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Misdee

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  1. I only play at home nowadays too, but I like to think that I am completely ready and completly relevant if I get that call from a big-name band with a record deal. Knowing how I would use my envelope filter is part of that. 😄 To be honest with you, I've been sat here ready for the last thirty years or so, so they better hurry up before the money they are going to offer me starts to interfere with my eligibility for Pension Credit.😟
  2. I too thought that they were Ibanez own Di Marzio rip-offs , but read elsewhere that the were DiMarzios so thought I must have got it wrong! The were super-gutsy sounding pickups. It's a shame they don't sell them nowadays as separate item. They would be a fascinating option to have.
  3. I've got an Aguilar Filter Twin and it's really good. I think I like it so much because it has some "personality", for want of a better term, and also because it seems to have an organic warmth to its sound. Very wel made, too. For me the biggest challenge with a envelope filter is finding a musical context to use it in. It's a bit like drummers in big time rock groups back in the '70s who had a big gong behind them as the crowning glory of their drum kit. How many songs can use a gong on before it starts getting a bit too much? (The answer is "probably no more than one"). Similarly with an envelope filter. The only exception to that I can think of would be Chris Squire using his Mutron to great effect on a few tracks on Tormato. I'm sure there must be others, but I've no idea what they would be!
  4. Graham Edwards playing a Roadster back in the day.
  5. I remember playing these basses when they first came out at the dawn of the 1980s and they were superb instruments. Well made, really gutsy sound, modern tone but with plenty of balls. The Di Marzios probably contributed a great deal to that sound. Yes they were heavy, but no one seemed bothered about what basses weighed back then. Back in those days if you had rung a shop and asked them what bass weighed they would have thought you were an eccentric, and that's the polite word for it, if you know what I mean.😄 Heavy was a mark of quality. Alembics were heavy. On purpose. Ibanez were really in their golden era back It's such a shame they don't turn out Japanese-made basses like these any more. I do seem to remember however, that these basses had a very pronounced shallow D neck profile. On of my friends had one of these Roadster basses back in the mid 80s and I have a distinct recollection of the neck profile being like a slightly exaggerated version of a pre-EB Musician Stingray. Could be my memory playing tricks on me though. Forgive me if I am wrong!🙂
  6. I remember seeing these on Facebook or somewhere like that and getting excited for two reasons.Firstly it's a short scale Ric, secondly and much more importantly, it's styled sort of after a Rickenbacker 4002! Those pickup covers ! I was full of anticipation at the thought of a 33 1/4 inch scale scale reissue of that rare beast. I imagined myself playing the short scale bass whilst I was waiting for my custom order 4002 to turn up.I am still waiting for either to materialize. ☚ī¸ If Rickenbacker did bring out a short scale bass they would get snapped up pretty quickly I expect, bearing in mind how trendy short scale basses are nowadays. Short scale Ric with flats would be a very hipster-friendly combination. I also seem to remember Steve Harris from Iron Maiden citing the bass player from Golden Earring as one of his formative influences when he was a young player. Good to know Rinus Gerritsen is still out there playing.🙂
  7. I have found with strings that more exotic brands such as TI or DR that cost twice as much as Elites or Rotosound ect aren't necessarily any better in terms of quality or tone, just different. It's just a matter of taste and subjective differences. But if you are unlucky enough to prefer the more expensive strings then you have to fork out or feel you are settling for second best.😟
  8. Those TI Superalloys are magnificent strings, like all of TI's bass guitar range. They might be the best nickel rounds I have ever played. You will struggle to find anything that good, in my opinion. The thing about TI is that they are a bit weird in so much as they don't have much (any) variety in terms of gauge. I would cheerfully pay ÂŖ40 for a set of Super Alloys if they did them in 40-100. Then again, if they weren't a bit weird as a company, maybe they wouldn't have come up with such a unique sound for so many of their bass strings. If you don't get on with D'Addario XLs , how about Dunlop Nickels? There are the Super Brights which are, well... pretty bright sounding and very elastic- feeling , or the regular Dunlop Nickel which I really enjoy and find to be an excellent all-rounder. They are not overly bright and have a nice warm midrange, to my ears anyway, but still have enough bite for most tastes. In terms of tension, they are a nowhere near as slack as the Super Brights , but certainly not tighter-feeling than average. I would describe them as a good string for middle-aged men. Sensible sound, sensible feel, sensible price. Another option would be Elites Player's series. Fairly inexpensive, readily available and very bright and punchy for nickel strings. Seem to last a long time, too
  9. G&L should reissue the El Toro bass. Those basses have got a cult following and sell instantly on the second hand market.I remember them when they were current, but I've never got to play one. I still remember perusing the G&L adverts in Guitar Player magazine in the early 1980s and thinking how great theu looked in Fullerton Red These CLF bass look (and sound) fantastic to me , by the way. I really fancy one.
  10. I will certainly give you first refusal on the fretless Si, but I cannot envisage myself selling it any time in the foreseeable future. 🙂 I would love to show you some pictures of my Lakland basses but they are all put away in storage at the moment. I don't really have any decent pictures of them to share unfortunately.
  11. This is an example of the "fat neck equals fat tone" theory that rears its head from time to time. I am really not qualified to either confirm or dismiss this theory, but I can say unequivocally that a Jazz Bass style neck on a P Bass does not necessarily equate to a thin tone. I've got a couple of P Basses with Jazz neck dimensions and they both sound very fat indeed. How "fat" do you need it to sound anyway? A bass either sounds good or it doesn't. A super skinny neck may well impart a different sound, but I'm talking Fender Geddy Lee skinny rather than a more typical Jazz Bass profile. Anyhow, I am not so sure that,if you analyse it, a Fender Precision Bass is a particularly fat or "thunderous" sounding bass anyway. It's emphasis is on the low mids more than a super deep low end. It's got a woody complexity to the tone that is very appealing to the ear, and so suitable for so many styles of music. Conversely, if a P Bass sounds wrong with a Jazz neck then does a Jazz Bass with a fat neck sound wrong also?
  12. What is this new Kingpin of which you speak? Tell us more! đŸ˜¯
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