adamg67

I found the Delanos always needed a bit of something, depending what I was doing. I replaced them with a Nordstrand NP5 and a Big Splitman, with coil tap so it’s like a Nordstrand Big Single when it’s split, or 2 of them as a Humbucker which is a monster, all squashed into a humbucker sized package. Like that, I feel like for a lot of things it can just be DI’d and sound great, there is that bit of character that I felt the Delanos didn’t have. There’s also more difference between the neck and the bridge, and obviously more choice at the bridge. I doubt I’ll ever change it now.

I spent a lot of time in Newcastle when I was younger, mainly because I lived in Middlesbrough. I'd be very tempted to move up that way if the other half would, though to be fair I do like it here in Yorkshire. Leeds isn't a bad city but it felt like a step down from Newcastle for a night out when I moved there. My mum's family were all from up that way (they were either miners or worked at Armstrong's works in Newcastle, so that's going back a bit now obviously). Hard to think of a better city in the UK for a night out.

It didn't, apologies.

So what? The poster was offering some new and potentially interesting info. His post did more for me than yours did.

It's a re-issue, and (I know they're not everyone's cup of tea) with a bit of a relic / road worn job. So nowhere near the price of a real '62, but there is just something about it that I really like. It's nicely different from my other basses as well.

I thought I didn't need one for a long time, and then got a chance of a decent part ex deal on an AVRI '62 Precision (traded in my PRS guitar which I really didn't need). I do like that bass a lot. Not sure I would have done it for one with any less Mojo than the AVRI, not when I have a P-alike with Nordstrand pickups that has never yet been knocked off its "go to bass" spot.

Finally found some time for one of these, and enjoyed it as usual.. I need to remember how much I like doing it, mainly because I always learn a lot trying. Blurb for the voting thread: I’ve tried to go kind of “directly” from the pic, imagining the protagonist walking forward, imagining what happens next and thinking, “if that’s the music video, what’s the music?”. A driving insistence to keep moving and the drama of what is encountered on the way. For anyone interested in the gear: Bass is a Maruszczyk Jake 5A with Nordstrand pups through my Kemper’s version of a Tech 21 Bass Driver. Guitar is an Ibanez built from parts off eBay through AmpliTube and “The Finger”, an excellent Reaktor FX playable effect. The rest of the tracks are all Native Instruments, Drums are Battery playing Groove Monkee MIDI. Synths from Reaktor, Rounds, FM8 and Retro Machines, all played live on an NI S88 first before being edited. Waves Infected Mushroom Pusher and Saphira for Mix FX, plus a couple of tricks to keep things wide.

Funny seeing people taking ZZ Top more seriously than they take themselves It's clearly done for a joke, most of the strings look the same anyway, in fact I wondered if they were all E strings. 4 trussrods though.

I've always liked it on Under Great White Northern Lights (live album), I'd say that version is better than the YouTube one, but it's basically the same thing.

I got told not to use my 5 string for rehearsals and jams because the guitarist couldn't work out what I was playing because of the extra string. He maybe might have had a point if he'd been playing to stuff I was coming up with but that never happened, I was coming up with lines to his guitar parts, and you could tell whether they sounded good by whether or not they sounded good. Sadly that was the least of the problems so I did a bit of "it's not you it's me" and left.

Portugal. He Man Residents of the United States Rodigy The Shame The Mashing Pumpkins Pear of Destiny The Oozies Assive Attack The Mamas and the Paps

Brian bought a pedal from me, all nice and easy, another good bc deal!

My guess (and that's all it is) is that Capris will come back down again, because they only mean anything to the generation that had them when they were youngish. This is a more specific version of one the opinions being made in the original vid, which is that certain guitars mean something to people of a certain age. Strats got slightly ditched a bit for offset style guitars arouind Nirvana time, and maybe will get a bit of the same effect.

Yeah, this is the point I was trying to make about Rollers vs Escorts. In the 80s even a nice RS2000 wasn't worth all that much, but a Silver Ghost probably still was. Now the escort is worth more. Very, very few (if any) people predicted that, it was down to changing tastes.

https://www.classiccarsforsale.co.uk/rolls-royce/silver+cloud/5f6bd09d-93d3-6024-b8f4-d78ab22c48f7 https://www.classiccarsforsale.co.uk/ford/escort+rs+2000/65a1550f-bbeb-6e0e-a8fd-e6f793da48d6 The generation that loved Rollers is on the way out, the generation that loved a rally style Escort are earning money, or cashing in their pensions.

It's not necessarily a good parallel with guitars, as they havn't really changed style as much, but there are examples of the market dropping for things which are rare and were once desirable, but which fall out of fashion. My brother in laws dad had a collection of Rolls Royces (he was a scrap dealer in postwar London and bought them cheap) which were not worth nearly as much as he thought by the time he came to try and sell, and my parents had a thing for mahogany and red velvet antique victorian furniture, which ended up being worth sod all (quite rightly IMHO).

Indeed, and I shouldn’t assume what you meant, and I shouldn’t post after a bottle of red (but I probably will do it again) 😀 I might try drop D on a spare guitar I’ve got when I’m feeling brave.

Okay, I get it now. I’m bit slow sometimes. The OP was talking about using a drop pedal to shift everything down. I was suggesting just using an octaver to shift everything down a whole octave and then you can eg go up to a “normal” D, in its normal place, and get something that sounds a bit like the low D from drop D tuning. I’ve done that and it sounds pretty good, and all the notes are still the same notes.

Now I’m lost… this is exactly what doesn’t work for me, I want the same note at the same place, which is what I get with a 5er or an octaver. Same notes in the same place. What I don’t get on with (but other people obviously do fine with) is drop tuning, including with extenders etc.

Well yeah, that does make sense, and I was all 5 string at one point, but I had quite a bad wrist problem and starting switching to 4 string for everything, but still kept one 5er I didn’t want to part with, which also has narrow string spacing so is better for my wrist. now it seems to have improved (I adapted my left hand position) and I can’t decide whether to switch back. One of the 4s is an AVRI 63 P as well. It’s only one project that needs a 5 really, the current active band I could use a 4, as it happens I use my 5 but only because of the pickups and because the AVRI has rounds on it.

Do you mean, because you would be playing higher up but getting lower notes? I suppose I don’t notice too much because they’re parts I’ve written from scratch, and I’m getting the note I expect, sort of.

So, to elaborate on "switching between tunings would do my head in" (which TBH is pretty clear to start with, and it's clear that an extender would do my head in, since what it does is switch between tunings). I don't want to (and don't have to) deal with 2 different tunings where the patterns and relationship between the strings is different. I don't want low E to move to a different place, especially when I'm making stuff up. One of the best things about bass for me is that everything is in 4ths and the patterns don't change, adn the relationhips between each string is the same. I have a couple of ways of getting down to lower notes if I want them, one is my 5 string, which I'm using in a band at the mo and it works a treat. I can switch between 5 and 4 no problems these days, and often do. The other is an octaver as above, which I like, it's different and has a really nice werid effect where you can go up the fretboard and end up at the same pitch. Both of them keep all the 4 string notes in the same place, and all the strings tuned in 4ths. Tuning to drop D, however it's achieved, doesn't do that. Hopefully that makes it clear why I reallly wouldn't like a d-tuner, extender etc. But then, I kind of think you knew that already

I'm going for delayed reply of the year here. I'm writing with a guitarist who plays exclusively in drop D, but I'm not exclusively writing or playing with him and do a lot of other stuff, and switching between tunings would do my head in.