NancyJohnson

I'd concur; it's primarily traders across the board now. It's fairly rare to find anything that's privately owned unless it's junk.

...sorry, I had to go and make breakfast. So yes, we're at the studio. He sets up and we just have a little chat and decide what to play. As Montgomery Burns would have said, 'And we were off!' End of the first song, me, the guitarist and the singer are kind of looking at each other. The guitarist is smiling, which is strange enough in itself and I'm kind of at that point where I just want to laugh loudly because there's joy in my being. The guy is fantastic; he's taken the loops I put into the original demos and has bettered them. The guy plays like Taylor Hawkins. He sings. He harmonises. He's a machine and frankly one of the funniest guys I've ever met. Band politics are gone, we're a gang. So we gave him the chair. He accepted. We're about a dozen gigs in, we've done studio time and did a two hour radio show. Andy/Wolverine has heard the studio stuff and said some really nice things about it. I'm made up.

I know 'tis weird to resurrect one's thread but some updates here. The drummer we had hoped to come on board just didn't happen, so we advertised everywhere. Not a bite. In desperation, I actually posted an 'any drummers here?' plea up on the Facebook page that covers the village I live in and I got a very cagey reply from this guy who'd played in a covers band and hadn't played in a band for about a year. Honestly, I'd have to say my heart sank, but we had more gigs booked, so I spoke to him and said we needed cover. We agreed that he'd cover for those gigs and if he wasn't what we wanted, we'd part company. He just wanted to get back behind a kit. I sent him ten songs and waited for a few days until it was time to get in the studio and play...

I doubt this will even get a nod, but years ago, me and my old drummer explored and rolled out a very basic Wiki venue database type thing. The idea behind it was that it had a drilldown menu system (it was UK-centric, then by county/town) and subscribers could add venues (and details thereof), update venue contact details, add photos, promote gigs, advise on local music stores etc. but ultimately it was too much work for two people to build and maintain; we spent weeks and weeks on it finally admitting defeat when Facebook reached the masses. Shame really. Genuinely thought it could have been something good. Moving forward, there should be a way of achieving something similar based on the Basschat model; this forum is based around a fairly standardised program format (the interweb is peppered with similar forums)...I personally wouldn't see any great problem in adapting the available parameters to achieve what we were trying to years ago. There's already a couple of sub-forums here that conform to the way we were trying to work.

Just an update. I tried everything yesterday with a Focusrite AI and things were even worse. Very strange.

Evening all. Anyone in my proximity (Reading) own an NS Design WAV4 that I can have a noodle on? Maybe a loaner for a couple of days? I really can't justify a blind purchase of one, but am really drawn to the instrument after 30+ years of regular 4&5 basses.

[quote name='DaytonaRik' timestamp='1486505264' post='3232407'] NancyJohnson is your resident T-Bird expert...I'm sure he'll be along to point you in the right direction [/quote] Ahoy-hoy. If you want my opinion on these things, source a Gibson and put a Babicz FCH bridge on it and you'll have a killer bass. Forget about all these people moaning about neck dive (whatever that is); you generally play with two hands on the bass, so for me it's never been an issue. If you can spot one of the recent non-reverse Thunderbirds, I'd try and land it. It is a decent bass (put a Babicz on it), but it's as different to the reverse model as a Precision is to a Jazz. I sold mine to Gus...I do wish I still had it. On the Epiphone front, work permitting, I will pick up one of the new Epiphones mid-year. It's a great shame that Gibson have dropped the legacy basses this year as the new Epiphone is the reissue they should have done. On the other models, I really can't advise on the low end stuff like the Tokai. Sorry. I own an ultra rare Hamer FBIV (there's only a handful of these left) and the pride of my basses, a Mike Lull JAXT4. Some years ago I posted to this forum that Thunderbirds were like magic. I'm a slightly overweight guy in my 40s and when I use a Thunderbird live, I'm the skinny kid I was three decades ago. It's a wonderful thing. It doesn't matter where I play, no one is ever interested in the other band's bass players Precisions or Jazzes, it's always, 'Ooh, I love Thunderbirds.'

I have HP and PreSonus looking at things. PC was fresh out of the box last week. It's a bit frustrating and I don't seem to be alone with this problem...quite a few people have experienced high frequency noise. I'm logging everything on tickets with both companies, so hopefully I'll find out what's going on soon enough.

Went through Rotosounds early on, same as you. Elites for a bit, D'Addario for a long time, Dunlops for a year (they were great, cheap, but I had a couple of breakages and that won't do at all). Currently using Elixir Nanowebs on all but one bass (but this will be restrung accordingly) and they're fantastic. They remind me of when I first started playing on Rotos. OK they're currently around £35 a set, but I had one set on for ten months and only changed them because the E was going a bit deado. The others were fine. I suspect I may go the route of just buying an E next time. So damn good.

Hello mate Been there with the drivers. Interestingly, PreSonus (who have been amazing BTW), suggested I try plugging my monitors into a different power source. I ran an extension from another room and while the tone was still there, it was actually quieter. P

I've just purchased a new PC (HP Pavilion); software installation and dejunking all smooth but for my PreSonus Audiobox USB which handles all my audio, be it to powered monitors or cans. I'm getting a tone pitched at a high B (7th fret on an .009 string) through my monitors that is unaffected by the main volume control on the AI. It's not line interference or a ground loop hum; the tone was initially constant but following ongoing advice from PreSonus it niw only returns for a couple of seconds before audio starts when I playback through my DAW or Winamp and lingers for a few seconds after playback stops. Also, if I'm scrolling through Facebook and there's a posted video, the tone starts up until I've scrolled past the content. It's very weird. Drivers are all up to date and configuration of the device is nor significantly different to that of my old PC (given the new computer has USB 2.0 and 3.0 socketry). So I thought I'd just put it out there. See if anyone here can shed any light on things. Cheers

[quote name='Cosmo Valdemar' timestamp='1486171563' post='3229881'] [url="http://www.gmpguitars.com/spec.bass.html#Deluxe"]http://www.gmpguitar...ass.html#Deluxe[/url] GMP Roxie! [/quote] Belter!

And this is why this forum is so damn good.

I was watching a [i]One Hit Wonder[/i] show on BBC4 earlier and New Radicals 'You Get What You Give' came on. I'd be grateful if anyone could ID this bass for me. [Edit: I've since found out the guy is Sasha Krivtsov...he was Paul Stanley's touring bass player, is the house bassist on the US version of The Voice and also seems to have a resume as long as your arm!] Cheers! The bass is a purple-sparkle 5-string, Les Paul kind of shape, fixed or through neck, two part bridge (which looked distinctly Warwick-esque), P/J pickups, two control knobs. Machine heads were in a 3/2 configuration and headstock had a slight indent at the end. I got some blurry stills (below). There's also some footage on You Tube where he's using another version of this bass in silver sparkle. Cheers P

I can actually believe how old this album is! It was one of the first CDs I bought.

Can't say I really know much about John Wetton, but I did enjoy the stuff he did with UK.

http://fullcontacthardware.com/users/49443/photos/photo/49443_2631027.jpg

I'd also add, the Cimar, if it's a bolt on neck, take the neck off and shim it at the furthest point with a cut of sandpaper (it compresses less under pressure). Give the truss rod a tweak and boom, you're sorted.

I'll try and help with the Babicz FCH bridge. The base plate is 7-8mm thick and the saddles ride on metal runner (1mm) and are held in place by a small (and slightly) offset Allen bolt (1-2mm); the bolt isn't diectly under the string, which makes sense. With the saddles at their lowest point it's feasible that the hex bolt could (and I emphasise 'could') make contact with the strings, but it's unlikely, so realistically the mininmum body to saddle distance you could go would be 11-12mm. I have two of these on Thunderbirds and the bottom of the saddle on the E string is a good 2cm above the body surface, so there is a ton of clearance from the fixings. You have to be of the mindset that these were designed as a replacement for Gibson models with their neck/pitch angles.

I loved the concept of the JamHub, but needless to say things fell over when the cost of the thing was raised; needless to say it did go any further. Shame! It's a great bit of kit.

Nice to see Ded Orse playing the Introducing stage. I was their original bassist. Lovely blokes, but a bit heavy for me.

[quote name='scrumpymike' timestamp='1484823245' post='3218723'] How can one of the two 'iconic' brands ship a premier product (i.e. made in the USA) product that has design flaws and hasn't been set up to factory spec? Beats me!! [/quote] Knowing Gibson, they probably ordered a zillion of the wretched 3-pointers and were too stubborn to listen to customer feedback and go with an alternative.

I've no qualms about my bass in the slightest, OK I had a lot of issues with it when I got it, but it's all sorted now. Thing is, I don't have favourites or anything...it plays nicely, sounds great and I confess that I was drawn to it more by the uniqueness of it visually and for all intents, it was a blind buy. My other basses are all nice too. My point being (again) is the price point. Despite me maintaining it's a lovely instrument, is it truly three or four times better than a Gibson? Straight answer is no (even thought it's not a straight Thunderbird clone). 100%.