Woodinblack

To be fair, the spanish flu of 1918 had additional complications, a completely unsanitary breeding ground of the trenches and boats going to it, people travelling everywhere because of the war, more pre-existing conditions in both an unhealthy, not well nourished and slightly blown up population, a complete lack of anti-bacterials to counter the secondary infections, a lack of knowledge of how the disease was spreading for the first half of it, conditions made worse by the beliefs of the day. If it had come a year later, it would have been much less damaging as people wouldn't have been travelling in the same way. Whatever comes of this, you can't really compare it to that one

Agreed, I have two SRs (well, two of my SRs), the 1605 is 8lb, the 5005 is 10lb. They don't feel even slightly similar, even though they are physically the same shape. I don't notice wearing the 1605, the 5005 I am constantly fiddling with to adjust the strap

Luckily I never heard of them to be disappointed but that is really awful. We play does your mother know, but I suspect you don't want to play it like us. I use the Obsydian drive on the helix, with a little bypass on a second channel to retain bass.

Well, that is authentic then!

I liked Steve Hillage back in the day when I was a hippy, but that was a long time ago. But my sister gave me a copy of Trick of the Tail* in 1977, when I was 12, and it literally changed my musical direction from then. * because it was scratched so she bought a new one, and I still sing the jump.

Harmonics will always be correct if the fundamental is correct, their only use in tuning is to compare to the 12th (or 17th) fret. Changing the truss rod will never make (any appreciable) difference to intonation, although if you are going to do it, do it first. It is all about the bridge. Play a harmonic at the 19th fret, then play the note at the 19th fret. if the note is sharper than the harmonic, ie, the note is higher, it means that the string is shorter than it needs to be, so move the bridge end back away from the neck. if it is lower, then the string is longer than it needs to be, so move the bridge end forwards (towards the neck). I don't know how the hofner does it but if it is a floating bridge then you just have to come up with a best compromise.

Our singer is already ready

Balsa? Well, that puts its value up a bit!

I use the 12 step but i just do backing chords rather than low notes.

I think so! To be honest, I needed something I could access the batteries better anyway

Slippery slope...

Yeh, I would have thought that.

Well, looks like I am looking for something new today. The hinge on this had always been a bit loose, which is why it was in a harness thing with a reversed jack to jack, but didn't stop it falling apart mid gig (but luckily, at the end of a song)

After all that though, its still not very... thunderbirdy.. though is it?

Very rare to get active pickups. Most active basses are just passive pickups with a preamp. So all the preamp does is buffer the signal from the passive pickups so it can drive it down the wire. Except once you have a passive preamp, you might as well put tone controls on it as you have the ability to do it, but not essential.

Well, they are marked as 'emg designed passive pickups', so there should be no problem just pulling the preamp out and just wiring it like a gibson.

Maybe your pedal is not the right type? i tried to use my zoom pedal but it didn't work, I assumed it was the wrong sort of pedal

I agree, the tone controls on a the legend 8 were unnecessarily faffy. I am used to something a bit more simple, like bass / treble with a centre indent when they are flat. For all my ibanezes with bass, mid and treble, I almost always have them flat all the time unless something happens in the middle of a gig. in a way, the G&L tone controls are good for that. It has bass cut and tone (ie treble cut). Flat out is completely flat, anything else reduces. let the amp do the shaping, and the controls on the bass remove a problem

I guess there is enough to keep the musical box going then. I won't bother seeing them again, but maybe there are some other tributes (or covers) I can see at some point. I am not going to get to see Hacket this time, for some reason they have removed Bath from their list of venues, so there is nothing really close enough for a midweek gig.

Are you sure that removing the preamp will make the difference to changing your amp settings? Isn't the tonepump on those a boost only thing, so if you turn them all off they should be flat?

The more power and emotion thing was why I prefered the hacket version. Musical Box were certainly doing the authentic thing, they dressed and acted the same and had old instruments that undoubtedly were authentic, and I guess if I cared about that sort of thing, that would have swayed it for me. Just the music left me a bit cold.

Welcome!

Thanks for that, I hadn't seen the 6 string one. And now for some reason which has nothing to do with sense, it is quite compelling!

Don't get me wrong, they weren't specifically bad or anything and I am sure they were a recreation of a band in the 70s, but it seemed like they were more trying to be a recreation of a thing than to really bring the music to life. I guess Steve Hackett has the advantage that he wasn't trying to be anything but does the music as well as he can. And let's face it, he probably has a lot more practice

TBH, I saw musical box a couple of years ago and expected great things, as everyone raved and I wasn't blown away. Steve hacket was a lot better for me when I saw him so I probably wouldn't go again. My friend I was with really liked it though.