Mokl

[quote name='Leon Transaxle' timestamp='1328551979' post='1528982'] You may or not be saying this in jest but above all other areas [b]this[/b] is where ethics coem into play. [/quote] Yes, that is what I meant.

I think I might start a thread questioning the ethics of Squier pricing. I mean, come on, how can they sell them for so little?

This has been discussed so many times, but essentially boils down to geographics (ie where they are based) and supply and demand.

Have you had the control cavity cover off? The date of completion is usually written on a bit of masking tape on the back.

Not the worst thing I've ever seen, but not really my cuppa. Does give me an excuse to post this though. I absolutely love Akira Jimbo's (drummer in Casiopea) playing....and his improbable name! I think that how he uses the clave is simply phenomenal, and he is so musical for a drummer. He overplays a bit in this, but it's stil cool imo [url="http://youtu.be/wY2Jj1KOCP0"]http://youtu.be/wY2Jj1KOCP0[/url] I love the obvious joy he takes in his performances as well. I can't help but admire it.

The man is a relentless funk machine. I really like this live version of the second track you posted. http://youtu.be/r5yEghiWY5o What a band!

I always associate him with a Stingray for the earlier stuff, although I would swear some of the tracks on the first album were recorded with a P Bass. Some of the slapped stuff just sounds exactly like a slapped P Bass to me.

[quote name='bubinga5' post='1164992' date='Mar 16 2011, 09:01 PM']i could have said something to put him off doing this sort of thing again but i swear to you, i cant bare making people feel crap.. i feel horrible after.[/quote] That was almost certainly the right thing to do. No point messing with Karma

Oh dear, that sounds absolutely dreadful. I am unfortunate enough to work in a music shop, and occasionally have to put up with this from customers. The ones that do it tend to give you this look, kind of a "hey aren't I great?!" type of thing. I expect this was kind of like that in reverse. 90% of the people that come in are sound, but sadly there is a notable minority who are little more than insufferable tools who happen to be immensely impressed by themselves and think that you will be too. The truly talented people,IME, tend to be the most humble. We see a lot of musicians from day to day, some of them truly outstanding. This young lad came in the other day to buy a cheap digital piano - his playing was so good that I thought he was a professional concert pianist. When I asked him if he was a professional player he blushed and said that he only played by ear, having learnt to play on his Auntie's old upright. I can honestly say that none of us would ever dream of doing this in front of a customer (I'm not good enough anyway!). Why would you even think that was a good thing to do? If we employed someone and they did that, they would be shown the door.

What about one of those Squier deluxe active 5's? They look good.

My personal experience of these is that this is a very good bass for the cash. The ones I've seen have been well put together, and I love the PJ combination. Sorry if that's not what you wanted to hear!

I use one of these to power my kettle, and it definitely comes to the boil more quickly! Take that ye doubters!

I am unfortunate enough to have been in the position of selling Dean guitars, in particular the myriad of Dime Bag Darrell "Tribute" models. Surely, if Dean intended to pay a "tribute" they might try harder than to peddle inferior quality, overpriced tat bearing the deceased's name. I really hope that these basses are better, but I would be utterly amazed. Having said that, a couple of USA made Deans have passed through my hands (on their way to customers), and they were a beautiful quality.

The most righteous slap tone I've ever had comes from my `77 Jazz. You just can't beat the ash/maple/ 70`s pickup spacing IMO. I also have a Fodera Monarch and a Stingray (and I love them both), and although those give good slap tones, the Jazz just has a great depth and punch when slapped, the tone is smooth but never thin sounding. Don't need an active pre-amp in it, the tone is all there already. I was amazed when I got it - I was never expecting it to sound so good lol!

You'd have to be a loon to swap your Modulus for that! I really, really wouldn't do it. 70's Jazzes come along all the time.

Fair point. I have always gravitated towards basses that I like playability-wise. That is the most important thing to me. But I guess the ones I hang onto are the ones which I can get the sound I like out of most easily!

This is a disgusting cliche, but the best players always sound like themselves, regardless of the gear. I was trawling an interesting thread the other day where there was some considerable debate about which bass Bernie Edwards used to record a lot of the Chic records. Some swore blind that it was definitely a Stingray, although someone else gave a convincing argument that it was a P-Bass. Similar arguments about the early Chili Pepper's albums crop up every so often. There will inevitably be subtle differences in "tone" between different basses - eg - try to make a Rickenbacker sound like a Fodera, but there will be a point somewhere in the middle where the player will be able to find that sound they like, either by eq'ing, set up or changing strings, or whatever. Then the phrasing, attack and technique of the payer will surely dominate the tone? In my opinion tone is 80-90% technique. I am pretty crap though lol!

Cheers EBSFreak, but damn you at the same time. Now I want one! Love the look of it.

Having a snoop around google, does anyone think it could be a BC Rich Eagle?

[url="http://www.youtube.com/watch?v=ABLwmYI09Lw"]http://www.youtube.com/watch?v=ABLwmYI09Lw[/url] (Sorry, don't know how to embed it since they messed about with youtube!) Can you help me work out what Jerry Preston is playing here? I first thought it might be a BC Rich or an Alembic, but I really have no clue. Aside from that, check out the unbelievable groove of these guys... my God. Ta in advance.

Dave Dearnaley in Cardiff would probably do a good job for you. He reretted my Stingray some years back and I was pleased with the results. I don't have his details but think they are on a luthier sticky somewhere on this site.

On a purely practical note, you will probably find that you get more out of your gear as you are forced to "make-do" ("make -do" seems a little inappropriate given your great gear, but you get what I mean) with what you have. I have found myself in this position for the last 18 months now, mainly due to a change in personal circumstances meaning I have zero disposable income. I was already in the fortunate position to have some great stuff, but frankly was guilty of chopping and changing basses, sometimes without even having gigged them. I have grown to appreciate my gear a lot more, and learnt how to get the most sound-wise from it. The results have been so satisfying that I don't even find myself suffering the constant GAS cycle any more, in fact I am much happier. This is very convenient considering that I have no spare cash to indulge myself anyway! Good luck!

Nothing like a bit of gig pressure to tighten a band up, ime.

I can't imagine it will ever look perfect due to the difference in string widths. If I stare at my basses, the gap between the E and A strings looks less than the D and G. Switching to different gauges of string will exacerbate the optical effect, but in real terms this perceived "imbalance" will make no discernible difference to playability or sound. As for the break angle of the strings from the anchor point at the bridge to the saddle, all that stringing through the back has done is visually amplified any divergence in the path of the string which would not be so noticeable when strung through the body.