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adamg67

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Everything posted by adamg67

  1. I've got a PRS S2 Custom 24 and if you want the sound and playability of the "real thing" for less money than the core series they are excellent. They're made in the US, same standards, same QA, set neck etc, they just don't have the carved top (there are a few other minor differences as well). I had a PRS SE (are they still making those?) and it was nice but not a patch on the S2, which was why I traded up. I'm currently selling my other guitar (Fender Tele) even though it's good, because all I need is the S2, with the coil tap it's very versatile. You don't get the "ten top" amazing colours on them but I like mine, bit more understated which is fine cos I don't need to be drawing attention to my playing. They should be around second hand for £700 - £800 ish depending on the finish? Maybe less - they did some on solid colours that were about £1200 - £1300 new I think.
  2. I really did vote for yours more as an expressive piece of art than because i actually enjoyed listening to it
  3. It's easy to misremember, in my head the Katana didn't look too bad... that was definitely wrong!
  4. I did, all Squiers, plus a few pages stating that Fender did the guitar as a Fender and a Squier, but only did the bass as a Squier.
  5. Easy basschat way to settle it... pics or it didn't happen
  6. What about the "whatever happened to the" Fender Katana bass.
  7. Now Sold Upgraded 2016 Fender Mexican Standard Telecaster plus extras. I believe the colour is Arctic White, it’s quite a creamy white. The full length photo of the back of the guitar and the one taken outside are maybe closest to the colour. It’s in very good condition, I would go as far as to say it’s mint. I can’t see a mark or scratch on it anywhere, there isn’t even any buckle rash on the back. Lovely maple neck and board, and it plays really well. The action is just excellent, nice and low with no buzz at all. Currently has some Thomastik-Infeld Power Bright strings on, 10-45. I would put the neck up against any American Tele for the way it plays, and probably as good as my Paul Reed Smith. The pickups are a brand new set of Fender Custom Shop Texas Specials and it's been completely rewired with quality components. It has IMO the two best Tele mods, direct out (tone and volume circuits bypassed) on a push/pull volume knob for that last bit of extra bite, and a 4 way pickup selector (Oak Grigsby IIRC) with both pickups in series on the extra position, which gives a whole new extra tone. The tone cap was chosen by trying the likely ones so the tone control is spot on for the pickups. The control cavity is shielded with copper tape and it's all properly soldered up, guaranteed no crackles or issues. The white scratchplate it came with didn't sit flat, so I bought a pearl and a black one to try, the screw holes didn’t seem to line up for those either so I’ve filled and redrilled a couple so the scratchplates sit nice and flat. The original one has flattened out again as well, and looks to me like it would now go back on and sit flat, so there are three scratchplates with the guitar: Pearl (fitted), black and white. I’ve done a couple of photos with the black and white ones sitting in place to give an idea. It currently has chrome Schaller strap lock buttons fitted but there is a set of Fender standard ones with it as well. I’m also throwing in a Fender tweed strap which I think suits it nicely. I started with a lovely playing Tele and put some effort into making it sound great as well, and it will be a bit of a wrench to sell it. But, needs must and the least used thing has to go. Obviously the current situation will make a difference to potential collection or delivery, which is always the best way to do try before you buy. Things are relaxing a little bit and as of writing this I think it's technically okay to meet so long as no one else is there and we're in a park It would be a bit like a deal in a gangster film - walk forward, leave the case on the ground and retreat while it's collected. I do have an old, battered but solid case it can be shipped in though, so it can go properly insured. To be worked out. Trades... unlikely, it would have to be a bass really, and it would need to be something that would bump one of my existing ones.
  8. Fender charge what people will pay. A good chunk of the money you pay for one is divided equally between the letters F, e, n, d, e again and r on the headstock.
  9. This is a very good little USB midi controller, They’re not available any more which is a shame as it was the best thing I could find without going for motorised faders (which is what I have now with a Faderport 8, but they are even more money). Among all the things you can use it for, It’s a pretty good solution to having a row of knobs to turn for a virtual amp, instead of having to reach for the mouse. You should be able to control any amp model that gives you automation parameters (watch out though, some virtual amps like amplitube make automation a bit of a pain to set up - that’s not a Killamix thing, I find Amplitube a complete pain with my Faderport as well. Plugins like comp, EQ etc that expose their parameters to the DAW nicely are dead easy though). Its big secret weapon is that it looks like 9 knobs and buttons but it works like 81 with a neat feature - pressing any of the knobs switches between 9 “banks” sending (and receiving) different values so it can control 9 times as many parameters as you think. There’s an LED above each knob so you can see which bank you’re on. It will go even further to 144 by pressing two knobs but it’s hard to imagine needing that. I used this to control amp parameters with one bank and then effect parameters from the same VST on the other banks. It has endless rotary encoders with LED position indicators which can be updated from the app you’re controlling. On top of that, the sensitivity of the encoders changes depending how fast you turn them - this works really well, turn the knob fast and the value changes quickly, turn it slow and it changes slowly. The endless encoders on their own make this way better than any of the controllers with “fixed” knobs or faders - I’ve tried those and I don’t know how anyone works with them, as soon you switch what you’re controlling all the knobs are pointing the wrong way, bump a knob and the value suddenly jumps to the new position. Change songs and everything is in the wrong place with the same problem. You’re better off just using a mouse. With the Killamix, as you switch banks on the Killamix or switch plugins etc the LEDs update to show the current values - so much better. There are a few other controllers that do this without having to go to the expense of motorised faders, but they are not cheap either (things like the Midi Fighter Twister which is still over £200) It also has 9 buttons which expand to 81 / 144 along with the knobs, and can be configured to work in different ways. They’re illuminated and also switch states when you switch banks or change things in software. There’s a self centering joystick as well, although I never used that. Mine has the green LEDs, later ones had blue but they work the same. You do need to be looking fairly straight on at the LEDs, I had mine propped at an angle to help with that, but then I have the same problem with the scribble strips on my faderport. As with anything like this you need to make sure it will work with your setup, but it’s pretty generic - it doesn’t need any drivers or additional software and everything works through (USB) Midi or is configured on the unit itself. I had it working in Studio One out of the box. It’s really nicely made and in excellent condition. There’s a USB cable included and even a little cloth bag that the previous owner made for it! The reviews of these were universally good with the only negative being the price - IMO they were worth it anyway but at second hand prices they definitely are. I’m tempted to keep it “just in case” just because they’re so good and are hard to find, but I really can’t keep stuff I’m not using. Kenton Product Page Manual Musicroom Review
  10. I've got a 192 KHz interface, it's set on 96 KHz all the time - maybe if I did something serious that I wanted to give to someone to mix / master I'd use 192? But for at home stuff you just don't need it.
  11. The BTBs are sooo much bass for the money. I had a sixer which I sold (slight wrist issues mean 5 is the max nowadays) and I've had to spend a lot more to get something as good. Ibanez really know how to do great playing instruments. GLWTS
  12. Yeah, good idea, I've done that and it's there, it disappeared briefly but once I gave the new one a new URL it works fine
  13. Okay, I've done it. I stayed very much in my comfort zone for the basic idea with a pretty straight up rock song, but tried to take some inspiration from the pic to make it a bit darker and moodier than I'd normally go. Then I jumped on a metaphorical bus out of my comfort zone, went to the airport, caught a plane, and ended up somewhere where my comfort zone was a distant memory, trying to do lyrics and vocals. This is my first ever attempt at that (ever, not just here) and I don't think anyone will need much convincing of that. It will give you some idea how bad my first attempts were when I say that the finished article is a big improvement. Anyway, I did it, and my aim is only ever to be able to sing enough to write words and vocal melodies for other people to perform. Drums - SSD 5.5 playing an edited Groove Monkee beat. Bass - Maruszczyk Elwood (Jazz) through a Darkglass Vintage Ultra, doing the simplest bassline ever. Guitar - Paul Reed Smith S2 Custom 24 through amplitube, double tracked (properly, by playing everthing twice) Vox - Err... well. I was quite pleased it only needed a few tweaks with Melodyne pitch wise, and I tried to lay off processing it too much. I still hate the sound of my own voice. Edit - I've noticed that Soundcloud seems to fade in slightly, I should have left a moment's silence at the start but it won't let me overwrite it with a new mixdown now. - Fixed now.
  14. I could get away with it as JakenElwoodnStingray, only problem is people might take it as being about my favourite film (which would be fine) and TV series (which would might be fine but I've never seen it).
  15. That's a mean looking bass face for a church service! >;)
  16. Yeah, I think you're right. If I start off with shitness, adding lots of shiny plugins just gives me shiny shitness.
  17. Yeah, I've gone the same way, the effects chain on the vox buss is up to about 20 effects now (many doubled up via two seperate all-in-one "signature series" plugins). It's like polishing the proverbial richard the third I think. I'm tempted by this: https://www.waves.com/plugins/ovox-vocal-resynthesis#ovox-next-generation-voice-controlled-synth
  18. I'm in F# minor for this one, at the risk of sounding like NIgel Tufnell, it is the darkest key IMO
  19. Super easy sale, great to deal with, what more can I say - just like a Basschat deal should be
  20. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  21. Oh no! I went and looked at the Sanberg site, and now I want a Forty-Eight!
  22. I don't know why I do these things to myself. Last month it was using strings, this month I decided to do vocals. Why? I can't sing. So at the moment I have a tune I'm happy with, I have some words and an okay vocal melody, and after multiple attempts nothing I try for actually singing it sounds anything other than distinctly dodgy. It will be William Shatner style spoken word at this rate.
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