Ziphoblat

[quote name='AndyBob09' timestamp='1414597208' post='2591143']Is it just me that finds that offensive? I'd like to sell a band on musical merit, not tits and teeth ... Or am I horribly misled?[/quote] I think you inferred a little too much from his comment there. It was a perfectly reasonable criticism - there's a big leap from looking like you've just got out of bed and wearing your underwear on stage (well, maybe not actually - but you know what I mean). I see a reasonably well-dressed drummer and a smart bass player, but the other two (keys in particular) just look a touch too casually dressed. It's not about trying to sell the image on sexuality, rather than simply looking like you've made a bit of an effort.

It's got diddly squat to do with the "current generation", age, or any other rose-tinted explanations. The first fella was a plonker (we have plonkers of all ages), the second guy most likely witnessed what happened the first time and assumed that it that was the accepted dynamic for that particular event. They might have both had ginger hair or worked as lifeguards, are we to assume that the same is typical of those demographics also? I've played hundreds of gigs with players of all ages, most often of my own generation (for reference, I'm 22, been gigging for 6 years now) and I've found almost all of my fellow bass players to be wholly respectful people, and I've certainly observed no tangible case for the connection made in the OP. In fact, the worst case I remember of an individual being disrespectful towards my gear was a bloke who must have been at least fifty who showed no gratitude for being lent my amp (and my band's PA) while being particularly childish about me not wanting him to play my bass (he had his own, and he wouldn't have been touching mine even if he didn't), offering inaccurate and condescending advice about how to play (having not heard me play yet) and complaining about rubbish no-name brands while he tried to connect the speaker cable from my Barefaced S12 to the XLR out on my GB Shuttle.

[quote name='hiram.k.hackenbacker' timestamp='1401407211' post='2463449'] The answer to your question is not straight forward. As molan has said, some are USA and some are Mexican depending on the model. If it came out of the Custom Shop, it's north of the border. Confusingly I think there are three Geddy's now aren't there? The CS, a MIJ and a MIM? I'm not sure about MM. I'm a bit out of touch with EB related trivia. [/quote] There are only two in production - the MIM one, which previously MIJ, and the MIA custom shop model.

[quote name='spongebob' timestamp='1401389751' post='2463213'] Very nice. Thanks for the kind reply. Only one g in dig, BTW. Bit of dumb spelling. Mods - please delete this thread if this is the line it is taking - thanks. [/quote] No need to close a thread because one poster had too much sand in their vagina. \o/ Have they moved MM sig basses to Mexico now too?

The Edge and a vocalist on board... it won't be long before Fenders come stock with a delay effect and a remote mute button.

[quote name='discreet' timestamp='1401368642' post='2462867'] Be careful with [i]anything [/i]and singers. And drummers. [/quote] And guitarists. On topic, my band have used the calendar on a shared Google account for several years to great success - once everyone got on-board and started adding their stuff to it, it became a great way to manage time and dates.

I think much of the so-called "reverse snobbery" stems simply from the implications of the term "high-end"; as if the instrument being more expensive somehow improves the primary purpose (that is; as an instrument) as opposed to simply adding more detail to the aesthetics and a further level of customisation. There's occasionally an air of the attitude that a player is somehow more serious about, or even better at his playing because he's spent £k's on his instrument (such as the notion that somebody who plays a Fender is somehow unable to be sophisticated and/or discerning). I think the sheer volume of talented/"high-end" players out there who could afford these instruments but tend to avoid them speaks volumes on that matter. That's not to diminish boutique or expensive instruments in any way, but I think it's important to have a clear understanding of where diminishing returns reach the point that increasing the value of something simply adds more customisation rather than increased functionality or usability as an instrument.

[quote name='molan' timestamp='1399931622' post='2449200'] Thought I'd Google and see what the first thing was that came up: "Appealing to sophisticated and discerning customers" [/quote] Or those with the illusion of the aforementioned, as the case may often be.

A high end bass in my eyes? The bass of choice for a high end player.

People listen with their eyes, not their ears. Very rarely, if ever, is there any good science shown to support the claims these snake oil salesmen make. When they can show me a blind-test experiment in which a hundred ordinary people (or one better, a hundred "audiophiles") A/B'd these cables against an ordinary Chinese bargain-bin cable and a significant number were able to identify the expensive cable as sounding better, or even distinguish a difference at all, then I'll take them a bit more seriously. There's little to no science to support the claims they make about how their cables work, and there's no science to suggest that anybody can actually hear a difference. The reason for that is quite clear - there's a lack of confidence in their product on their part, because (at best) they believe the difference is slight, or (at worst) they know it's complete gobbledegook. If anybody did happen upon such a cable that could be demonstrably proved to generate a superior sound, they would publish their findings and triple their sales. There's no benefit to be had from leaving your claims unsubstantiated unless no evidence for them can possibly exist.

[quote name='72deluxe' timestamp='1396957974' post='2419065'] I suppose you're right, but does the number of guitar/bass players outnumber the number of laptop musicians doing electric drums and synth music? [/quote] More than likely.

They're both overpriced... I don't think there'd be sense in buying either new. The used prices are great though (especially for Warwicks). I've played a Spector Euro Rebop 4 that I really had fun with. It was a long time ago though, so I'm not sure what I'd make of it now. I owned a Spector Legend 6 which was just a bad instrument in terms of sound/playability. Sterile and bland. The rosewood on the fingerboard was not a great cut at. I initially put it down to it being of their "budget range" but then realised that it still had nearly a £500 price tag which should yield so much more than this bass offered. Hell, I had my German made Warwick Corvette STD for that much which is hands down one of my favourite basses I've ever played. On the flip side, I've played several Corvette $$ models which weren't particularly impressive instruments.

Make sure you're not playing along to a bad youtube video. There are some uploads on there from the copyright-madness spree phase that happened not long ago which have been pitch-shifted up/down slightly to avoid being detected and flagged.

I've played the same summer festival the past 3 years. It usually has around 12-15 bands over the course of an afternoon/evening. I found it interesting to watch the basses that were getting pulled out there. The first year I was literally the only bassist I saw not playing a Fender/copy (I was playing my Stingray) aside from a single Epiphone Thunderbird. The second year I played a Fender, and so did nearly everyone else (saw a Yamaha TRB and a Stingray copy). Last year I played my Warwick. Saw one other Warwick and a Bass Collection SGC Nanyo. The rest was Fender. There seems to be a lack of "fashionable" basses at the moment, which results in most people "defaulting" to Fenders and those who aren't tend to be split fairly evenly across everything else that's available. This is just based on my observations though.

[quote name='BigRedX' timestamp='1393965953' post='2386439'] IMO, most HiFi is pointless. Unless you are listening on exactly the same system as was used in the studio where the mastering was done, you won't hear what the recording was supposed to sound like anyway. I find it all a bit sad really can't we just enjoy the music? [/quote] Can't agree more with this. I think it's rather telling that so many people prefer the sounds of vinyl and analogue recordings - our ears aren't really keen on perfection. Those random irregularities just make it sound more pleasant on the ear; more "natural", even. The engineer probably accounted for the fact that the bulk of people will be listening to the recording through low-end systems when mixing/mastering anyway.

Good ol' diminishing returns. The difference between a £175,500 system and a £350,000 system is probably minuscule, and only worth it to the most scrutinous (and over-paid) audiophile; but that doesn't diminish the value of it to someone of that orientation.

http://www.youtube.com/watch?v=yqS5T2PgDDo

A slight stache and chinbeard away from Walter White.

I live a 30 min walk from PMT Leeds and don't consider it worth the walk there... definitely wouldn't bother coming all the way from York.

[quote name='Maude' timestamp='1393167273' post='2376866'] I'm guessing here but if you marked the even frets then all the marks would be evenly placed, if you mark the odds and the octave (12th) then the the octave is easily distinguished as it has two spaces either side making it stand out. [/quote] Yeap, I always figured that this was the reason for it. Having two dots as opposed to one doesn't do as much to distinguish the octave from the rest as the fact that there's a great number of "blank" frets either side.

We have a simple set-up of one guitarist, one drummer, one bassist, and one vocalist. I always try and stand with the singer on my right, that way my headstock/neck is pointing away from him, reducing the likelihood of any collisions (given that my headstock extends at least 10" further than the guitarists does, giggity).

Was that not the gig where they came back onto the stage after a break and opened with a cover of Jimi Hendrix's Fire, though?

Couldn't stop thinking of this while listening to the performance before the Chili Peppers. http://www.youtube.com/watch?v=p1wKc5t_9jo

Are they aware that there's a hole other meaning to the word?

Zoom in on the photo, you can clearly see the word "Veyron". Regarding Fender and Genz Benz, I've got to be honest, I really don't appreciate what Fender did here. Even if it's the same crew working on the new amps, I'm sure Fender will be hasty to have some of the Rumble features imposed on the new designs, they're unlikely to just be a Shuttle in a new box. And let's be honest, the Rumble amps are mediocre at best. However, from a marketing point of view I can understand it. We may all be aware of Genz Benz but that's because we're frequent forum-goers with a decent knowledge of brands etc. The amount of (sometimes good) bass players I've had look perplexed at my Shuttle sat on top of my Barefaced Super Twelve with no idea what they were looking at is staggering really. They'll all have heard of Fender though.