Munurmunuh

Since Reverb take a slice, The Bass Gallery prices on Reverb are all higher than on their own website

It wasn't considered OK in the 80s and 90s, its just that the ____s don't get a free pass to be ____s without consequences anymore. Poor ____s 😢

I dislike using a foreign word which is merely a corruption of a word from a third language, which is why I prefer to call a pick a plektron.

What is it about the Stingray that makes playing one as a leisure activity increasingly frustrating?

I keep meaning to play with a pick more, but it's easy to forget to do something that you find harder to do 😇

Maybe he's calculated that he's only got enough strength for rehearsals and performances, and that if he had done more preparation he would have given a worse overall performance, or simply not been able to complete the tour? Does becoming a feckless chancer sound in character for him? Seeing the boot being shoved into an old and unfirm man on the grounds of a couple of quotes is uncomfortable reading.

Enjoying seeing this combination 😊

I've just been reading up on Neodyminimyninium magnets, both in themselves and in relation to musical instruments. Some random facts 1. Thanks to their strength, you're unlikely to see them on guitars. Bass strings can take it. 2. An 18v preamp is pretty much essential to control things 3. The sound is naturally a little more scooped relative to Alnico ... so I guess on a Stingray, having a mids control is essential if you want a NeoD to be able to impersonate the old models? Speaking of EQs, I recall that the classic Stingray 2 band EQ has quite idiosyncratic ranges (in my hazy memory, the treble is from zero to lots-of-boost, while the bass goes from cut-it-a-bit to boost-it-a-lot ... have I got that much wrong?) Are the Treble and Bass controls on the Special more standard, simply offering plenty of both cut and boost?

At the time, the idea of it being a Seattle scene was strong, and they were a Seattle band (allowing for the fact that Vedder wasn't from there) Do I remember right that before the term grunge was popularised it was just as much referred to as Seattle Hardcore?

Someone needs to publish their Ten Lists You Need To Read Before You Die

Is dragging a conversation that one takes issue with from a quiet subforum to General Discussion going to be a big thing, too? Exciting times

At the time Trompe Le Monde seemed to take the slight disappointment of Bossanova and build on it. Reading all the praise here, I figure perhaps I should revisit it.

I look at that and daydream of stacking the volumes and turning the 2nd knob into a five way selector: P, P+inner, P+both, P+outer, humbucker alone .... from which we can conclude that I've spent too much time reading about EBMM selector switches this week

I was using Chromes, to make the wrong bass for me a bit more like the right bass. Simply getting the right bass sorted the problem better

I really wanted to like flats, but that slightly woody / husky quality just got on my nerves.

I was delighted when I noticed that Rio and Pornography were released within a week of each other

I thought it was more honest of me to show it with John Taylor, because it was thanks to BE leaving it to JT in his will that I first heard and learnt about BE. Though obviously when I was a child I was enjoying Sister Sledge at the same time I was enjoying Duran Duran

I'm not saying that my TRBX604 was not also a phenomenal instrument for the price, really beautifully made, but since it wasn't the right instrument for me, I definitely did go wrong with it. Fortunately the answer was another Yamaha, a BB When I was a guitarist a long long time ago, I was only interested in humbuckers; unfortunately it has taken me a while to clock that bass humbuckers come in a variety of styles. I felt I was constantly battling my TRBX to try to get a sound that felt like my own, one that had both depth and focus. I only really understood when I got a BB as well. Once my hands had got used to the BB's much chunkier neck, it was all over for the TRBX. When I bought the 604, I was definitely going to be buying either a TRBX or an Ibanez SR, because at the time I wanted the thinnest, most shallow neck I could find, but I should have gone for the 304, as their pickups make a sound closer to what I want, for £250 less. Which is why I wrote that ^^^^ to someone who thinks the 305 will be the right bass for them: although the 505 and 605 warrant their higher prices, their sounds might be further away from what they want. Meanwhile I do honestly hope that out there are plentiful people who find the beautiful and versatile 604 with its unbelievably easy neck the perfect bass for them... because then mine will get bought from the shop it's on sale in...

"Introduced"?! Mudhoney had already made such an impression, a copy of Superfuzz Bigmuff is casually lying around in the background on the cover of Transvision Vamp's Velveteen

200, 300 x4, 350f x2, 414, 415, 424 x3, 425, 450, 614, 714, 1024, 1100 x2, —— GAP —— 1300, 1600, g4s11

I would trade my BB's tasteful tobacco sunburst for some kind of red metallic in a shot. The dark redburst of my TRBX was much nicer to look at.

A note which sustains longer will be decaying slower, and that difference will kick in as soon as the attack is over. Comparing fast scales played on a modern piano and an eighteenth century fortepiano, the difference is enormous. Between two otherwise identical basses with slightly different bridges though....

As a TRBX owner, I would say yes the neck finish is very nice. As someone who felt frustrated by the pickups on their TRBX604, I would say, be sure not to let anyone talk you into "upgrading" to the 505 or 605, especially given the styles you play. (You've probably worked that out for yourself)

From a recent interview with McCartney's people about recording his most recent album: Keith: 90% of it was the number one Hofner 500/1. Paul’s got other Hofners, and he’s got other basses. He’s got his Rickenbacker - the Ricky from the 1970s and a Wal five-string and a couple of other things that we’ll occasionally drag out if he wants to try something different. But 9 times out of 10, he’ll pick up the Hofner. When he plays the Hofner you can tell it’s just part of him. It’s so organic and such a natural feel and sound for him, and it always sounds phenomenal. For years I’ve been trying to find a really good spare. I think we’ve got about 12 other Hofners, some of them I’ve acquired to try and be the number two spare, and it’s only just happened in the last year or so where Nick from Hofner came over and we went through every little bit of Paul’s. He ended up building a number two from ’61 and ’62 parts. But this one, the number one, he just picks it up and plays it and it sounds great. It’s one of the most unique sounding - not just basses, but Hofners. Steve: It doesn’t sound like any other Hofner. Sometimes they can be quite hard to record, Hofners. They can be really subby without a lot of tone to them, it’s all woof. But there’s something unique about Paul’s one, maybe it’s just the amount of music that’s gone through it from his fingers! It’s like a good old acoustic guitar, there’s something about how the wood absorbs all of those frequencies. Keith: I think I’ve noticed with the Rickenbaker - it doesn’t change his playing style - but maybe because he’s experiencing a very different sound from the Ricky than from the Hofner he’ll maybe use some slightly different techniques. But it’s almost irrelevant because his number one, go-to is the Hofner.

First time I watched a clip of him playing his BB, I was knocked out by the tone. Second time I watched the same clip, I noticed that he didn't seem to be enjoying how far away frets 1 to 5 were.