Leaderboard

Any musician worth his salt and with time on his hands is often in more than one band. Just remember the rule re: booking clashes.... "First in the diary".

Full disclosure: This bass was sent to me by Glarry Music. We were in discussion about advertising and I wanted to try the product beforehand. They sent me a bass to try in return for a review on Basschat. The Glarry GP bass retails for an incredible £72.99 with free shipping. Yes that's right - this bass costs about the same as an effects pedal or a couple of packs of strings. It can't be any good, surely? Maybe OK for a beginner? I had to try one for myself to see just how bad a bass in this price range would be. Glarry GP in bright yellow I have had a few Precision style basses over the years, and my first bass was a Squier Affinity Precision Bass (now apparently only available as a PJ) in blue. P basses are often associated with beginners; they're cheap, simple and fit in with all sorts of music. That's why many seasoned players end up going full circle and purchasing a more expensive 'boutique' Precision years later. Someone new to playing bass may not have much money to spend, not knowing whether they'll play for long, and with so many other demands on finances - so one might assume a cheap bass is the way to go. I'm going to argue this can be the case, but with some exceptions. The paintwork is flawless The bass arrived in a triangular cardboard box with a styrofoam insert holding the bass. Included are wrenches for the bridge saddles and truss rod, plus a 1/4" jack lead. Although the lead is cheap and rather thin looking, it's a nice addition. Indeed, Glarry sell a pack including an amplifier for £104.99. This looks like the ideal starter kit, doesn't it? Immediately upon picking up the bass, I could see how well finished it appeared to be. The bright yellow paint was even and flawless to my eye - and the fit and finish of the accoutrements seemed every bit as good as I expected. The body is incredibly light, making the neck feel heavy, however as a whole the bass only weighs 3.05kg with the balance point being around the 15th fret. After tuning up I decided to have a quick play to see how it felt 'out of the box', which is how many beginner players would use the bass. I don't remember ever thinking about action or truss rods when I started playing; it wasn't until much later that I started to tinker and get any bass playing better. As some have pointed out, those hard won early battles against high action and poor setup allow us to later appreciate a finer instrument and may even help develop our playing early on, but with budget basses being so well made these days, it's hard to argue now that someone should put up with something poorly setup. The trouble is how the player would know that their instrument can do better. The attractive headstock As such, out of the box, I found it difficult to play. The action was quite high and there was some back bow to the neck, choking out the first two frets. The strings supplied were steel rounds which felt about 0.045 standard gauge - they felt a little rough and there was some 'chorusing' on the E string which I've had with dud strings before - however, the bass was playable; it had a decent output and I'm sure a younger me could have lived with it like that, no problem. Often at Bass Bashes I play someone else's bass and find the action way too high for my tastes, so I think my own preferences should be ignored from this perspective - I should think someone more used to a higher action would have found it perfectly comfortable. I did wonder if it would be helpful for the bass to come with a brief setup guide, but that could appear daunting and I suppose most people would be able to find out some basic tips online if they were so inclined. My own worry would be that some people might not realise and it could put them off playing. The tuners are where the cost cutting is most evident Let's start with the top of the bass and work our way down. The headstock, bearing the quite stylish looking Glarry logo is unfinished maple, as is the back of the neck. It's generally smooth to the touch but has a very slight roughness, though the back of the neck feels great. The tuners are fairly poor quality - after a little grease they started to work more positively but they are quite rough and stiff to turn, especially when stringing up from scratch. Once you're in the right ballpark they seem to hold the tuning well and adjustments are easy and accurate, but their stiffness really gave me a workout as I strung the bass up and down whilst I adjusted and dismantled the instrument. I should have bought a motorised winder! The fretboard is a dark rosewood. It's quite a thick slab and it looked very dry, with small pieces of fluff stuck in the grain from where it has been presumably wiped down during construction. I gave it a liberal application of Planet Waves Hydrate which really helped the look and feel of the board. The neck itself is quite rounded and fairly deep which took a little getting used to but familiar to many with a 42mm nut. Worth mentioning is the fretwork - it's extremely tidy!! No high frets I can detect, not yet at least - and although the fret ends are cut a little roughly they can be easily addressed. Before - a bit dry! After - looks much nicer! Action post shim showing fret ends The neck joins the body in a conventional bolt on fashion. Here, there's a plastic spacer between the neck plate and the basswood body and a four bolt arrangement. I found the neck pocket to be too deep, so I ended up adding a shim to lift the fretboard up, allowing a lower action. Even by normal standards, with the bridge saddled flat on the floor, the action was quite high and I noticed how close the fretboard was to the surface of the body, almost more like a neck thru design. I'm not sure if this is normal or whether mine was cut a little deep, but I added a shim of about 2mm to bring the action into line. I should note that I also had to file the saddle of the G string down another 2mm in order to get a super low action - again, not something everyone would need to do. Neck with shim added I restrung the bass with Ernie Ball Cobalt Flatwound strings, 0.040 size, which instantly made it feel better and reigned in some of the uneven response from the round wounds. Worth mentioning though that the rounds that came with the bass are for sale at only £6.99. The Cobalt flats alone cost more than half the price of the rest of the bass. Worth mentioning and also noticed at this point was the nut - it was quite rough and had a few sharp edges which I removed with a knife and some sandpaper. Otherwise it seems to be cut just right and functional enough. The nut before tidying up New strings The precision bass pickup is a thing of great mystery - there are so many types, overwound, underwound, alnico or ceramic magnets, vintage or modern, poles or blades, you name it. The pickup use here is actually perfectly acceptable - it has a good even response which is particularly snappy in the treble range and though I think it lacks some low end, the output is decent and it has a truly authoritative sound. The pole pieces sit quite proud of the cover which I don't like the feel of because I keep touching them, but I've seen others which are flush with the cover so I'm not sure which is most common. The height of the pickup was a little bit low, and the lack of foam underneath or springs on the retaining screws means that can't be adjusted easily, and I'm not taking the strings off again to add some springs until I have that motorised winder! Electronically all seemed in order - it’s a simple wiring harness, the soldering looked quite neat and the pots are freely rotating and with a nice amount of resistance. However, after reassembling the bass (I removed the pick guard and removed the debris in the cavity and sandpapered off a few rough edges on the plate itself) I found the tone control no longer worked. After some poking about with a screwdriver I found the cap on the tone pot had one leg touching the wire to the volume knob - the post are quite small and the legs are quite close together. I probably bent it a little bit whilst removing the plate, so I bent it back into position and all was fine again. I'm not sure that would have been a problem otherwise. The Glarry P bass pickup The guts and wiring - would benefit from a little extra shielding And finally, the bridge. A classic 'bent tin' affair, with five bolts at the back but also an extra two at the front corners. The saddles are free to move side to side of course, but once strings are under tension it's stable enough. Adjusting the intonation was fine, but as mentioned I did have to file down the string slot on the G string as those barrel saddles are quite tall - but I've had to do that on all sorts of basses, not just cheap ones. Otherwise it's business as usual at this end. The bridge after adjustment My overall impression? I now have a super playable and excellent sounding bass which is great to look at, comfortable, light and CHEAP! I definitely recommend that you buy one if you're confident with doing setups or just want to have a play around - even for the painted body alone you can't say fairer than the price. Others have pointed out how these basses could be the ideal testbed for modifying, but personally I think it's just great fun playing such a cheap and cheerful instrument. Would I recommend one to a beginner? I think so, with a caveat - honestly I think once set up properly these make superb basses for beginners or otherwise, but they really do need some fettling to make them more playable, which ultimately might mean a beginner sticks with it. The trouble, as mentioned, is getting a beginner to realise that they should put some cash aside for a setup when they buy one - however with a test sample of one bass, I'm not able to judge how well setup there are generally. As mine had a little backbow on the neck I think a beginner would be reluctant to try and adjust that themselves. The sound? well, I know some magazines and reviews give a star rating but I don't think it's possible to judge the sound with stars - all I'll say is that this bass sounds great now, with good strings it has all the snap and clank I like from a Precision. You could say it's a little 'poky' sounding, but it has a really nice character and I really do like the treble response of that pickup. Soon I'll add some sound clips to the post but in the meantime, please ask away if you have any questions! Cheers ped

And she is finished - I think a solder has come loose on fixing as only the neck pick up is working! But it sounds mint, minor tinkering only, hope my brother ends up a happy man.....!

I just got an email from Source Audio telling me that some of my presets are going to be on the Featured Presets page!

Actually the best strategy is to do what The Terrortones did. Organise gigs in your home town. Put on reasonably well known bands who are doing a similar style of music to your band and who will play for less than £150, and get your band to open for them. Do this on a regular basis - every 4 to 6 weeks, make it into a decent evening with DJs playing appropriate music between the bands, promote the hell out of it. You'll learn lots from watching the more established bands go about their business (both what's good and what to avoid) and unless your band is dreadfully dull you should start building a decent local following. It also looks good on your band's "CV" for getting decent out of town gigs, when you've got a long list of impressive support gigs.

And onto the fretting of @Sibob 's neck. One of the wiser investments in recent years has been a pair of proper fret tang-cutting pliers: There are many ways of fretting, but what works for me is: Cut the tangs and length Check the slot clearance and depth Lightly triangular file the top of the slot Run a small bead of titebond along the tang Hammer one side, then the other side, then the middle Wipe off the squeezeout Clamp a radius block over the newly hammered fret Move to next fret You get into a routine, but it's still a bit of a tedious job, so time for a coffee with 12 done and 9 to go: What was nice about the way the frets came out is that the tang-slot filling, done when the neck was made, survived on all frets, so one less job Once the frets are all in, they will be left overnight for the glue to fully harden and then the ends clipped and the bevels filed. Then it is just a case of levelling, re-crowning where necessary and polishing up. Finally, the fretboard will be polished back up, the nut lowered and refitted (remember, the nut fretboard end is now 0.7mm lower than it used to be) and then it should be able to go back to Si.

Hello everyone, I'm selling my Alpher Mako Premium V2. Unique model which features: - Rippled Ash body, Shou sugi ban finish (burnt wood) - Roasted flame maple, Roasted birdseye maple. Luminlay side dots. - Ebony Pickguard - Nordstrand 51P4S Hum Canceling pickup - Hipshot ultralite tuners / Hipshot Kickass bridge - 3,9 kgs - Custom Flightcase The playability of this bass is astonishing, as well as the attention to details. It sounds amazing, this is, in my opinion, the perfect match between vintage and modern. I ask 2500£, near perfect condition. I sell it to help finance the house I build, otherwise I would keep it. Cheers !

So true. "Have you got a spare lead, Dan?" "Yes thanks". "Er, can I borrow it?". "Where's yours". "Haven't got one". "Why not?". "I don't need one". "Because you know I carry one?" "Ummm" (shuffles feet). "Here you are". Later, at end of gig. "Got my spare lead?" "I'll just hang on to it until I get another". "Yeah, right. Let's have it." "Aww man. You're so mean" Etc, etc.

When I was looking I couldn't find a lightweight, narrow string spacing 5er Precision so for the past 18 months have been enjoying this rather spendid Mah-roos-chick Jake 5. Weighs in at an even 8lbs.

This is the first Sandberg I've played so I can't compare it to other Sandbergs. I didn't love it with the stock strings - but I don't really like roundwounds in general. With the stock strings, the bass was very keen and forward and I wasn't sure it would be grounded enough for me. I changed to Dunlop flats and this has tamed the punch to some degree. I'm adding some low mids on my preamp pedal but EQ is otherwise flat. Btw I'm only playing the bass in passive mode (in fact I've removed the battery). On a Fender etc I would use the tone knob pretty much all the way across its full range from open to closed, depending on the song. With the Sandberg, I've found I less often have the tone fully open, i.e. I do prefer it with at least some tone rolled off; and also that the overall tone range is smaller - i.e. closing it fully doesn't get as "dark" as I would ideally like. The B string is good. I'm normally on in-ears these days so it's hard to fully know how things sound like out front, but I played one gig using a house MarkBass CMD 121H and no PA support. I went as low as C (no low B in this gig) and those notes were absolutely solid and full - completely not "gutless". My tone benchmark is Yamaha BB735A which I love and gets 10/10. In that case, I will award the Sandberg 9/10. The Yamaha weighs about 4.5kg and I can (and have) happily gig it all through a busy summer, and would do it again. Having said that, gigging a 3.3kg bass means 25% less weight and that change is really noticeable, and is just really lovely. Shoulder is barely aware a bass is hanging off it. No problems with neck dive, by the way.

Dare I say it's symptomatic of modern rock music being chock-full of lousy rhythm guitarists? I've heard too many records where it's just a solid wall of chords under the singer, as if they've all developed a sort of musical agoraphobia. Of course it all falls apart live: if they've two guitars, the guy taking a solo can't be heard over the endless, pummeling power chords; if they've one guitar, all the momentum disappears because the thin, widdly solo they overdubbed in the studio leaves a massive hole where once was a wall of chords. @fretmeister is entirely right above: playing in a 3-piece is wonderfully liberating. Listen to Cream, Hendrix, Mountain, even groups like The Who which were basically a trio-plus-singer. Make sure your bass sound fills enough space - make the low mids your territory, season with high-mids and treble to taste. If your guitarist does want to replicate certain solos, can any of them be played an octave lower?

Drummers are normally OK too in my experience. It's drums n bass versus the rest ... gotta have sympathy for drummers with setting up and down. In my experience singers just turn up and say ... can we do a sound check? Peace Davo

Sometimes you just know that an instrument is 'wrong' for you. You may not be able work out exactly why that may be, but if it feels wrong it is wrong. Someone else will probably love it though.

I don’t think Ashdown have any more issues with their gear than most manufacturers. I had an ABM500 head a few years ago which was built like a tank. I dropped it off a stage once and broke a few knobs/sliders, messaged Ashdown and had the replacement parts mailed to me free of charge within a few days. Top service really. Wouldn’t hesitate to buy Ashdown in the future

This is my '64 I purchased used as a boy in 1971. I have shared a very long ride with it and would never part with it.

Sometimes these things are easier than they seem. I know on a technical note on the midi out on the GR-33 / GR-5 etc, uf you look at the midi out of those devices it isn't very good. Problem is the time it takes to convert a bass note is quite long, but to get rid of the delay you need to make a 'best guess' of the note. The GR-5 does this by picking a pitch and then as it stabilises what that pitch is it whacks the pitch bend to get it to the right note - it is very very messy. There is also quite a lag on the midi out compared to the internal synths which don't have to deal with midi. Also midi itself is fairly slow compared to the internal sound.. So by the time you have worked out what you think the pitch is, you start the internal synth, then you have to send out a note on, which is a channel number, note on message with pitch, note on velocity, which is 3 * 10 bits at 31250bps, or just less than a millisecond. Or if you hit 5 string at the same time, 5ms. ok for pads, less use for leads. And this is at the same time as doing everything else. So i agree, it would be good to have, but maybe this pedal is already fantastic value and maybe we hope for the next one for that

Warwick 1991 Infinette. I have this and an Infinity which cover the same sound, look and general vibe for my acoustic gigs so regrettably one has to go. A couple of limited edition basses surfaced recently too which I had to have, so rebalancing of the books is needed. Very little to choose between these in the sound, and I've added a side by side pic of them for comparison. The Infinity has a 3 band EQ, whereas the Infinette has a 2 band EQ. £2250 plus shipping at cost if required. Not considering trades at this stage but may do in a week or so if one of them hasn't gone. Given the value I'd much prefer collection, try out in Chorley, Lancashire A great piece piece of Warwick history. The bass is in very good condition given the age (28 years old) , there is the odd scar on the bass here and there from normal use. More than happy to send more photographs, details etc. 1991 Streamer Corvette known as the Infinette by Warwick fans. Pre dates both the Corvette and Infinity basses. About 120 to 200 manufactured Infinette Spec:  Neck-through design  Only available as 4-string (righthand and fretted)  Body: Atimoe (mahogany) back, Birdseye maple top  Three piece maple neck  Wenge fingerboard  24 (Jumbo) frets,  2 MEC pick up’s, humbucker and Jazz type  Active 2-way electronics  Warwick 2-piece bridge  Warwick tuners  Natural oil finish  Warwick security locks  Gold hardware

“Stop getting The Who wrong!!!”

Shortly before Mr Entwistle popped his clogs I dragged a much younger and slightly sceptical work colleague along to see The Who. He was literally a changed man afterwards, asking for a list of the best albums and generally carrying on. I left the company not long after but ran into him a few years later. 'You know what I did after that gig?' he said. 'I went out and bought a guitar and learned to play it'.

£110 each or £200 the pair 👍👍 Ashdown cabs x 2 - small, light - one hand lift, (even for me and I’ll never see 66 again) ☹️ which sound really good. In very good condition, with just the odd mark but nothing major. One ten inch Dual Concentric 250w RMS Woofer, which handles the Lows and Mids + a really nice tweeter, which is very subtle and can be set to either off / low or high - which then gives the cab a nice Hi - Fi voicing, if required, so although primarily bass cabs they are also ideal for keyboards, Guitar or even vocals etc 👍. The recessed metal top handles are great making lifting and carrying a doddle - one journey load / unload Bass, MB200 & leads in Gig Bag on my back and a cab in each hand - Fab 😃👍👍 - now, if only I had a Gig 😂😂!! Combined Speakon and 1/4” Jack Input and link - Life saver !! Here are those nice Specs. we all love so much 😃👍👍... Dimensions - 46 cm High x 32.5 cm Wide x 33.5 cm Deep Weight - 11,5 kg Power Rating - 250w RMS Tweeter - a nice sounding one 👍👍 I can post out to the UK Mainland which would cost £18.00 per cab via Parcelforce 48 if you are too far away to collect, or if not - feel free to nip around for a good try out.

A few bands ago, in a trio-plus-vocalist, I was teamed with a very good drummer who was also very inventive. We did "Sultans of Swing" - the original, of course, has keys and a second guitar as well as the lead guitar. After we'd rehearsed it a few times, rather than upping things when the first solo came round, the drummer dropped back. I realised what he was doing and followed him, so we were really underplaying below the first solo which suddenly didn't sound empty. The second solo got full tilt boogie which worked well, but probably wouldn't have without that alternative dynamic on the first one. It wouldn't work on a guitar solo using searing distortion, but fitted nicely with the slightly overdriven Knofler tone.

*My dream is to play anywhere in the UK. Wish I were on better terms with my ex-wife she lives a little North of London. One thing, from all I heard from you guys , on average you have to drive a lot further to gigs than me. Blue *If I ever make it across the pond , I hope it's 1972 when I get there.

It's not about effects - it's about the notes. Something as simple as octaves works wonders. The bass and drums should be the solid foundation, with the guitar on top. If the sound weakens when the guitar solos, it's probably dominating at all other times.

Wow! Are you sure there's enough neck bolts though?

Barefaced Retro Six10 (the current model) purchased recently on here but it turns out I actually get on better with a more Hifi sounding cabinet... who knew! 4ohms, Amazingly light and compact for what it produces, and especially blew me away with dirty tones. Both a Black and a silver grill, cover and has been back to Barefaced very recently for a full health check. 24" across, 13" deep and 36" high. 29kg, pretty much the same weight as my current 410 and easier to carry thanks to some very well placed side handles. I don't think shipping would be an option on this, we can look into it but I'd imagine it would be pretty spendy! Any questions please give me a shout... I'm in Bournemouth but I do travel a bit so there may be a convenient time! No Trades I'm afraid!

Hey guys! I did a little solo piece on my Fodera 5 a while ago! Hope you like it 🙏

Nice post, Ped. I'm afraid I'd have gone with 'the best thing about it is the colour - burn it.' I've a Harley Benton here (acquired off this very forum) that retails not far north of a hundred quid. I've changed the strings and can't put it down, it's not just 'good for a cheapy', it's a properly useful instrument. Strange how the beginner's market has improved by whole orders of magnitude, yet still manages to remain something of a minefield.

Having to shim a neck to that extent out of the box is something Glarry may wish to address with their CNC machine!

Never mind a backup bass, I’ve forgotten to even take a bass in the past. On TWO occasions!!

No musician should expect to be able to prevent a band from playing a gig because of his diary clashes. If anyone is in more than one band they are, by implication, signing up to the dep system, so tell him you're using a dep for the gigs he can't make. If he doesn't like that tell him to cancel the other gig and do yours. A few years ago I was in 7 bands and there were clashes between about 4 of them, which were never a problem because there was a hierarchy that everyone understood and accepted, they were managed and there were deps.

We’re getting away from recommendations for pressing companies, but ok.. On the one hand as you say streaming makes chances bigger and self promotion easier but as you also say, using them makes those bands seem less genuine and authentic and less sincere. My instinct and response to that Is to keep it small and what I find is personally manageable; definitely don’t give away right-to-play your assets to corporations like Spotify that pay $0.0014 per complete song play, not because of the money (there is no money or promotion in any of this for me) but because the relationship with corporations seems unhealthy. I DIY recorded a few songs in my living room. Just bass/drums/vocals no guitar or synths or computers. I’ll press a few up because it’s nice. It’s manageable like this.

Hiya, I'm new to this so please let me know if I'm breaking any rules. Relisted thanks to a time-waster.. I've had this for ages, but I don't play 4's any more so it needs to go to someone who'll appreciate it more. For sale (no trades) is my 1988 Warwick thumb bass, 4 string. This is the holy grail of thumb basses, from Warwick's 'golden era'. It's all original and in excellent condition. Made in West Germany (see electronics cover), this bass has a solid bubinga body and the proper wenge and bubinga 7 piece neck. The neck shape is the skinny type, not the baseball bat of some modern warwick basses. It still has the original EMG jazz pickups and 2 band preamp - all work perfectly. Frets are original and in great shape (see pictures). Tuners are original Schaller. Condition is remarkable for a 31 year old bass. There are a couple of scratches as you might expect, bit of buckle rash but no big dents or anything. Please see the pictures showing the edges of the bass and the various hardware etc. The only notable scratch is below the tailpiece (pictured) and some string wear on the pickups (also pictured). Weight is 4.65kg / 10.25 lbs. The bass is currently packaged ready to be shipped via UPS courier across the UK, or collection is welcome from Chorley in Lancashire, or from Chadderton in Greater Manchester. Any questions, ask away. Thanks for looking, Phil.

Welcome to my world ... and that of 90% of everyone else on here. 😂

Wonderful voice. I sooo love the drumming. and the bass playing. And especially that little hook from the guitar at 1.20.

A brand new stand turned up in the post this morning - the design of the grip that had failed has changed, so there was clearly a design issue. Nevertheless, exemplary customer service from Hercules/Stringsandthings... 👍

Not all satin finishes are created equal. The same applies for gloss. @dave_bass5 I think I may have posted a few pages back about preferring the Fender Am Pro Precision V neck to the Yamaha P35 neck. I fully stick by that with the addition that I also prefer my BB735a neck to the P35 neck. And I think it might be entirely down to the difference in finish - they’re both satin in a general sense but each executed differently, with the result being that the 735 feels noticeably better (for me)

One thing I’d probably look at is playing with some overdrive and increased mids during the solos in a covers band. Nothing Lemmyish, just go from clean to that driven if digging in setting, plus upping mids a notch, not becoming a rhythm guitar exactly but stepping into that sort of area. Maybe even have a small combo set like that to kick in for solos - that way as well as keeping the clean low end but also adding drive plus mids it would be adding another speaker into the mix, further padding out the sound.

If only these had come up a couple of weeks ago

Is the person who hits the drums for you a weekend warrior? He doesn't appear to appreciate things from others' perspective. When I played for a living, I had several bands on the go and did dep/casual gigs, too. You have to if there are bills to pay.

There are many things you can try, I personally, use an EHX bass soul food in our 3 piece, boosts nicely, bit of extra gain but not all out fuzz and a blend to keep in the clean signal, best thing to do is have a play with these things and see what works best for you and your sound

@radiophonic Was an awesome gig man! you guys sounded great. Here's our rock pose! got a few vids of our set too

When you watch @Andyjr1515 demonstrate some of his techniques, he makes it look very easy, but don't be fooled, he's a very talented guy. My P-bass needs a re-fret but, even after seeing this, I don't think I'm brave enough to tackle the job

What's with this "I folded the band" stuff? If you are only playing 1 or 2 gigs a month then you need band members who don't mind that level of inactivity. If you have guys who want to gig more than that then you need deps or different players. Nobody owns anyone. You can't dictate how often other guys will be allowed to play and punish them if they want to play more.

All over the place:

There’s an album you might like called, BITTY McLEAN SLY & ROBBIE - LOVE RESTART , there’s some nice basslines on that , and also ,Raging Fyah have some great tunes too, I’m working on Judgment day, at the moment 🙂

My new toy, a Noguera YC 8 Custom... 8 is even better than 7.

Or sooner - don't give me opportunity to spend it!

Our band decided to play this song, and I tried to find a transcription. No luck, so this is my approximation of the synth (?) bass line. I am pretty slow, so this took time. There may be inaccuracies, so please, I am open to comments and findings. We dont need another hero.pdf

Just a heads up. I'm going to be helping Paul out at the Drum Show in Manchester on the Custom IEM stand on 21/22 September (I know it's the same weekend as the bass and guitar show in London... somebody didn't really think that one through did they? Some vendors/manufacturers can't be in more than one place at once... but hey). Anybody want to check out the offerings from JH, 1964 and UE, come along and I can hook you up and talk all things IEM with you.

Still Life just has the edge over Godbluff for me. Some true beauty in there. I don't really like the sax-less stuff either, but it has it's moments.