BigRedX

In the early 90s, I made a load of leads myself using quality cable and Neutrik Jacks and XLRs and they have all been treated this way when packing up. They have been used on average once a week and after 25+ years are still working fine.

From what I've seen (and played) 28" seems to be the standard for B-tuned Baritone Guitars and 30" will be either an A-tuned Baritone or a Bass VI depending on the strings fitted and the pickup voicing (for me humbuckers in the standard guitar positions says A-tuned Baritone). At 27" scale that's a weird one. IME you'd need some fairly hefty strings to get a decent B-tuned Baritone sound - I needed to fit the heaviest D'Addario baritone set to my 28" guitar to get the best out of it for me. Of course if you are looking for that floppy down-tuned sound then 27" with a light set of baritone strings might be just what you want.

From my own experience with the Squier Bass VI and the Burns Barracuda all my most useable tones in a band mix require the brightness of single coils, and the middle pickup (either on its own on in combination with one of the others). Interesting... It's described as a Baritone Guitar although the specifications say it's designed to be tuned an octave down from standard guitar tuning. At £199 it's a very attractive proposition. Any chance you can measure the distance between the highest and lowest strings at the bridge and the nut for me? Thanks!

They influenced me a lot (well the Nirvana and RHCP albums did, I don't think I was aware of Soundgarden other than as a name at the time), to make make music that was nothing to do with what these bands were offering.

I think the problem is due to the fact that there are supposed to be quite periods during the show, but from what I have read very little is being done to enforce them. Every year the organisers say they are going to do something about it for the next show, and so far every following year at the next show we get the same reports that the quiet periods are being completely ignored. Add to that the fact that it looks as though this year the noise was significantly impinging upon the seminar areas, and you can see why people are getting frustrated and complaining. The exhibitors might say that they need to be able to make a noise in order to properly demonstrate their products, but when any sound you make just becomes part of the overall cacophony how can anyone make any meaningful opinions about the equipment they are trying?

IME this. How much more will very much depend on the impedance of the pickup and values of the tone pot and capacitor you have removed.

What is that? I can't make out the name on the headstock. And what's the string spacing E-E at the bridge and the nut? I'd be interested to know how it sounds. What looks like humbucking pickups in the typical "guitar" positions suggests it is primarily designed as an A-tuned Baritone Guitar rather than a Bass VI.

IMO it would be interesting to see how many like myself were completely unaffected by these three supposedly influential albums. There's nothing on either The Nirvana or RHCP albums that musically excites me (I didn't find them interesting at the time and still don't now) and while I don't think I know anything from that particular Soungarden album, what I've heard from their other albums leads me to suspect that I wouldn't find it enjoyable either. If I had to pick an album that was important to me in 1991 it would be Massive Attack's "Blue Lines", although by far my favourite record of that year was the Blindfold EP by Curve.

Can there be a "none of the above" option please?

It's all very well monitoring them. What needs to happen is that they are enforced. Why is this brought up as a problem every year, yet nothing over than lip-service appears to be done about it?

None of these were for me musically at the time, and the passage of time hasn't made me any more favourable to any of them. I was mostly listening the House and other electronic dance music in 1991.

The band I was in during the 90s went through 4 name changes, 6 singers, 5 guitarists, 2 bass players, 2 keyboard players (as well as line-ups where all the keyboard parts were produced by sequencers), 4 drummers - including one who left the band and rejoined later (and line-ups where the drums were all loops and programmed samples). I was only member in all the line-ups but I started as the bass player and ended up as the guitarist. And just in case you think that sounds like lots of different bands, when last version of the band split in 2002 we were still playing songs written by the original line up back in 1990. We also had recordings originally made and released under one band name/line-up that were re-released under a later band name and promoted with an entirely different line-up preforming them live. The Terrortones had 8 guitarists and 5 drummers during their 6 years of existence. Each of our 4 releases has a different line-up playing on it.

If you want something with Fender Jazz spacing and P-bass type clank you should buy a Fender Precision with a Jazz neck. These other basses exist because they offer something different in feel and sound.

It's hardly a new phenomenon, by the time The pretty Things made their 1970 album "Parachute" singer Phil May was only member left from the original line up.

Looks like just another J-bass copy to me. What makes it special/different to all the other J-basses?

I thought hipsters wanted everything to be "authentic". Therefore they would be paying by cash - probably in groats or guineas.

There was a time (about 20 years ago) when I would practice the set at least once every day I wasn't actually rehearsing or gigging. At that time the band I was in was also using a lot of high-tech equipment, so the pre-gig routine would normally be to break down everything we needed from the studio where we practiced and pack it all into flight cases. This would normally take a couple of hours on the night before the gig. Then on the day of the gig these flight cases would be loaded into the band van, driven to the venue, unloaded, set up on stage, plugged in, and ready for the sound check. With a bit of luck everything would still be working, and we wouldn't have forgotten anything important (like the floppy disc with all the MIDI files for the sequencer backing). Then after the gig we would have to break everything down and take it back to the studio, where it would be re-assembled for rehearsal the following evening (another 2 hours or so). With everything else going on making sure that I played all the right parts on my instrument was normally the least of my worries. Unsurprisingly I don't miss this in the slightest.

Up to now, Bluetooth has simply not been worth bothering with due to the amount of latency it adds to the signal. What might be acceptable for most consumer uses is probably too great for anyone with timing critical applications. The only way I would risk going the Bluetooth route, is if I knew I could get my money back, no questions asked, if turns out to be unsuitable.

Not really very custom. Yet more P and J clones. There's more to bass guitars than this.

Woolies Special. Cost about £20 back in the 70s and was overpriced at that. People only bought these because they couldn't afford anything better.

I like the first Nouvelle Vague album.

Turn up. Set up your gear. Play. That is all.

Is there enough room on the inside between the base of the unit and any circuit boards for bolts to fit a Mic Stand adaptor? Not a mod you would want to make if your are looking at resale value.

Whatever is available. Ideally direct from the luthier who has just finished making the instrument to my specification.

At least the seller isn't trying to pass it off as a Kramer Duke. As Assassin says the hardware on these is rubbish. They might look like Schaller parts, but are made from much softer metal. Also if you are interested check that it actually has an aluminium neck, some Aliens had wooden necks.