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Dan Dare

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Dan Dare last won the day on March 3 2019

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About Dan Dare

  • Birthday 22/11/1953

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    The Smoke

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  1. If you have a heavy instrument, I can thoroughly recommend the 4" wide Pinegrove bass strap. Got one about a month ago and it makes a big difference to playing comfort. Hand made in Blighty. Have a look at their website. They sell direct.
  2. I've just got my first 5 after 40+ years of playing a 4. I shan't be switching over entirely, but it's useful to have the fundamentals when you're playing in D and C. I'm getting to grips with muting at the moment - having to remember to move the thumb across to cover the B and E strings to prevent them from droning sympathetically. Good fun.
  3. I've not had any issues. However, I always collect an instrument that costs decent money.
  4. Like this - https://www.roland.com/uk/products/micro_cube_bass_rx/?
  5. There's a nice looking Markbass Nano in the Market Place that has a front switch and 210w. Don't know the seller so not trying to flog it for him. Looks as if it would be suitable.
  6. It's far from easy to explain. This is an extremely complex subject and, as is the case with so many complex subjects, many have opinions about it that are founded not on fact but on their own suppositions. They will also tend to dismiss what others say as "nonsense", or worse, with no evidence to support the assertion. I did point out above that one should apply sensible limits to materials choice (balsa, to quote an extreme example, would obviously not be a good option, because of its lack of structural strength or rigidity). See itu's post above, in which he makes the (true) observation that two pieces of the same species of timber can behave very differently. As others point out, the variations between various hardwoods, or other materials such as Masonite, resins and so on for building bodies for solid electric instruments are minimal and tonally insignificant. If you have scientific evidence to the contrary, I'd love to see/hear it. Methods/quality of construction and electronics are the things that make real difference.
  7. A lot of the custom/exotic stuff is aimed primarily at wealthy weekend warriors - architects, lawyers, et al - who play in bands in their spare time. Nowt wrong with that. I'd far rather the companies concerned were making instruments than a lot of other dubious stuff. However, they won't necessarily be better, viewed purely as functional tools, than a decent Squier, Cort or similar. They just look a lot nicer and give greater pride of ownership. I played in a band with a group of professional types once. Nice guys, not bad players and being given an occasional lift to gigs in a Rolls was fun.
  8. Ah, but you get to play with all the new stuff courtesy of the day job.
  9. I'd wager his partner is picking up the slack.
  10. Construction, yes. Material (within sensible limits), no. How does a string vibrate on, say, a mahogany as opposed to an alder body? What are the differences? Can you demonstrate them? As you say, no need to argue more.
  11. This. Applies to amps, cabs, etc, too.
  12. Given that a magnetic pickup is not a microphone, how can that possibly be the case? The "sound" of the instrument unplugged (unless you play it into a microphone) has nothing to do with how well it will work when plugged into an amp. Try singing or shouting at the pickup on your instrument. Unless the pickup has gone microphonic with age, you won't hear anything, because it doesn't work by sensing vibrations in the air. It's actually the case that the better an instrument is acoustically, the worse it can be when fitted with a pickup and plugged in. My acoustic guitar - a 1975 Brazilian rosewood Martin D35 - is an absolute grand piano when played acoustically. Fabulous guitar. I have a Martin thinline bridge pickup fitted to it. However, when I plug it in (via a high quality preamp), it can be a nightmare. There are so many overtones and harmonic richness/complexity that you need to control or eq out that you'd be better off using a Takamine or similar electro acoustic (that isn't a patch on the Martin acoustically). Horses for courses.
  13. I agree with John. When you look at the probable cost of repair if it fails to do a sufficient job and the amp overheats, it makes sense to go for something decent.
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