to reserve/pay for a seat. I would have hoped then it would be you know, guaranteed. Perhaps not. I'll give them a call.
    2 points
  50. kevin_lindsay
    2 points
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