skej21

Stuart Hall and Snuggie

[quote name='KevB' timestamp='1401449099' post='2463719'] I watched all of it and i was a bit curious about those 4 boxes he had to one side saying they were ones that only an 'experienced professional' would spot as a fake or words to that effect. May be reading too much into it but it suggested to me they probably passed all the other general tests that they then subsequently did on some of the other 'lesser fakes'. Or maybe they still gave hand held rumble and easily fed back? wasn't very clear. [/quote] I took it as 4 that were broken out the box, 1 which worked but was obviously poor build quality and 4 that looked perfect so would only be shown up once they were put under the tests that followed (feedback, movement noise, dropping lol etc).

I'd quite like to know what use he found for the other half...

[quote name='flyfisher' timestamp='1401447519' post='2463692'] But is the fake really an inferior product? The SM58 is a decades old design so I doubt it would be particularly difficult to make a well-performing copy. Has anyone ever conducted detailed comparative testing? [/quote] Did you watch the whole clip? I thought the tests they did were pretty comprehensive...

[quote name='uncle psychosis' timestamp='1401446820' post='2463673'] And could potentially attract people too. U2 aren't one of the world's biggest bands for nothing. For each of the weirdos who won't buy Fender because two of U2 are on the board there'll be another weirdo who is attracted to Fender because two of U2 are on the board. Most people will be normal about it and will judge the instruments on their own merits, not who the board of directors are. [/quote] Precisely... It's unlikely that people will start hunting down the Pre-BONO Fenders because they don't want to buy from him. I'll still be judging Fender on the instruments, not the board. I'll reserve that kind of judgement until they start hunting down existing owners and secondhand sales for destruction!!

[quote name='JamesBass' timestamp='1401444648' post='2463630'] Have emailed an enquiry off, though an automated response came straight back, seems he's on his holidays until the 2nd of June, he's gonna have a nasty load of emails to answer next week! Still really want to hear one before I commit to anything! [/quote] I'll do my best to quickly get a recording up of mine when I have it. It might be a few weeks though!

[quote name='Marvin' timestamp='1401444582' post='2463627'] Most would associate the Edge with Gibson ( an Explorer being his first guitar). The other two use their guitars as costume jewelery. They haven't had a long term relationship with the brand that Steve Harris has had, for example. Sig models don't really make them Fender people through and through. [/quote] The problem is that it's a business and outside of the bass community (which in the grand scheme of things is actually pretty niche in a business sense) nobody really knows much of Steve Harris. You mention Maiden and they're with you but his name doesn't have the same level of instant brand recognition as The Edge or Bono. I'm not saying it's right or that I agree it's a good move but I can understand why the Fender board think it is good business. Whether it is will remain to be seen but if their bigger involvement brings as much success to Fender as their previous lesser involvement, then I'm sure Fender will be happy.

I don't get all the fuss about the SM58. We have Shure and AKG in the rehearsal space and I use an AKG D5 over the SM58 every time. The highs aren't as rolled off as the SM58 which makes it sound more airy and open and the D5 seems to have a better low frequency response and a lower frequency reach (which is nicer for bass cabs and guitar amping). With a little bit of research on the comparisons, the D5 often comes out on top too. It's also approx. £20-30 cheaper than the SM58. It won't stop people from sticking to what they know though ;-)

[quote name='Marvin' timestamp='1401443539' post='2463609'] A poor move by a company that appears to be in trouble. They have a popular, high profile brand but don't seem to know how to make the most of it. I can't see how bringing in 2 people that could potentially put people off the brand and aren't synonymous with the company will help. [/quote] Maybe not synonymous but definitely heavily involved. Both Adam Clayton and Bono have high-end signature Fender/Gretsch instruments and The Edge has done a number of interviews and promo stuff for Fender (most recently talking about the Telecaster in the promos for the 60th anniversary edition Telecaster)...

To be fair, the Gretsch Irish Falcon Bono Signature guitar is one of the most collectible instruments I've ever seen come through our store. We got one for a customer who had been after one for years since the first production run and when the second run came out, there were less than 5 that made it to the UK and I spent hours pulling favours with our Gretsch rep to get dibs on it. We had people ringing all day asking about it when it was announced and Fender could have made a fortune from it if they'd produced more but they played it well and made it a desirable model to own. You can hate them all you want but the record & tour ticket sales speak for themselves. U2 are one of the biggest acts of all time and even if you just attract half of their fan base to buy some U2 branded Fender t-shirts, you'll be in the money, let alone guitars, amps, pedals etc etc etc Fender know what they're doing with stuff like this.

[quote name='spongebob' timestamp='1401385232' post='2463134'] That relic'd Geddy is about 3.5k....and it's 'road worn'! [/quote] And it's LARVELY!!

[quote name='TheGreek' timestamp='1394116507' post='2388097'] I'm using a MNT112 through a Genz Benz Shuttle 3.0 - lovely warm sound with nice lows and mids. Compares favourably with my EBS 350 and neo2x12 which it replaces but weighs about half the weight. Scott Devine is one of many using these cabs - doesn't that say something?? [/quote] Not really IMO. It's nice that a pro uses the same gear but it'll never make me like the sound if my ear doesn't like it (which is why trying stuff is vital!). I could justify buying/recommend most high-end gear based on the '*insert name* is a pro player and they use it' argument. Want a Fodera? Wooten plays one. Vintage Fender? Paul Turner plays one. Vanderkley or Overwater? Scott Devine plays one. Aguilar? Janek Gwizdala plays one and so on. If you're deciding what to buy, don't let marketing or the opinions of a pro dictate to you. That's what your ears are for. Use the names and marketing to justify why it should be in the house to the better half ;-)

The celebration of mediocrity has steadily grown from X Factor and other talent shows. Families and friends back a 'talented' singer or act who is actually just average (at best). To get around this, they find other distractions such as huge productions, autotune, hype, sobs stories and life achievements (inspiring music teacher or heroic nurse etc) that overshadows their average performance. We then happily celebrate the mediocrity of the music based on these separate (but by no means lesser!) non-musical achievements. The problem now is that being a good songwriting now falls into that category. People will happily buy into an act who can't really do the song justice from a performance point of view, just because they have written it. The guy on Britains Got Talent at the moment (Ed something or other?) is a great example. Written quite a few hits for current pop acts and clearly made a decent living from it (his home interview showed his flashy studio gear and instruments) but he's made it all the way through because the song he has written is good but he can't really sing it very well and he's playing on the 'I don't want to be behind the scenes getting no credit' sob story. There are countless examples I can think of: Pharrell, Emilie Sande, Chris Martin. The list goes on. Combined with the successes of songwriters who actually CAN do their material justice (Bruno Mars etc) when performing, it has created an environment in which every person who has ever put a pen to paper now thinks they should collect the composing and performing money and not compromise by allowing a better performer to contribute their talent and take some of the money. But does cutting out the middle man actually hinder the success of the music? I don't think 'Forget You' would've been as huge a hit if Bruno Mars had performed it...

It takes me more time to carry my gear from the van to the stage than it does to 'find my tone'... I also do my load in with just one trip. If you have to search for a sound, you've got he wrong gear IMO. Should be able to just plug in, make a few small adjustments and PLAY!

[quote name='karlfer' timestamp='1401245776' post='2461624'] Skej, what sort of lead time did Mark quote you please? [/quote] I sent off my bass to him just under a week ago for the part-ex. He said he is away in holiday for a week or so then he's going to get on it when he gets back but told me he'd aim for the end of June. Time will tell how long it actually takes (and I'm in no rush!) but he is very efficient with communications and details for the build so I fully expect him to keep his word and deliver as agreed. Everything I've heard from him so far would indicate he's a top bloke to deal with! Although, if we keep bombarding him with work, the times quoted may start to get longer lol.

Yup. We have two rates (which to be fair, don't differ a huge amount!). Pub gigs, we play a certain set that the venue is aware of and have hired us knowing what we play. The punters get what we've planned and we often play requests on the fly (we're not a juke box and don't know every song ever!) so requests are often 'busker' from an iPad at short notice rather than rehearsed. With a wedding, we rehearse and play what we are asked to play. We take requests for first dance and arrange a set list prior to the day with the happy couple. This means they get what they want to hear and we rehearse these new pieces thoroughly. Also, it's not a pub gig so the pressure is on for us to be 100% sure that nothing goes wrong (that'll little bit extra money has been used on more than one occasion to cover a last minute dep's cost of one of us has fallen ill before the gig or to hire transport if the van wouldn't start!). That extra work and extra pressure/precautionary checks etc add a bit more to the booking fee, DJ hire or having to wait around whilst they use our PA (because it's cheaper than a DJ!) to play their iPod.

Just but a really nice Dunlop Microfibre cloth. With a bit of breath and a few wipes you get a lovely clean surface without using any polish :-)

[quote name='Musicman20' timestamp='1401222227' post='2461483'] If I had an Italian LM3 I would be keeping it now...and adding the TH500 as well [/quote] And that is the green light I needed!

[quote name='karlfer' timestamp='1401197598' post='2461009'] Oh God, Mark has a Burgundy Mist J and Fiesta Red P, both reliced, on his site at the moment. Really struggling to avoid the J [/quote] I was just looking at that Jazz. It's absolutely incredible! I'm quite glad my money is tied up in a precision from him already. On the plus side, the more basses I see from him, the more I'm looking forward to mine being finished! Quick link for anyone who is interested - http://www.classicandcoolguitars.co.uk/basses/limelight00130jbass.htm

[quote name='JazzBassfreak' timestamp='1401219762' post='2461444'] I'm planning on sticking at it, but I imagine it's going to be a hard trip to even learn the basics! [/quote] If you're going to stick with it you should commission a Bongo Banjo Bass!!

You planning on being the next Oteil Burbridge? http://youtu.be/_BQV5rgC354

[quote name='Musicman20' timestamp='1401207897' post='2461210'] Nope, unfortunately not in this case. The TH will push harder at 8 and 4 ohms, and uses a power module used in 800 watt amps but without straining it. I wouldn't worry about the stated wattage so much. My RH450 was louder/pushed harder than my LM3 at 8 ohms and we all know about the TC amp ratings! The TH is a USA built amp that is so far proving to be pretty much bombproof in terms of reliability. [/quote] To be fair, my LMIII is from before the Indonesian days but I really like it and it's more than loud enough. However, the TH500 is calling as it'll match my Aggie cabs!

[quote name='discreet' timestamp='1401194293' post='2460970'] One man's national treasure is another man's Rolf Harris... [/quote] Too soon man... too soon!

[quote name='Musicman20' timestamp='1401193176' post='2460955'] The LM3 will not push as much wattage as the TH500. The TH500 really will hammer out a lot of power (very honestly rated) and is quite mid orientated, with plenty of lows, but not lots of treble sheen. The LM3 will sound more modern but will hit its limiter quite a lot earlier. It is more of a 'flat' tone with a nice warmth around the edges. As the LM3 is now made in Indonesia but no cheaper, I would opt for a GK or the last of the GB Shuttle 9.2's if you want clean and modern. If you want warm vintage grunt and heft, the TH500. The Carvin amps are also quite nice! [/quote] So is the TH500 250w rating @ 8ohms louder than the LMIII 300w rating @ 8ohms?

For me it'd be the LMIII. Higher output at 8ohms than the TH500, rack-mountable which means it gets flightcase for better protection when gigging abroad, has the VLE function which I really like and I don't feel aggrieved that I had to pay for a 'drive' function that I'd never use. Also, since switching to a European distributor, the prices seem to have shot up. I do run my signal through a Tonehammer pedal prior to my amp though so it's probably not a fair representation of the true tone of the LMIII.