Woodinblack

Thats how I viewed it. Thrash came from america, speed metal came from germany

Indeed they were, and did, that is why there is a clear similarity in sound between motorhead (the track) by hawkwind and their early stuff. When we were going to gigs in 1980+, if we wanted heavy we would go to priest or one of the start of the bands that would be nwobhm, if we wanted rock we would go to motorhead or one of the older school bands that were around.

Thats not how you spell Venom?

Hardly a genre, just derived Hawkwind!

I looked, just new rules, and the bass line on that isn't great.

Think i would go for a piano. I am guessing I would be there a while, gives a bit more scope

One of the most surprising things that this thread brings up is how some of the real iconic songs didn't get that near number 1, whereas some of the ones that did were completely forgotten.

We (me and the drummer of my main band) had a meeting with the two guitarists of another band whos bass and drums were stopping, and had a jam along to some songs. Seemed to go well, there might be something in there. I did however play badly as I was also singing songs I didn't know, its hard to do both.

Looks perfectly ordinary. I guess there is some fault somewhere.

plagiarised? More inspired I would think. Although now you just have to use the same chords and you are in court.

The issues I have seen with active basses are down to the polarity of the wiring. For the general active bass to power on when plugged in, the preamp takes power from the battery and the ground on the bass. The negative of the battery only goes to the jack socket. If you are using a stereo (TRS) socket, and you plug in a mono plug, as you would generally do, it shorts the ring and the shield together, as the mono plug doesn't have a ring. Therefore, if you connect the ground of the bass to the sheild, and the ring to the battery negative, then plugging in switches on. However, some basses put the negative to the shield and the ground to the ring, because in 99% of cases, it really doesn't matter, the short is both ways. In the case of the WL20, it actually has a TRS plug, which it uses for power, so to enable the bass to switch on it has to route the negative of the battery on the tip to the shield, which it obviously does as it works. I heard cases that at least originally, it didn't work with basses that were the other way round.

So does a normal plug when put in and rotated 180 degrees drop out at all?

Still around though, they were only suppose to be limited edition anyway, which moot does keeping their prices up

Well, it *should* make no difference if the plug is the same all the way round - I mean how would the socket know that the plug was the other way round. Unless the hole of the socket itsn't round or the plug isn't round, it should be the same.

Thats very peculiar? Are the rings on the WL20 not solid all the way round, like is there any difference between the surface on both sides of the plug?

Mandella effect It was number 7, I remember it at the time. The number one that fans made was 'bring your daughter', which was a fan campain to buy the single and give them a number one.

Great song but it was never a number one. Unfortunate considering 'bring your daughter to the slaughter' was a number 1, and it was nowhere near as good as this

I think that is the main difference, the C4 and FI are for people who know what they want and are prepared to make it work. The SY-1 is a bunch of effects that you can use - there are a lot of them but basically that is it, turn the knobs until you find a pleasing sound

Not a huge fan of his, but the non slap playing is rather nice, certainly worth a runthrough

Yes, he bought it, played it, then took it to a photo shoot and Ibanez noticed at which point he became an Ibanez artist. He mainly plays his BTB6 or 7

I am guessing quite a few people. I have met many people that do high fret stuff, mostly 6 strings. Dave swift has a custom model and he is always playing his. I quite like them apart from the necks are way to large for me.

I am in a similar but opposite camp. I got the Epiphone thunderbird (the through neck with the gibson pickups) and I found with the CTM100 amp it was an absolutely glorious sound and good to play (and lethal for the singer, another plus!), but sadly, I can't get used to playing a 4 string, I can't do my current bands set with one and I can't be bothered to change basses (and our set list is never fixed), so it ended up on the wall looking pretty and gathering dust. Oh the messinger cazpar 5 string short scale, absolute beauty, but totally uninspiring and lifeless sound. Geddy lee jazz, again good sound, nothing special on looks obviously, have to tune it any time the weather changes. And again, a 4. I see all these lovely 4s and really tempted but just know that you are never going to end up playing them. Almost got a ric 4003, but figured it would be another waste.

I agree, why should you have to put up with huge spacing just to fill up the space on a 4? Luckily Ibanez do 16.5mm on a SR4 too mostly!

I would put the ford as a mondeo, and loads of people dream of those. I would call the ibanez more a honda! For me it was the dingwall - huge dissapointment. Still would love to try the more upmarket ones, but considering how bad it was I couldn't buy unseen and they don't exist in many places. Still, swapped it for an ibanez, which I still have. Probably be the last one I kept.