Woodinblack

And remarkably cheap!

Been there, done that. A little downheartening at times.

Yep, different things for different folks. For me he is one of the few soloists who seems to have really though about the whole thing rather than thought oh i need to put a solo here and gone through the motions. It doesn't to me either, and neither am I, I was just saying that about it being memorable, and my lack of skill. As we say, its down to what you like. i hear something you don't hear, and that is fine

Yes, and to me they really are. ie, I would pretty well say that up to but maybe not including all of Power Windows, when I stopped really following, I know them note by note and if I could play well enough I could play them all. Which is his style, which I love. I still remember spending weeks trying to nail songs like Analog Kid (which is a flurry of notes all the way through) and La Villa Strangiato . Some are fast, some are less so, some really make a statement but all of them bring stuff to the party rather than just fill in a space like a lot of rock / blues songs. For me he will always be one of my favourite guitarists, both for solo and rhythm, but I don't really separate the two.

Not for me, his solos are amongst the most meaningful and significant and affected my guitar playing growing up (not enough to make me good mind!). He has a style that was not like the standard samey rock / metal / blues riffing that most other have got, with a few notable exceptions, and are still solos I really listen to. Considering them wanting to be zep style at the start, going somewhere totally different I guess its the variations to what we like. Solos don't have to be 8 bars of pentatonic noodling.

Yep, I made that. I need to reset up the neck but I was quite proud of it!

Thats nice, more like a fireman than an iceman, the iceman the horn is on the bottom. I have a bass fireman shape

I think one thing we can see by these descriptions is that there is an amp for everyone. In the modern age (ie, since the carlsboros etc), I have had a TC BH250 1x12 combo for 2 years of one group. I was quite happy with that but wanted more flexibility (and maybe joined here), so I got a TC RH450 and a GK410. That sounded great, but the 410 was too big as my knee was collapsing and I got 2 x TC112 speakers which were easier to carry. Probably spurred on by hearing how evil class Ds were here I got a Ashdown 300 and a MiBass 220 for next to nothing. The mibass, as mentioned, was a piece of junk, the 300 was ok, but was still using the 450. Then I got an CTM100 - that was probably the best of all and if you want to do old rock and blues, couldn't be beat, but I don't, and it weighed a lot and was a pain to carry, so I got the ABM600 on a deal on lockdown. (and the bam200 for £85 refurb) I like the ABM600, I find it a pain it doesn;'t have a tuner, like the TC450 but it is a nice size to sit on the speakers sideways, and good to put the mixer on, so that is my standard rig now. TBH, apart from the mibass, I would still be happy to gig with any one of them.

I listen to all the old top of the pops they have on the evenings, and most of them are half rubbish and half good songs. Apart from one the other day. One from 1992, there was actually no redeemable songs in the entire episode.

Looks lovely, especially the wood. Not a fan of the sunburst / tort colour scheme thing but probably just as well as I would end up getting one, and I have had 2 bass VIs and a Ibanez SRC6, I don't know why I am incapable of realising it is not really something I am going to use!

yes, I don't know how that c got there when it was meant to be d I think most people when changing heads use the same cabs for comparisons. I am wondering if the 550 was better than the 220 - I had one of those and it was without doubt the worst amp I ever used, it was so lifeless. I have a bam200 and that is so much better, although just for home, as I gig with an abm600

well, don't pit your own money on that bet. a class B amp has to lose a lot of heat, class A more so. A class D doesn't have to lose anywhere near as much heat and doesn't need a transformer to get the voltage level down. the smaller you are, the less heat you can lose, so unless you are at a very small output, an A/B is not going to be that small.

I also bet it was never advertised as a guitar pickup, or that actually many people knew

Sounds good, will give it a listen then. It was Genesis trick of the tail which put me off remasters, in that it completely broke Ripples which is one of my favourite tracks. However, some of the Steven Wilson remasters have been good.

Haven't listened to that yet, but if it is a remaster i might put it off, I don't have a great history of finding remasters better than the original (and some, a complete travesty). I like camera eye and witch hunt, there isn't a bad track on moving pictures.

Its an interesting bass for sure, and gets round the issue of having the tremelo on the Bass VI that always seemed more problems than it was worth

No paralax distortion does that. But if for instance, you were to take a 20 fret jazz bass neck and put it on a 21 fret strat guitar body, you would end up with a 30.8" scale instrument, where the 12th fret should be located at (obviously) 15.4". However, as the neck was designed for a 34" instrument, its 12th fret is 17" away from the nut. 15.4" would be almost half way between the 10th (14.9") and 11th fret (15.99") on a that 34" instrument neck. That is what I am seeing here.

I had to change the pickup selector switch. While it did work, it made a very bad squeeking noise! I didn't have a problem with the bridge. TBH you have to put some effort in to make a bridge that doesn't work, but you are right the machineheads were definately down to a budget.

Yes, by measuring the picture on the screen, the octave is about the 10th fret!

Well, if they are probuckers, I assume they are designed to buck pros. so they are probably safe in that description! But yes, maybe humbuckers are all lies.

Now me too! Yay leon!

The mono signal is in both ears. The XVive is what I use now. I have used one alongside several other devices, I use wireless just not the line 6 stuff. Should be ok though. The one thing that it doesn't work well with is 2.4ghz wifi, such as the X18 network - forget them both working together, the X18 will not work. But my X18 runs on a 5GHz network so it is all good.

yes, I have had both a gretsch 220 and 2 different jazz basses (all of which were sold on here) although one was an aerodyne so had a p pickup. I gigged both types (the aerodyne only once, the gretsch 3 times, the geddy Lee quite a lot), the geddy Lee jazz was slightly noisier than the gretsch on one pickup, neither were an issue.

where you say 'put up with noisy single coils', they are not noisy single coils, they are single coils, no more or less noisy than other single coils, no worse than a jazz bass, which many people seem to 'put up with'. I personally have never heard of somone buying a bass specifically because the blurb said they were humbuckers, most people just go because they like the sound. The car analogy is a hyperbole. It has a misdescribed item. If you bought a V8 car and it was a 4 cylinder car I would assume you would notice it as soon as you took it out of the car park. I would imagine that 95% of people with these basses never noticed anything. Wow, the poor loves had to struggle through with single coils, how did they cope?!! It is a really cheap bass that has a misdescription. lets not go crazy. Yes, it shouldn't have happened but it does. Do fender or musicman advertise that some of their basses have dead spots? Why do spector say their tonepumps are just boost controls? Do people sue car companies when they don't get the consumption figures they specify? Who on earth reads the advertising of a manufacturer and believes it over their own experience?

Sounds like something is loose in there.