KK Jale

I vote other. Keep the P500H for now. Flog the cab and get a Barefaced Super Twelve. The grin on your face will be indelible.

Top money for a '70s LP Deluxe would surely be no more than £3k, mint… and the article says this one arrived 'covered with plastic triangles'. Personally, I think all Deluxes should be turned into tasteless, useless wall-hangers. Top work, sir.

...the breakdowns... the swivel-eyed punters... the daft blonde with the cigarette ash trick... plus clowns, lethal paraffin heaters, elastic bands, Cock Boy and, for some reason, flashbacks to an incident at the age of six. Written by genius keyboard player Garry. Warning: long story. Hope you enjoy... http://www.facebook.com/permalink.php?story_fbid=367814539913548&id=180029812025356

Happy to join in... 1982 Squier '62 Precision, serial JV20xxx. Jason Lollar pickup. I was living in Cambridge and got a call for a last-minute dep the same night. Lacking a bass, I wandered into the local shop with fingers crossed and found this. I traded them an indifferent Tokai Strat I'd bought for £80. The gig paid £100! 1982 Squier '57 Precision, serial JV15xxx. Aftermarket anodised guard. Found in a shop in Croydon for £200. I once had another of these but it was heavy and had neck issues, so it went. This one is ridiculously light and super loud.

Lovely. I bitterly regret the Fender-logo J I hesitated on years ago. Did these two come with factory covers and fingerrests? Sorry if this has been asked before.

[quote name='Musky' timestamp='1325951256' post='1490283'] Hmm... It's either one or the other. [/quote] I think the seller's referring to the oft-held belief that early Squiers came with USA pickups as standard, but in fact this now seems to only be true of some JV Squier Strats. Nice bass. Silly price. You're pretty much into used CS money there.

Nope... sorry 'bout that The GE was a definite improvement... mind you, lately I've been using a Headway EDB-1 for added EQ as well.

[quote name='AttitudeCastle' timestamp='1324229525' post='1472075'] I really want someone to try a GE 5751 in an Orange Terror bass (i know it kind of defeats the purpose but still!) and to report back! [/quote] Can't help exactly but I have a GE 12AX7 in the V1 position in my Terror Bass and it's harder to drive (Gain is now on 3 or 4 as opposed to 1 or 2), clear, more detailed and more 3D, slightly more treble extension, and generally tip-top throughout

Yep! Excellent decision.

^Well, they used to be MORE than acceptable. Tons of pros used Squiers in the '80s. A really well-sorted Squier/Tokai was an inverse badge of pride... a kind of "my other bass is pre-CBS but I'm on tour with this and doesn't it sound fecking great" kind of label. It's always sad finding a badly re-logo'ed Squier. People should have more confidence in their playing. Label consciousness is for amateurs. #justsayin'

You're welcome. Another schematic basis for a DI mod to run by him might be the OCL/Runoffgroove Flipster... (Humungous TB thread, link to schematic in first post: http://www.talkbass.com/forum/f36/ampeg-fliptop-stompbox-flipster-349921/ )

Have you heard of the Made By Mike SFT clone? He might be able to do a custom w/DI. I've never tried one, but I'd be interested to hear any reports...

Result

About 1975, at a school fete. I was playing a borrowed (real) Jazz Bass that belonged to our music teacher, the great Glenn Tommy, later of Crescent Studios, who inspired about 50 bands in his time (including probably Tears for Fears) simply by accidentally leaving his bass, a Rogers drum kit and a Yamaha SG2000 lying around. We had a drummer, a super pianist who teaches music today, and my mate Sam on his Watkins Rapier. I may possibly have sung, and I can't remember any of the songs apart from Substitute and a jam on Sunshine Of Your Love. For me it was a rare ray of light at a terrible school. I have nothing else to report except that Bill Bailey was in the year below me, and his name's not Bill.

I wouldn't take an amp out of the box and gig it without switching it on and burning it in for 30 mins, no matter if it was a cheapie I was lucky enough to nab at trade price or a £2000 custom handmade job. #justsayin'

^ +1 Orange were incredibly helpful to me when I injured my brand new TB500 through a combination of rank stupidity and laughable clumsiness. In fact they went way beyond the call of duty... and it sounds like you've received the same treatment. Good people.

Great coverage Tim... when Pete's other life leaks into his songs, it's pretty special... I did some NGO stuff in the former Yugoslavia when that was all kicking off so maybe I've got an inkling on how it can affect your outlook and how hard it can be to put all that into music in an honest way... hope to see you playing soon.

I bought one from Peter Cook's a while ago for a friend, and I think the price was £230. I think they're excellent, if perhaps a touch heavy. The shop was very good in letting me try three at length before finally choosing the one with the most ugly body grain but most even-sounding fingerboard up the neck (the fingerboards are ebonol, not wood). Overall, I think they're a fine cheapo Jaco. Check out the Vintage Icon VJ96MR, too...

All of the above... good advice. Also... the fact that they're mates, and have imposed what sounds like a pretty unrealistic schedule, should NOT affect the care you take in your own work. I too would insist to be allowed to do re-takes or drop-ins on track 1 until I was totally happy before moving on to track 2, and so on. If it takes all day to do two songs, hey, that's what it takes. You're working for free, therefore in lieu of payment you should be given the right to do a decent job in a time that suits you... or it ain't worth it. Did a similar thing last month on a friend's album. I was asked to play pedal steel guitar on four songs, and despite the fact I've only been playing steel a relatively short time (in pedal steel world) and have already managed to find the time to get somewhat out of practice, we managed it... in five hours. He would have been perfectly happy with all the first takes. I was not. Get proud, and insist. Oh, and have fun.

This vid won't surprise him. Apparently a looter got trapped downstairs at Rockbottom (with buildings on each side on fire). Owner Carl was outside and eventually persuaded police to let him go in and get the guy. So he literally walked in WHILE dozens were in the act of looting his shop, got the guy, then walked back out again. Word is the insurance is OK. Hope they can get back on their feet.

After five years on (the same set of) LaBellas (thunky, Staxy, classic) I moved to TI Flats (light, rather lovely) but trussrod hiccups prompted a move to Pyramids (tension somewhere in between) and I'm REALLY finally home. Best feel of the lot, smooth, oomphy, musical, admittedly deader on the E but still sooooo worth it. I just love it when people discover/rediscover flats. Off now to the drunk thread. Bye!

I am in love with my Terror (especially through the still-amazing-to-me Midget) but there have been occasions - okay, venues - where I could use a weeny bit more EQ control. The current solution is to set the Terror to preferred settings (bass 4, mid 7, treble 5) but also to use a Headway preamp (which I already had) to fine-tune out some lower mids and add a hint of upper mids: Very pleased with the results so far!

Arrow-shaped headstock plaque means it's '50s, not a '46, which would have had a T-shaped logo... and it's a Model B, not a Deluxe BD, which would have a flip-top cover over the headstock. *pedant mode off* Still, not a bad price for a bakelite in the UK even though the '30s string-throughs with the 1.5" pickup are the ones to have. **okay, pedant mode really off**

First time I've seen this mag. Very comprehensive and interesting review of the Terror, and as Alex says, all kudos to Orange to have those 4/8 ohm power ratings confirmed - and even exceeded. Also, useful info on the Terror's minimal tone stack. I've started using a Headway EDB-1 preamp into mine for subtle EQ tweaking... seems to work really, really well.