EliasMooseblaster

Cheers, Andy - I won't lie, it was your gorgeous SG build that got me thinking about modding my EB-3 in the first place! I did a quick search on Fleabay after posting, and found a couple of cheap kits for a six-position switch (5 filters plus a bypass), so I'm starting to think I could just take a punt on one of those and hope for the best. Once I've worked out how to connect it to the output from both pickups, at least...! Might have to give that DiMarzio a try. For years I was quite happy with the mudbucker as the huge signal sounded pretty consistent regardless of what cheap amp or toilet-circuit PA I plugged into. Now that I have nice amps, I feel like I need something with a little more definition - the neck's "mud" and bridge's "honk" are proving difficult to blend to a satisfactory conclusion!

I do love my faithful old EB-3, but I'm aware of its limitations, and I catch myself eyeing it up with a soldering iron in one hand with increasing frequency. Are there any mods people would recommend (besides the obvious one about the bridge)? I had a couple in mind... Firstly has anyone else tried this? (And any idea where I could acquire a similar Varitone without spending a fortune importing from the US) http://drchucksgearrants.com/3-easy-mods-make-epiphone-eb3-great-part-1/ Also pickup upgrades - I do often feel like the bridge and neck pickup don't complement each other all that well. Anyone tried swapping them out for alternatives?

Do you think it was an attempt to capture the aesthetic of one of those Parker Fly guitars that, you know, didn't quite go to plan? (http://www.parkerguitars.com/products/fly/Fly%20Mojo%20Flame.html for comparison...!)

[quote name='KingPrawn' timestamp='1506373033' post='3378345'] ...He's a real passive aggressive personality and whilst he gives the external impression he's laid back and believes in majority rule. If he doesn't get his own way regarding song choice, set list etc he struggles to maintain the facade... [/quote] Christ, this sounds horribly familiar. Is this trait unique to drummers?

I suppose the other factor is that at some point, your friends and family might want to hear this band you've been working with. If the rest of the group play about as well as manatees wearing boxing gloves, are you really going to invite your loved ones to the gig? On the other hand, if you're out of your depth but the rest of the band is as tight as a gnat's chuff, at least your nearest and dearest will be distracted and keep talking about how good the guitarist/drummist/saxophonist/bassoonist is.

[quote name='T-Bay' timestamp='1505934909' post='3375374'] The best player in a crap band would (usually) have a greater say on the direction of the music and can 'shape' the band how they want it to some extent. They are also unlikely to be replaced. [/quote] My follow-up question would be: how crap? I've been in one or two short-lived bands where the standard of musicianship was abysmal. So bad that I wouldn't consider myself arrogant for saying I was the best musician in the room. So bad, in fact, that they couldn't be "shaped," and the music couldn't be "directed" unless one was prepared to put in a lot more labour than I was willing to. It becomes a thoroughly soul-sucking experience after a short while. So yeah... in short, I'd prefer the challenge of being sub-par in a bunch of very accomplished musicians!

[quote name='LeftyJ' timestamp='1505804801' post='3374353'] I once installed an Audere in my Jazz... That being said, I also have basses with active EQ's I do like and use, subtly. On my Stingray 5 I used it a lot to make adjustments inbetween songs, and I have a bass with an OBP3 that I use a lot too. Usually I only boost some lows and cut highs when I use the onboard EQ. I don't really know what it was about the Audere that I didn't like. [/quote] I can't help but wonder if this is one of the lesser-spoken arguments in the active/passive debate, i,e., a lot of us passive devotees haven't found onboard pre-amps that we've really liked? I'm very happy with the passive basses I own, but that's probably got a lot to do with me also liking the amps I own, and their EQ sections. As a result, I don't often find myself having to reach for the amp's controls during a set, and any minor tweaks can be achieved with the passive tone control. Unfortunately most of my experience of onboard bass EQs has been at the cheaper end of the scale, and they didn't really do much for me. Conversely, I've had a go on a Wal and a Veillette which I thought sounded absolutely wonderful - no feeling of "ooh, this pre-amp sounds a bit synthetic" there, but then they're a fair old way beyond my normal budget for a bass. Is it just possible that we've not found the "right" onboard EQ for us?

Is it just a way to avoid confusion when discussing different models of bass? What passes for a "neck" pickup on a Jazz bass looks much more like a "middle" pickup if you hold it next to a Gibson EB3, where the humbucker is right up against the neck. And before you can then say that they're both the pickups closest to the neck, someone turns up with their Sheehan Attitude bass, where there's one up by the neck, and another in the middle...does that middle-position Precision pickup on the Sheehan count as the "bridge" pickup? Not compared to the "bridge" positions on the first two, by the looks of things. And then some bugger turns up with a Rick. I can see how front/middle/back becomes an easy alternative for describing relative pickup placements [i]in certain contexts.[/i]

[quote name='skankdelvar' timestamp='1505489421' post='3372349'] Then there's the issue of bands deliberately tuning down a half step because of the belief that to do so enhances 'tone' (SRV) or to suit the singer. [/quote] I always thought SRV tuned down because he insisted on using .12 or .13 gauge strings on his Strat, which would have gone some way to alleviating the massive string tension (I've also heard that he moved down to .11s towards the end of his career so that he'd have some fingertips left by the end of a tour...)

[quote name='artisan' timestamp='1505466310' post='3372071'] Black Sabbath Volume 4 is a perfect example of this,as I've worked out a couple of songs I noticed this very thing. [/quote] You sure it's not just Ozzy's singing?

It was par for the course on previous forums where I've been a regular poster. I must confess that my first name is not Elias, and I have never actually blasted a moose.

[quote name='ZilchWoolham' timestamp='1505325220' post='3371094'] Personally, I think Brian May is a terrific guitar player, but Queen never manages to move me. His tone is great, and his solos are exciting and ear-catching, but the songs they're trapped in always leave me cold. It's almost a bit frustrating! [/quote] I have heard that back in the early days, when Queen were still playing the same circuit as Sparks, the Mael brothers did approach the then still Mr May and asked if he fancied joining their band - "Queen aren't really going anywhere," they supposedly told him.

Just remembered that I very briefly shared an office with the former bass player from Kenickie. (Anyone else remember them?) I think she was leaving her position just as I was starting in mine, so I think we overlapped by literally days. By the time somebody else pointed out who she was, she'd sadly cleared off before I got a chance to have a chat about anything bass-related with her!

[quote name='ivansc' timestamp='1503661821' post='3360061'] Fender made a five WAAAAY before that. Also a six. Both in the 60s. [/quote] Wasn't their fiver equipped with a high C, though? Not to split hairs, but I think BRX was referring to the first basses with a low B!

[quote name='Trueno' timestamp='1503608235' post='3359711'] Just remembered... once worked with a dep drummer who played with Smokey. [/quote] Your neighbour at the time wasn't called Alice, by any chance?

Guy Pratt has played my Epi EB3. I've not washed it since. (Not that I made a habit of washing my basses before the event...)

[quote name='Jus Lukin' timestamp='1503517513' post='3358919'] Those moustaches were fine 'til he f***ed those up, too! Forget the swastika, let's all reclaim those as next summer's must have facial hair. [/quote] Even Ron Mael struggled with that particular battle at times: http://www.youtube.com/watch?v=iA_kQHxJtj8

They should familiarise themselves with: Meghan Trainor - All About That Bass Puretone - Addicted to Bass Theme from "Seinfeld" Because when they tell people they are a bass player, the first question nearly every faft ducker will ask is, "ooh, are you [i]all about that bass[/i]?" A smaller subset of people may instead ask, "so are you [i]addicted to bass[/i], wha-oh-wha-oooh?" In either case, they will probably grin inanely in the assumption that they are the first person to have ever asked a bass player that question. And when people see them carrying their bass guitar, a large number of them, having got past the two obvious questions above, will then ask, "ooh, can you play the thing from 'Seinfeld'?" Possibly while doing air-slap-bass in a manner not unlike Alan Partridge.

[quote name='Yank' timestamp='1503479408' post='3358497'] Maybe I'll just fly the Jolly Roger...... oh, wait, are we allowed to say Roger or to be jolly about it? [/quote] As long as all involved parties consent to the Roger then please go at it with as much Jollity as you wish!

[quote name='Dad3353' timestamp='1503346081' post='3357507'] Aw,that's such a shame. Can't we tempt you with just a £5 tiff..? The £15 barney is on special offer, too, and offers really good value. I can see that the full-out £50 row could be beyond many BCer's pocket, but a little effort now and again would so help site funds. [/quote] I expect he's a little more than fifteen pounds... [attachment=251847:barney.jpeg]

Very much bass -> amp for my "core" sound. I have complicated things a bit by adding an overdrive and a fuzz, but they're only used on a few songs, and after a hiccup in packing up the van I reassured myself that I could still do a whole set without either!

[quote name='leftybassman392' timestamp='1503316694' post='3357084'] Wanting to keep it because you think it looks cool is frankly a bit naive. Given the febrile atmosphere over the pond in relation to this issue, how long do you think it will take for people to start taking sides over here? Hard not to see it as a headache you don't need TBH. [/quote] I'm with lefty on this one. It's interesting how the potency of certain symbols can change, sometimes very rapidly. A few years ago, I saw Skynyrd at the Hammersmith Apollo, replete with Confederacy flag tied to the mic stand. I scoffed to my friend about it seeming rather crass, but I didn't recoil in horror at the time. Of course, the surrounding context was all very different: Barack Obama was still in the White House, many of us probably felt (very naively) that racism and white supremacy were on the way out, and perhaps there was a tenuous argument that the flag could be "reclaimed" as a symbol, as Billy Apple suggests, of Southern Rock'n'Roll. In the meantime, I know white supremacist/neo-Nazi groups were always active, and a lot of the them always rallied around the Confederates' flag, but in the last year or so it's been alarming how quickly they've publicly reclaimed said flag. The news coverage of recent marches and rallies draws a very clear dividing line - flying one of those flags runs too much risk of looking like an endorsement of Southern states neo-Nazi groups.

[quote name='NancyJohnson' timestamp='1502102244' post='3349277'] Stage was about ten foot square, about a foot high. There was a fecking great aircon unit on the low ceiling over the stage ('Over six feet tall? Mind your head then.'). Vocalist insisted on standing on the stage, knocking into everyone, terrible sound, just terrible. [/quote] Oh, St Moritz. Strange little place. Never played there myself, but I've been a few times as I have a couple of friends whose band play there every so often. Quite baffling, as said friends are about 6'3 and 6'6, and the bassist isn't exactly short either...I can only presume that it's the smaller singer/rhythm guitarist who's dealing with their bookings, as I found it more than a touch claustrophobic*! * as well as, not particularly well suited for amplified music, given its echoing, cavelike nature...

Wikipedia is infuriatingly evasive on the matter. First run of active electronics? 1980-84 Precision pickup plus a bridge position humbucker? 1995-2009 First Precision with a Jazz pickup by the bridge? Diddly squat. They even acknowledge its existence but refuse to quote a year!

Over the last couple of weeks, I've enjoyed going back to a few acoustic/folk/blues albums from decades past - a bit of Davey Graham, John Fahey, Ralph McTell, etc. All those nifty fingerpickers who could make a single acoustic guitar sound like two or three instruments at once. It reminded me of a few threads on here lately, where one of the criticisms levelled at Ed Sheeran was that although he's reasonably* handy with a loop pedal, the guitar parts he plays are pretty unremarkable. Which, conversely, made me wonder: where are all the genuinely impressive acoustic twiddlers these days? (Closest I could find was Martin Simpson, and he's not exactly new to the scene...) *[size=3]well, he's no Steve Lawson[/size]