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neepheid

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About neepheid

  • Birthday 31/12/1975

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  1. I haven't, but that's because I like switches and I don't like bridge pickups
  2. Quick and dirty pic of my BB434 from Wed night. It acquitted itself well at band practice. Very happy with the sound, the ergonomics and the fit/finish. Would probably put beefier strings on it, the stock ones seem a little thin for my tastes but that's not the bass's fault. A lot of bass for £299, that's for sure.
  3. I'm picking it up next Wednesday on pay day
  4. No worries, and there are way worse ways to fry your brain So yeah, I think it's a bargain and now that I've secured mine, you can fill your boots! Been a while since I had a (fretted) BB - looking forward to having one back in the collection once again!
  5. Are you sure? Are you sure you're not thinking of the previous 424? Didn't the 434 only come out last year? How can it be end of line? I just searched for the 434 and no-one else Google lists is selling for less than £400 (and I just doublechecked and that £400 is a returned item being sold as refurb). Most of the usual suspects (GAK, Dawsons, Coda, G4M, Guitar Guitar) are selling it for £450.
  6. Anyone looking for a BB434 at an temptingly low price? Kenny's Music is selling black ones for the relatively small sum of £299 - normal price is in the £400-450 mark. My preference was for the teal blue one but at this price I was willing to compromise https://www.kennysmusic.co.uk/yamaha-bb-434-4-string-bass-guitar-black
  7. For me, hands down it has to be my RedSub BT5110 "Ibanez Promethean in disguise" combo amp. I bought it 6 and a half years ago for 300 notes (and yes, the Harley Benton badged one which was available around the same time was even cheaper but wasn't available when I was looking). What can I say? It's been rock solid. It has got a right royal beasting (filling our rehearsal room with bass using its single 1x10) nearly every week for 6 years. I had only one minor issue with it a couple of years ago - a faulty headphone jack (would make the amp randomly mute because it acted like something was plugged into it) which I replaced myself and have had no bother since. Built like a tank (chunky, ply cabinet), really flexible with the removable head, aux in jack, DI and footswitch (not something I use often - 2 channel can mute and switch in out the "colour" control which I never use), more than powerful enough for my requirements (250W in the combo, 500W with 4 ohm load). I don't even mind about the cost cutting (no pre/post DI, screw in third foot to angle up the cab instead of the Promethean's built in pop up stand, somewhat fiddly thumbscrews to remove the head from the combo). This is easily the best bass related purchase I ever made. You couldn't hire something this good for the <£50 a year it has cost me.
  8. Sorry, I'm late to this discussion - the Jack Casady fits in a Body Glove Series One bass gig bag. Not the easiest gig bag to find, but it fits.
  9. The lack of physical substance is one of the main things I like about the JC. I had a Fender Starcaster a while back. What a heavy wee short scale that was - the centre block was maybe a concrete block I also had a Guild Starfire a long time ago, I don't remember it being so bad. I've never worried about the physical integrity of the JC, it's just a bit weird when you first start playing it - particularly when one is used to 12lb+ slabs of Gibson maple
  10. My normal postion is the 250, the jump to 500 is definitely noticeable in terms of both output and growl. I find the differences between the 50 and the 250 to be more subtle, defintely there but mostly undetectable in a full on band sound. Regarding feedback, I can deliberately get my JC to feedback if my amp's up high and I'm 10-20cm away from a 250W 1x10 combo. The feedback is slow building and to my ears, not unpleasant. Used it occasionally as a rock 'n' roll ending to a song for giggles, but there are probably more musical uses for it Can't really tell you about the neck. I like a chunky neck so it hasn't bothered me so much so that I haven't noticed what you describe. Extra room for error with those string bends?
  11. +1 for the Epiphone Jack Casady. I'm on my second, after selling the first one then regretting it. On your point about quality - Gibson's woes have nothing to do with Epiphone - being made in China/Korea and far away from the USA. Also bear in mind that the Jack Casady is arguably Epiphone's top of the line bass, so they want to impress you, they want them to be the best that they put out. Worth pointing out that Jack Casady himself uses stock basses straight from the factory ("no ringers" as he put it in an interview) - it would be a real shame if the knuckleheads in America who seem hell bent on grinding the company into dust put you off this excellent bass. Bear in mind that the JC is almost completely hollow, no centre block. It's super light and will feedback, if you want it to. But stay a respectful distance away from your amp and you'll be fine
  12. I had a B402-A six years ago. Kinda wish I hadn't got rid of it. I found that it sounded great on its own but got a bit lost in a live environment. Wish I knew then what I know now about EQing etc. It was just so creamy smooth sounding. I would guess the passive B301/302 might be a bit easier to make heard over a band ruckus. Can't fault the ergonomics or the build quality. I'm sure the passive B301/302 are no different in that respect. And they're certainly different looking to most other things out there.
  13. I had a Guild a while back. Much like the Gibson 3 point bridge, it's all in those three points. The saddles will be fixed in relative height to mimic the radius of the fingerboard. You have to set the whole bridge to the height you want. You can normally set the treble side a bit lower than the bass side. Keep it kinda level, but you can have the back a little lower than the front. Round the other way is bad - on Gibsons I have seen the posts lift out of the body if the back of the bridge is higher than the front, but that's not to say it'll happen on a Guild.
  14. I had one. I liked it - the inbetweeny neck profile (neither Jazz nor Precision) felt very nice to me. Also a lot simpler to operate - simply three band EQ, volume and blend. I personally had no bother with the L-2000's plethora of options (nay I felt there weren't enough options so I added some!) but some people complain about it. "Chubby" is a nice way of describing the Tribute L-2000's neck - it's more like a baseball bat sawn in half. "Clubby" might be a better word I had no issue with it though - I like a chunky neck better than a skinny one. The sound of the M-2000 is smoother and possibly a little less capable of harshness/rudeness than the L-2000, more "modern" I guess. Still sounded good though, despite the less options available.
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