EliasMooseblaster

Absolutely, the Thunderbird cases are long enough to smuggle a small Howitzer...

Is that a more recent change? My CTM-100 definitely has a standby, though the smaller models don't.

I can believe that. I got really annoyed by the quality of the FOH sound when I saw Joanne Shaw Taylor a few years ago at Shepherd's Bush. I think the seat I had must have been positioned in a bit of a bass trap, but it wasn't a problem when the support act were on - King King sounded great, I thought the sound was really well balanced. As soon as JST came on, I was being assailed by some horrendous booming bass from the subs that just ruined the rest of the mix for me. I wondered at the time whether her bassist just insisted on having plenty of low end in his FOH sound, but now you mention it, they might have left some of the subs turned off while the support were playing.

Now that's a collaboration I'd be interested to hear (purely on the grounds of masochism and morbid curiousity).

You're close with the space theme...

I was looking speculatively at those the other day - I think Gear4Music might be a little confused as to what a Baritone Guitar actually is... (...it's particularly confusing as they stock another model which looks like it might actually be a bari, at least as we know them)

See if you can guess which one of those my parents had a copy of...!

Badmotorfinger for me, just on personal preference. Admittedly I was too young to be aware of these albums in '91, so I was late coming to the party. BSSM was good, but the Chillis were never a big favourite of mine, and I remember Nevermind being an eye-opener when I heard it for the first time. I don't think I'm the only one on here who went through a Nirvana "phase" but got a bit fed up with them after a couple of years. To be honest, when I discovered Soundgarden, Cobain & co got pushed to one side. I appreciate that Nevermind had a massive impact at the time. But I've gone back to it a few times since, and I just don't think it's aged very well. I think I understand why 14-year-old me was impressed by it, but grumpy *cough*-year-old me just thinks a lot of it sounds a bit dated and badly written. Badmotorfinger, in contrast, still sounds fresh and inventive. I'm sure plenty of you will disagree with me!

Yeah, I think they're just mixed a bit too "raw" and upfront - if you listen to the other parts, the lead guitar sounds really woolly as well. I think a lot of bands unfortunately come a-cropper with radio sound techs who are more used to mixing for spoken voices and properly mastered recordings!

Yep, they even recorded one on a uke. "Blue, Red and Grey" from The Who By Numbers is performed by Townshend singing and and accompanying himself on a ukulele, with a brass arrangement by Entwistle in the background.

That does sound wonderful - though you have to wonder how much of that is down to the combination of a well-made pickup in a well-made guitar! Very interesting concept though, and I have to say I liked all of the tones they went through on that demo.

The neck on mine is quite narrow (Gibson-style basses often are), though a similar depth to a Precision neck. I think my Schecter has a Jazz-like neck profile and string spacing, and things definitely feel a little closer together on the EB-3. I don't personally find it claustrophobic, but then I've never been too fussy about spacing. It won't clank in the same way as you'd expect from a Precision, but it has its own take on aggressive sounds. The neck pickup provides a lot of deep "woof," and you can turn that into quite a distinctive "bark" by blending it with the bridge pickup. Different from Precision clank, but delightfully raucous in its own right.

There's a further challenge if the group's name relates to the number of band members. Though this, apparently, didn't seem to deter the remaining members of pop groups 5ive and S Club 7 after some of their original members buggered off and weren't replaced...

I speak from the experience of someone who's been playing one since something like 2010*. It's madness because: they weigh a tonne, they are rather neck-divey, and they have a very particular sound. It's the best idea ever because: that particular sound gives you a nice, fat low-mid authority which can sit well in certain styles of rock music; they're also very articulate at the dusty end of the neck, and the neck profile is rather nice for twiddly stuff. Having the two humbuckers does also make them surprisingly versatile. (Upgrading the neck humbucker with a DiMarzio Model One tightens up 'that' sound nicely, and is coil-tappable for even more versatility.) And, perhaps most importantly, they look f***ing awesome. *I recorded the majority of this album on an EB3, if you want to hear how it sits in a rock context

Weirdest one I've played was a building formerly used as a wind tunnel. Basically an aircraft hangar with some really heavy duty acoustic treatment on all the interior surfaces (presumably to stop the machinery from resonating the walls to pieces). Guitarist and I took it in turns to take a walk while the other played a bit, to see what the sound was like around the hangar...both of us came back reporting that it basically sounded identically wherever we stood. And not the slightest hint of natural reverb. Completely uniform, but utterly sterile. It's almost as if we've got used to sound having a certain quality when confined to an indoor space - you don't realise how much you're used to ambient reverb until it's taken away!

Sad as it sounds, it doesn't surprise me. From the biographies I've read, even back in their heyday, their was a firm friendship between John and Keith*, and John and Pete*, but you get the impression that they were never firm friends as a group, and Roger was slightly isolated from the rest of them. *Notice the common theme in the above pairings. Wasn't there a thread on here a while ago about bassists being the glue holding the rest of the band together...or did I just imagine it to soothe my own sense of self-importance?

Many of my best posts are written with some kind of Scotch influence...

Sort of. Except in my case, it's not so much other bands and their songs as much as YouTube videos of people getting stuck in revolving doors or falling into duck ponds.

Fixed it for you

To be fair to Richard Cheese, his reworkings were always tongue-in-cheek. Smooth Jazz in its more earnest form is, of course, an abomination, and I do believe that when the Four Horsemen rend the very skye and ride upon this mortal plain, bringing unto mankind the woes of death, of pestilence, of famine, and of war, one of them shall hold aloft a saxophone, yea, even of the soprano register, lo, and his name shall be Kenny G.

Strangely, Mini-Mooseblaster used to be calmed by Black Sabbath and Motorhead when he was very young...

*grabs "Controversy" control and dials it right up* Is the amp or the cab going to be more crucial to getting the "right" sound? I'm not going to pretend that cab voicing and driver combinations don't make a difference; having tried a few, I'm very aware that they do. But if we're talking about amps which really colour the tone of your guitar (and for a '70s rock sound, we surely are), then I wonder if the choice of amp is going to be more important. As a fellow Ashdown CTM junkie, I feel like the character of those amps was still shining through, whether I was playing through my cheap Laney 1x15 conversion, or my Berg 2x12. There's no doubt the speakers make a massive difference to the tone, but I would have EQ'ed differently for each cab, and I don't think I ever lost the amp's voice as a result. This is my opinion at 09.29 on Friday, anyway. Wait until I've had some coffee and there's a chance I'll change my mind completely...

I've a B-Station on the way - hoping it will be a more satisfying replacement for my old Behringer BDI as a preamp/DI solution when I have to go ampless!

As I'm about to come into possession of a Hotone pedal, I thought I should check what the accepted pronunciation is. My intial thought was "Hoe Tone," but then I'm sure I heard somebody on a demo pronounce it "Hot Tone," which might make more sense. How do you pronounce it?

"...because the drummer and guitarist usually can't be trusted to do either!"