Doctor J

Sweet - Live at the Rainbow 1973 The Who - Live at Leeds Judas Priest - Unleashed in the East James - Getting Away With It... Live Black Sabbath - Asbury Hall, NJ 1975 Soundgarden - Live from the Artist's Den E.S.T. Symphony Ronnie Scott's Quintet - Never Pat a Burning Dog Morbid Angel - Entangled in Chaos The Fall - Last Night at the Palais

He was pretty thick, too, that guy.

Made even creepier because it looks like the Wong section and the Dirty Loops section were filmed separately. There's something about Dirty Loops which just doesn't work for me and I'm not sure why. They're incredible musicians but it just won't click.

You need to use rehearsals to weed this bad habit out of him. Devise your setlist with songs in clusters, where you go from one song into the next without a break between them. For example, start your set with three songs - bang bang bang one into the next. Then pause to talk to the crowd. Then another two songs - bang bang, etc. Rehearse the songs in those clusters and time your rehearsals. Know how long it takes to play your set, to the minute. If he can't change his tone enough by clicking on a pedal, adjusting his volume or tone or changing pickup, then he needs to find a tone which works for all of the songs in that cluster. Your audience came to hear music, not pregnant pauses, not tuning, not jokes or banter, especially not some lad faffing around with knobs and switches. Never forget that a live show is a performance, not just playing songs. It starts the second you take to the stage and doesn't end until you leave it. Everything, what the audience sees and hears between those two points, is your band's performance.

He sounds like Morrissey. Oh, wait, just read the end of the ad. He also sounds like Morrissey, I see.

Get a Badass (or Omega) and file the string slots wherever you want them. The screw holes will line up with a Fender bridge so no extra holes, at least.

It's something I'm thinking of doing to my own one. It's a slightly later model without the control plate and the jack is already side-mounted. The control plate is class, though, it would be a shame to mess around with that look, but a side jack offers some room to play around with controls and free up some switches to be repurposed. Also, it must be noted, there aren't many people who pick up a L-2000 and quickly think "This is all fine, but couldn't it be even more tonally flexible?" so a doff of the cap in your direction is due 😂

You might have room to move the output jack to the side, move the bass and treble pots down one and put in a pickup blend knob, then make pickup selector and series/parallel switches into separate inner/serial/outer switches for each pickup.

...you'd be King of the World!!!

Purely aesthetically, the necks need to be swapped. Black and maple is a winner, as is 3TSB with rosewood. Maple fretboards paired with 3TSB just doesn't work for me.

Great work. Very well done.

Hmmm... it wasn't the best thread I've ever visited on holiday but still worthy of a positive review on Trip Advisor. 3 out of 5 from me, which is a recommendation.

Very nice. I used to have a Mayones BE4 Exotic, which was pretty much the same bass minus the gloss - Schaller hardware and MEC electronics too. A very nice bass and a genuine steal for a little over 200 quid.

Gently tap the top of the pickup with a screwdriver while it's plugged in. When you're tapping over one of the magnet blades, you'll know it. From what I could find, these are the coil setups they use in the 35DC shell.

Ah well.

Don't put the idea in his head, he'd go with a hologram of himself!

Nice. There's something very pleasing about laying your hands on something you've been interested in for a very long time. Those horns have a touch of old Ibanez RB about them. It's a tasteful design, I hope you enjoy it.

I understand phone anxiety very well, but the answer really is just a quick and good-natured phone call. Status aren't known for letting down customers, I'm sure, whatever the delay is, they'll sort it for you.

Thank you very much @Nicko, very kind of you to say 🙂

Thanks all, great show from everyone 👍🏻

I used to have a 1980 RS924 which shared the body and neck shape with this. Negatives: heavy and no forearm contours Positives: Immeasurably better build quality than the 70's Fender I had, great tone, intelligent design, high quality hardware, sounded great, set up and played really well too. I sold it for €650. As an instrument, excluding all the jibba jabba we get caught up in when talking about instruments, I felt it was worth more than that. They weren't playing games in Japan in this era. These are properly excellent basses. If you can get this one, even though it has been modded, for £200, do it today.

Nice. I have one of the short lived Iommi signature models, based on the Vienna made in 94. I got to visit the factory in 96. Lovely guitars.

I had the opportunity to play a Tribute L2K at a rehearsal one time when the battery in my SS1 died and the nearest shops were closed. The drummer's other band left their gear there and he offered me the Tribute to play for what was left of the evening. Though it sounded basically the same as my US L2000 (bit of a mongrel, a mid 90's L2K body with an early 80's SB2 neck), the Tribute neck felt very different, to be honest, and the tuners were not the same, they felt cheap and had that brighter chrome finish characteristic of low cost Chinese hardware. There's potentially a really lovely bass in them but, for me, there's a lot of fettling and finishing required to make them feel the same as a US one. I'd definitely look to replace the tuners. edit-> lovely looking bass, Ped, I hope it meets your expectations. I'd love a pickup blend pot, rather than a 3-way switch but, other than that, it's hard to fault them. I have one of the switches to do the K mod on mine but the thought of that soldering job is quite intimidating so I have put it off for years 😂

I think the best way to set up amps is to stand directly across the room from them, rather than right in front of them. We tend to stand so close to them and miss most of the projection from the cab. If the guitarist is getting 100W of Marshall aimed right at his skull, he might turn down a bit. Similarly, if your head is above your cab, rather than in front of it, you're depending on the (usually not acoustically treated) room to reflect the sound back to you which isn't guaranteed to happen, then complain we're not loud enough despite the amp glowing hot. Always start a rehearsal by having the bass and drums play together, set the level of bass to work with the drums, then bring enough guitar in for it to all work together, but always be facing what you want to hear instead of standing right beside it with your ears several feet above it.

Lovely. What year is it?