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Belka

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  1. Thanks for sharing this. I always thought there was some kind of chorusing on this track and now I understand why. It’s really interesting the lengths people went to back then to get good sounds - it’s a lost art with plugins these days.
  2. Mixed opinions - I took a bass up there to have an issue looked at with their tech. The email communication in advance of my visit was super efficient and friendly, but when I arrived I didn't feel welcome at all - was actually asked 'why are you here?'. The tech they had was friendly and dealt with the issues, and I enjoyed talking to Mark when I met him - he's certainly knowledgeable. When the bass was fixed, I asked if I could play it through an amp to make sure the issue was resolved for myself - was told 'why would you want to do that - I already checked it?', although in the end, begrudgingly, they let me do so. It's a great shop and despite the issues I would buy from them if they had something I wanted, but it was a weird experience. I always enjoy visiting the Gallery and have found everyone there extremely helpful and approachable, and Wunjo are also very good, and therefore I would always use them ahead of Bass Direct (unless it was something I couldn't find elsewhere). It's a shame they can't sort out their customer service - I really want shops like that to succeed as they have such great stuff but I can see why some people would never use them again.
  3. https://www.gumtree.com/p/guitar-instrument/guitar-hard-case-for-bass-or-guitar-/1394881014 https://www.gumtree.com/profile/accounts/1b8724625a0e9b167460f7e15574815e He's on Gumtree now. No Sansamp however.
  4. I doubt he cares to be honest, but he's terrified that Priti will shout at him if anything is done to allow freer movement.
  5. Can't say for sure but given the prices you see on Reverb they would probably at least hold their value - from that point of view they're a better bet than Ritter, Alembic, Smith, Fodera and MTD.
  6. Nice idea but not true. 90 days in 180 is the rule for the whole Schengen area. If you tried to do that you would be deported. The only places you could try that are by going from a non-Schengen EU country to a Schengen one; Ireland, Romania, Bulgaria, Croatia and Cyprus may allow entry even if you have just spent 90 days in the Schengen area. Apparently this loophole may not last long as these countries are looking to join the Schengen area. People in the UK (not singling you out - and certainly not looking to criticise as it's not surprising - British passports have generally given lots of visa free options) generally don't have much of an idea of visas, work permits and residency. I think for a lot of people the idea of getting a visa is as easy as turning up in Turkey or Thailand and getting your visa on the spot. Lots of people also think the 90 day visa run - popping over the border then popping back, as you sort of suggested above, is an option. It's generally always been illegal, but a lot of poorer countries would turn a blind eye as they liked the idea of westerners bringing hard currency into the country. Believe me, it will not work in a lot of places any more, and to try to actually get residency in countries such as the USA, Canada, Australia, and now the EU, is a complex, drawn out, expensive process with no guarantee of success at the end.
  7. Basically the ETIAS will not provide any more flexibility/freedom for Brits visiting the EU.
  8. I don't think anyone was saying that UK musicians would be barred from Europe, but that it would harder and in some cases not financially viable for tours to take place. Also, no mention of the carnet/VAT issue which is separate to visas/work permits entirely. The ETIAS is not a replacement for a Schengen visa. It's the EU's version of the current US ESTA - basically a visa waiver for tourist travel of 90 days and under. The ETIAS will only operate for countries which currently have 90 day visa free travel to the EU, countries like USA, Australia, Canada, NZ, Ukraine, and now UK. Countries which currently need a Schengen visa to visit the EU (China, Russia, pretty much all of Africa and Asia) will still need to apply for a Schengen visa. Any UK national who wants to work, study or live for longer than 90 days in an EU country will still need to apply for a visa (I may be wrong but I don't think this would be a Schengen visa - if you applied to work or live in France for example, you would get a French visa/work permit which would only allow you to work in France, not any of the other Schengen countries).
  9. I'm sure that the visa would be available to Brits, but they have to be applied for, which would probably require the venues to issue invitation letters, and the applicants to show proof of savings. Also, they may only be issued for a certain country, which wouldn't help with multi-country tours (I may be wrong about this). Plus, I don't think this would solve the carnet issue. In the end, the hassle and cost of getting a visa will probably make lots of tours unviable; visas are available to tour the States and Canada but you don't see many smaller bands going over there.
  10. Good points - light swamp ash is more likely to sound like alder whereas heavier northern ash has a brighter harsher tone. I agree with some of what BigRedX says - predicting sound based on body wood selection is nowhere near an exact science and it is just one part of the puzzle. In my opinion neck materials, and pickup type and location have a greater influence on sound. Then you also have nut, fret and bridge type/materials to consider. However, if the pickups/electronics have sufficient clarity, I'm sure that body material will make a difference, although it's debatable whether this is more to do with density/weight than the actual species. I n some cases I'm sure it makes little to no difference; a short scale mudbucker-equipped EB0 could have a brass nut, badass bridge, heavy ash body and ebony fretboard and would still sound like mud.
  11. For some people none at all. Others may prefer the way one or the other looks. There will also be a slight difference with regard to sound. Of course, this is only one variable and there are a whole host of others, but you don't have to be so dismissive of it.
  12. If it's Japanese, it's probably their local type of ash, which is called 'Sen' apparently. Pretty sure it's not alder.
  13. Yes - I wanted to say this too. Marcus may have a Sadowsky preamp in his bass now (if he still actually uses it now he's the Sire guy) but for most of his career the preamp in question was the Bartolini TCT. This was a forerunner to the NTMB and is simpler but will get the tone. Having said that I also think options like the East or the Pope Flexcore would be great - both are very transparent, have excellent options for flexibility/customization, and importantly have a passive tone which the Bartolini doesn't. Pickup wise I'd say the Aguilar or Seymour Duncan 5 string jazz pickups (it is a five string, right?) with '70s winds would be the ones to go for. Stay clear of anything overwound (I think a lot of Fralins fall into this category) or humcancelling.
  14. Keep it as it is. Also, if you do it in green, then technically, from a vintage point of view, the tort guard will be incorrect. It was only sunburst, shell pink and olympic white that came with tort pickguards back then, so although I'm sure it would look good it in green, it wouldn't look like it did when it left the factory.
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