Russ

22 hours ago, peteb said:

 

I always thought that he was going for the "comedy Yorkshire" thing!

 

I see him in the local pub from time to time. Nice guy, but very short! 

 

Always thought he sounded more Midlands than Yorkshire. Although the "BEHS" thing does suggest Yorkshire! 

2 hours ago, rushbo said:

...but I'm surprised no one has mentioned Danny Sapko. He's a great player and combines self-deprecation with humour. He's got his own shtick, but he balances it nicely with some gorgeous bass work. 

Great player. But I find his "comedy Brummie" schtick tiresome and unfunny. Same reason I have no time for Davie, despite him being a good player. 

Nice, but I’m really not on board with the whole headless thing.

They’ve always just felt completely wrong in my hands, ever since I first tried an old Hohner Jack headless in the early 90s. I tried out a Strandberg bass last year, and it was a lovely thing - light, punchy and comfortable (my back loved the lightness!), but it still had that same issue as the old Hohner. The balance is off, and, for your left hand, it just feels like you run out of neck. 

I can see why they did it - if they want to use that same singlecut body shape they use for their guitars, adding a headstock is going to unbalance it. I’d have hoped they’d come up with a better design to compensate for that and still have a headstock. 

My Sei singlecut 5 is a wonderful, amazing bass that I will never part with, but it’s had various neck issues over the years - that’s despite having a theoretically very stable wenge/bubinga construction, with carbon reinforcement rods. I had to have compression fretting done on it, followed by sending it back to Martin & co for a neck “reset”. It’s been behaving itself ever since, so hopefully it stays that way. 

Now that these have been out in the wild for a while, has anyone got experience with them in a live environment? I'm wondering if they have inherited the reliability and QC issues from the old Portaflex and SVT-7 heads. 

Basically, I'd love to buy one - the Ampeg tone is peerless to my ears, but, as someone who's owned both a PF-800 and an SVT-7 before and had them both crap out on me at gigs, I'm cautious and maybe a bit sceptical. 

I've heard that since Yamaha bought Ampeg, things have got a lot better, but I'd like to hear some first-hand experience. I've heard a couple of scare stories, like the V12 being unusually quiet for something with so much power. 

Anyone? 

6 hours ago, TimR said:

 

As I say, if you aim it middle aged white straight white males, you're going to alienate the LBGQT+, teenagers, and middle aged women, and turn it into a bland-fest. 

 

Seems odd that of the 52 countries that enter the contest none of them appeal to the particular demographic most of the posters here seem to be in. 

 

I haven't listened to the winner. I haven't even listened to our entry. I saw a man in box, with no shorts on, on Wednesday and then went and did something interesting. I don't know how they could make it interesting to me. Seems the whole of TV at the moment is designed not to appeal to me. It's either gritty police dramas, 'reality' TV, or comedy panel shows featuring the same 10 comedians in rotation. 

 

Hey ho. 

There's been some decent rock stuff that might appeal to the white, male, over-40s crowd in Eurovision over the past few years. I'm white, male, and 51 and I thought Baby Lasagna from Croatia were good this year, Voyager from Australia were fantastic last year (Alex Canion from Voyager is a hell of a bass player too), Sam Ryder did a great job the year before, and Maneskin brought the glam the year before that. 

It's usually in there, in amongst the assorted "quirky" Eurovision fare. 

2 hours ago, la bam said:

The year Sam ryder came second was brilliant. And I mean that in the way everyone knew Ukraine would win so they all voted for the UK so we would have to host the next ridiculously expensive event without the glory of winning. It was a Europe wide stroke of comedy genius

 

Year after, back to nil points. Which made it even funnier!

 

Sam had stage presence, charisma, talent, and, most importantly, a really good song. He deserved his spot. When the UK delivers the goods, people vote for us. Most of the time we don't! 

Olly's song was forgettable, had no hook or memorable chorus, and, yes, the general homo-eroticism of the performance might have turned some people off. The staging was cool though. 

Switzerland earned their win. It was the only song with a proper "earworm" hook, and the staging was incredibly clever. And I also liked the Croatian entry - like a more poppy Rammstein. Ireland's Bambie Thug was also a great, very original performance and a good song. They're actually pretty talented - if you look on Youtube, you'll find videos of them performing some of their songs solo on piano, and they're great. 

Always wanted a '72 Jazz. Then I played a few. 

The ones I tried were all massively expensive, incredibly heavy, the condition was far beyond "relic", into the realm of "battered to sh*t", and they all had that horrible gappy neck pocket that a lot of 70s Fenders had. Maybe I just never found a good one, but I'd prefer a 70s reissue at this point! 

There's probably some other, more esoteric options out there rather than an old Fender, but I haven't come across anything I'd actually want. 

I used to have a SVT-7. And I ran into the cutting out issue during a gig, in the middle of the first song.  Which is a shame, as it was a fantastic-sounding head, with just the right amount of "hair" to the tone, and gobs of power. I got it fixed and immediately sold it on. 

Supposedly the defect has been addressed on newer versions of the head. I've been tempted to get another, but it's a gamble I don't think I want to make. Apparently the new Venture series heads nail the SVT tone, but I've not had a chance to try one yet, and it'll be a "simulated" version, since they have no valves.

Now that Ampeg is part of Yamaha, the QC is supposedly much better than it was. But, y'know, once bitten and all that. 

It's a cool toy, never seen a 3D configurator before. Very nicely done. 

But I'm a Bongo guy - once they start offering those through the configurator, I'm in. My bank account will hate me though...  

1 hour ago, tauzero said:

Built-in wireless - preferably modular so it can be upgraded when quantum digital wireless comes along.

 

Fretted/fretless operation by moving a lever:

 

 

I'm sure there was a better video than this but I can't find it.

Great idea, but it kinda works backwards - the fingerboard should come up rather than the frets going down, otherwise the action is going to be too high for the fretless mode. 

The Novatone swappable magnetic fingerboards that were a thing back in the early 90s were cool though.

27 minutes ago, OliverBlackman said:

I’ve been drunk many times in my life, but never Ali Express Dingwall with a Tesco logo drunk

Tesco Value, not even Tesco Finest?  

I was in a band 25-odd years ago, and the guitarist just woke up one day and decided he didn't like rock music or playing the guitar anymore. Took his guitars, amp, etc down to a pawn shop and sold it all that same day. It wasn't the sort of band where any of us would have been easily replaced, so we just called it a day. 

Not nearly as dramatic as some of these other stories, but extremely random, and we were all quite hurt. However, he's picked up the guitar again in recent years, and is in a band with our old drummer. 

On 27/02/2024 at 19:10, NickA said:

Mustabin nicked 🙂 my MK1 was £830 from our lgs in 1998.. and it's a bit bashed too.  They were out of fashion for quite a while.

I’m sure half the stuff in NHME was nicked. I bought some nice stuff from there pretty cheap back in the day.

But this was before you had the likes of Chancellor playing them - even Mick Karn was using a Klein instead of his Wal, Percy Jones had moved to Ibanez, Geddy Lee was back to his Jazzes, and so on. They were almost terminally uncool back then. 

12 hours ago, skelf said:

Filters just made sense to me the first time I picked up a Wal. Wish I had bought it there and then but £800 seemed so much to the 15 year old me in Sound Control in Glasgow. Oh how prices have changed. 

I passed over a 4-string Mk2 in Notting Hill Music Exchange back in the mid-90s for £250. That would have been one hell of an investment.  

17 minutes ago, skelf said:

Hi

The Eq01 is not the pre-amp I use in my top of the range Uber Series basses. I use the DFM in conjunction with my own Multi Coil pickups. This pre-amp has several features that the 01 does not have including the pic attack on a push/pull. While the EQ01 is an excellent pre-amp the DFM is what I call my 4th generation pre-amp have been in development for many years and started with 01. The 01 has seen several tweaks over the years as well and the later/current model is closer to the Wal than the original version.. The DFM/MC combination is however only available in my Uber Series basses.

Thanks for the clarification, Alan. That’s the other route to getting to filter-based multicoil Nirvana, buy an ACG.

Pretty sure it's a Pangton too. 

https://www.lefay.de/index.php/EN/bass_models/pangton

There are three that I can think of.

Lusithand Devices make the NFP range - they're sonically very similar to the original Wal preamp, but with a wider Q frequency sweep and no "pick attack" control. They made sure to reproduce details to the degree of matching the level of harmonic distortion the preamp generates. Second would be the East ACG EQ-01 - this is the preamp that ACG fit into their high-end basses, with their multicoil pickups. Again, a pretty close facsimile of the original Wal design, but a little more "hi-fi" and maybe slightly closer to Alembic's approach. Then there's the Underhill range - they offer modular preamp components, including filter-based tone controls. I've heard good things, but have no direct experience with them. 

Currently, if you want an aftermarket Wal-type setup, the Lusithand NFP combined with Turner multicoil pickups seems to get you closest to "that" sound. 

8 hours ago, Dan Dare said:

 

 

Puzzling. The only Micheldever I know is in Hants, not far from me.

My bad. Maidenbower. I lived in Winchester when I was a kid, so I guess that town name stuck around in my head.  Plus I guess it shows how memorable my time in Crawley was... 

2 hours ago, badger said:

he was clearly keen to leave!

 

I live just up the road & I don't  blame him.

Lived there for a little while about 15 years ago - Micheldever, right next to Three Bridges station. Depressing AF, as the kids say.  But, at the time the alternative was Croydon, so, in retrospect, it doesn't seem so bad! 

4 hours ago, tegs07 said:

Take a trip to places like Seattle, Nashville, Portland or Brooklyn. You might revise your opinion.

One of the most popular stations on SiriusXM (American digital satellite radio service) is called 1st Wave, and it's back-to-back synthpop/new wave/new romantic stuff. It's not classed as such though, it's all "80s alternative".  

They did mostly ignore the Britpop stuff, with the exception of Oasis, Blur and maybe a couple of tunes from Pulp. You hear them back-to-back with Nirvana, Pearl Jam, etc on the 90s stations (SiriusXM has a station for that too, called Lithium).

And yep, The Cure are huge in the States. I saw them about 12 years ago in Philadelphia during my first stint over here, massive arena venue, and was completely sold out. They played a nearly 3-hour set. 😮 Bob from Crawley did good. 

6 hours ago, EliasMooseblaster said:

Weirdly, I wonder whether Grime suffered from a similar issue that stopped a lot of old-school prog rock groups getting breaking through stateside - it's "too British". Granted, the artists are typically from very different demographics, but just as Gabriel-era Genesis, Soft Machine, etc might have sounded too eccentric to (most) American ears, what (admittedly little) I've heard of Stormzy or Tinie Tempah is so evocative of the run-down corners of British cities, I can imagine it sounding a bit alarming to a foreign audience.

Tinie Tempah did OK for a while in the US - he had his music used in WWE wrestling for a bit. But Stormzy, Dizzee Rascal, etc had no success whatsoever.

You're right, it's pretty dark, plus It's not "aspirational" like modern American hip-hop, which seems to mostly be about the accumulation of money, drugs, fancy cars, "cribs", b**ches and so on. A lot of old hip-hop was a lot closer to what grime is now, with lots of social commentary, but you don't hear much of that kind of thing any more. 

I've owned 4 Bongos (but am currently down to one), so I know them quite well.  

They're unmistakably Music Man basses. They have that extremely distinctive upper-mid bite that MMs are known for, and solid, wide bottom end you can stand on. The pickups and preamp are extremely powerful, with a ton of headroom and almost every kind of tone you'd ever want is in there somewhere, between the two pickups and the 4-band EQ. 

Ergonomically, they're a little weird. They don't sit all that well on the knee, but they're well balanced, reasonable in terms of weight, and have slim, comfortable necks. 

Overall, they're great basses. And that's a good price. I say go for it, you aren't likely to be disappointed. 

34 minutes ago, bartelby said:

 

D'amour playing his Ovation in early days also sounds like every Tool bass sound.

D'Amour wasn't nearly as fond of effects as Chancellor. Clangy Ricky/MM/Magnum bass sound, lots of high mids, and just a touch of reverb. 

13 hours ago, Chris2112 said:

 

I'm sure he could have had one with a graphite neck if he had wanted. It must be the case that he preferred wooden necks, although that odd semi-hollow six string he had made had a graphite neck and he never seemed to do much with it. That one ended up on sale on this forum and was around for a while before it sold. There were a few Hellborg basses made with graphite necks in later years although none with the 36v preamp as far as I know.

 

The semi-hollow Status signature bass was pretty much the template for the bass he ended up making with Warwick, with the pickup right up against the bridge, etc. I wasn't that much of a fan of it, to be honest. It had quite a harsh tone, all high treble and low bass, and not much in the middle.