Wil

That looks pretty neat. Always been a fan of 2x12s. Is this the double midget renamed?

Probably a 5 string with an extra string beside each one tuned an ocatave higher - Stuart Zender used to own an 8 string Streamer like this (I think you can see it in the video for Return of the Space Cowboy). Would be a Warwick custom shop job, I should think.

On my Tech 21 head I always set the drive first, normally 3/4 full for a warm driven sound, then master volume adjusted to suit. Sounds godly.

Wowzers! That looks just the ticket.

Damn valve amp owners. Always ruining my fun.

[quote name='thisnameistaken' post='823223' date='Apr 29 2010, 05:34 PM']Still Norwood [/quote] Oh god yes. He's the man! The bassist from A Wilhelm Scream regularly excites me, too.

I love the slim footprint of those TC cabs. If only they were joined together in one, slim, smooth unit, I'd blow my wad*. *Of cash

[quote]Im sure he used an Ibanez Precision....do they exist?![/quote] It was either a Blazer or Roadstar/Roadster I think. Love the headstock on these, reminds me of the Fender Starcaster guitar from the late 70s. Ooof: Sexy.

Looks like rosewood. Lovely top, very understated.

[quote name='Beedster' post='823906' date='Apr 30 2010, 12:09 PM']Yep, and seriously unstable. I loved standing my two 2x10s end to end, but sh*t myself on a couple of occasions when I almost pulled the whole thing over. If you need 3x10 with a speaker at ear height stack a 2x10 vertically on a 1x10 or simply put your conventional 3x10 on another cab/beer crate. C[/quote] I used to stack a 2x12 and 1x12, which did work ok, but I always thought it was a bit uneven in that the single 8ohm 1x12 was drawing as much wattage as the 2x12 cab that was also rated 8ohms, despite having half the number of speakers. Not sure if there is any way around this with seperate cabs in the common wiring configurations? I know what you mean about the instability, but I don't think a single cab of this sort of height would be quite as bad as two 2x10s stacked vertically. I think. Hard to say, as there aren't any about

I've been thinking - considering that it seems to be good practice to have vertically aligned speakers, why do no manufactors make a vertically aligned 3x10 (or maybe 3x12) cab? It would be just about the right height to have your head, handy for making adjustments, would have a small footprint, wouldn't be excessively big (should fit on a car back seat I would think) and I would think it would be loud enough for most real world applications besides massive stages. The performance of such a cab is speculative as I don't think anyone makes one, to my knowledge, but is it just me that finds this an appealing idea? We all know good things come in 3s, after all!

Why? Have my trousers fallen down? No, they're up! I can see they're up! Oh, I see your point!

Pretty sure I use them quite frequently, subconciously. All I can advise is to use a slight perpendicular movement (relative to the neck) as you pull off the string (fnarr) in order to get the note to ring clear.

Hi hat is generally my main focus - I was listening to a lot of The Police when I first started playing with a drummer, so Stuart Copeland is probably to blame for my fixation on the HH. I'm not sure how much more advantagous it is over the kick for locking into, but I suppose that with more hits on the HH per bar it may offer a better rhythmic reference point.

We're stuck in a loop!

[quote name='waynepunkdude' post='823661' date='Apr 30 2010, 07:31 AM']Thanks for sharing this information, good to know.[/quote] Check the date on this message. S.P.

Probably Cass Lewis. When I was starting out I would have said Stuart Zender, and he definately was a big inspiration, but not so much anymore.

[quote name='Conan' post='823082' date='Apr 29 2010, 03:27 PM']Yes. What's your point exactly? [/quote] They're machined to absolute precision, not hand built (caveat below), and the quality is staggering. Hand built is a bit vague, though. Does hand built just mean shaping the body and neck with hand tools, or can it also mean using something like a CNC machine providing the luthier is keeping an eye on things through the whole process? I'm sure most production line instruments are assembled by hand. Hand crafted is probably a more descriptive term for something like a ACG for instance, in which case maybe a Status would be considered hand built, as once the body and neck has been machined and finished all the assembly and final setup is done by hand, meticulously I might add. How though does this differ from Squier's build process? Better quality components, tighter tolerances, attention to detail and more time spent on finishing and setup - that is what matters, not how the instrument got to it's assembled state in the first place.

[quote name='skej21' post='822994' date='Apr 29 2010, 01:30 PM']In which case, I personally think the answer is no. The build quality of most Squiers may be good on the scale of basses but is not as good as the hand built early Fender basses. I just feel that a machine-built bass cannot match the feel and quality of something hand-made.[/quote] Ever played a Status?

I've played some really appalling Squiers from the late 90s and some more recent models that were equal to a good MIM Fender. None compared to the MIJ/MIA Fenders I'd played, mainly due to the components used but they were certainly good instruments for the money and I'd be happy to own and use them.

He's a spambot.

Wayne that is brilliant. I want it!

The nicest bass I owned was a Status S2 classic, and it went to every gig in every little dive we played in my old band, spent the night in vans and car boots in strange towns, and although I did worry about it on occasion, most of the time I just enjoyed playing it. It's just a piece of wood at the end of the day. I wouldn't dream of buying an instrument that I wouldn't be able to use anywhere.