Stub Mandrel

Oops, 7 now. Found a 2001 Squier Jazz with somewhat lifeless pickups but a very nice neck and really great 'genuinely played in' feel.

It seems to have a different bridge from his signature model, for a start. It may well be the prototype and different in details.

Do you have an ad blocker?

One thing is the 'robot' tuners. My brotehr had an LP junior from new with robots. They were never good, and when they automatically removed his g-string during a performance he was not impressed - I mean if you're a Chippendale it would be OK, but... They became so reliably unreliable he was able to record a video of the guitar removing its own strings just in response to being strummed, which he sent to Gibson. In the end he fitted 'normal' tuners and ended up selling it as a standard guitar to part fund his '62 SG junior. He's a utter Gibson devotee but has few illusions about their QC, although he is very pleased with a new LPJ he bought last year.

Three possibilities: They didn't play authentic enough. Someone fitted the strings in the wrong order. They took advice from John Hall and he said "destroy any guitars that aren't genuine Rickenbackers!"

Oh yes... my brother insisted I reverse wrap the stop tailpiece too when we swapped the tuners, for no good reason 🙂

And nice wine 🙂

Exactly what you say.

Satisfied my unhealthy semi-acoustic urges with an Ibanez, cheap as chips, but souped up with a Gretsch bridge pickup, DiMarzio neck pickup (with covers), genuine ex-Gibson small head Klusons (after this pic) and £3.50 scratchplate of the 'bay 🙂 One day I will end up getting a Gretsch White Falcon...

I think there's a lot of snake oil going on here. If speakers are properly phased and position on on top of the other the only practical differences are going to be thinks like volume and frequency response, which you can choose to suit your preference. Issues like room resonances, combing, dead spots, feedback are just as likely to occur with a 'matched pair', because they are the result of a mismatch between the venue and the rig (or the rest of the signal path), not the parts of the rig. One possible issue is directionality/beaming issues but these will be down to the design of the individual units and using a matched pair of speakers which happen to be more directional than the usual might actually be worse than a mix and match. I am highly sceptical that ANYONE really sells a 15" cab that is carefully designed to be as directional as their 10" units.

One of the best gigs I've been to was over a pub in Brighton. Dave Swarbrick and Marting Carthy looked round and decided not even to bother plugging into their amps and did a genuine 'unplugged'...

Obviously not paying attention to the news or you'd know Wales is entirely populated by chickens now... 😫

Can you show me a definitive proof that 'matched cabs' are superior? I can't think of a single argument that stands up, because any issue, aside from wrongly phased speakers, can apply equally to a pair of identical cabs. (P.S. if unmatched cabs don't work together, someone had better tell the PA professionals....)

I can vouch that its sounds very nice. Briefly had me flirting with the idea of flatwounds, but when I walked out in the rain it brought me to my senses 🙂

You're going to need a bigger sofa.

So what was it?

Stands for that lot would cost more than my entire collection...

Argh! Don't cup the mike!

Also for some who are not of a certain age! I wasn't born until the 70s and didn't listen to The Shadows until the late 80s but they were an important influence, eventually getting me going in the direction of jazz. Stuff like this was awesome. Does anyone else remember the 'interlude' the BBC used to use of the Shadows playing Apache - curiously dressed as cavemen?

Comb filtering is more likely with matched cabs, as it is most severe when the two signals are sonically matched but delayed relative to each other.

Why? Sound will be consistent if you have them stacked, i can understand it may be odd if you have them separated or pointing in different directions, but who does that? I used to have a pair of 2x12s; now got a 4x10 combo and felt it was short of bottom, so I got a 1x15 to balance it and it sounds great. Combo goes on top of the 1x15.

This is the way to do it. Stick yer guitarist behind the PA where they belong 🙂

I have a fair bit f experience fo shows in another field. London is a mission for me, but exhibitors tend to prefer it as a venue for shows because it's closer to a guaranteed audience and preferred by exhibitors who can mistrust 'regional' shows. The irony is that London venues are so expensive, which means exhibitors have to cough £££ to get a stand, so an exhibition can wash its face. Trouble is, most sales are online now, so people don';t go to shows to buy, they go to 'kick tyres' and then come home and buy online at the best price they can find. This means sellers like bass direct will have little to gain. Obviously a manufacturer can benefit as they gain wherever the punters decide to buy. As I say London is hard for me, but the more people who go to the Bass-Bit the more likely it is to happen again next year and be of a decent size. Use it or lose it. P.S. Personal bet - the Bass Guitar show has an average age 20 years older than the guitar show*. *It was a good 25 years ago I last went to a guitar show; I recall a clinic with Jennifer Batten. 'Her chops are too righteous'.

I'm surprised so few people tune DGCF. With a standard scale length it's not going to be much different from a SS bass tuned to E.

You must be searching tirelessly for a tuner that's black with a blue display... 🙂