Munurmunuh

"The renowned German violin virtuoso, Christian Tetzlaff, had this to say in an article from the New York Times (April 28, 2000) written by Anthony Tommasini: Last year, Mr. Tetzlaff did something that will either horrify or inspire other violinists: he traded in the Stradivarius he had on loan, valued at $2 million, for a new violin built by Peter Greiner, a German maker his own age, which cost him about $17,000. What possessed him? “The new violin is really terrific, with a full beautiful sound that is still able to fight the orchestras,” he said. “The Strad I had couldn’t.” Unlike many violinists, Mr. Tetzlaff believes that some of the qualities of the renowned instruments made by Stradivari and Guarneri are mythological. “There are big differences between Strads, as big as between the colors red and blue,” he said. “There are many Strads that are not really that good-sounding.” But when violinists touch them, he explained, charmed by the mystique, they see the disadvantages as characteristics for which they must simply learn to compensate. “But I have an instrument that I feel has no disadvantages,” he said. “When I first tried it out in Toronto, I told nobody about it. Everyone assumed it was my Strad.” Young violinists, who have been programmed to believe that the only fine violins are old, rare and Italian, should take heart. “There is no doubt about the quality of a good number of incredible Strads,” he said. “But what’s strange is that many people look for Italian instruments of doubtful quality in the range of one or two hundred thousand dollars, which is a lot of money and very little value.”" (I remembered this from long ago because CT is my favourite violinist, and a very well-rounded musician - he doesn't just play the big romantic concertos)

Just read them. I reckon it was rewritten, having originally been about colonic irrigation.

When it first arrived, what made the violin more useful than similar instruments was that it could play simple dance music at an audible volume: its point is to be loud. Mr Strad came at a more Ken Smith-like stage of its evolution, a long time after the violin's Leo Fender had done his job.

Noel Gallagher is quite happy to explain how much of an influence Slade was, but no one seems to take a blind bit of notice that.

E we eject them

To quote the great Adam Hussain, "Boom, boom, boom, shake the room / Can't remember the words, but I can hum the ------- tune."

Nothing like not really clocking the bassline to tell you how good it is

Will I be expelled from BassChat if I admit that I usually skip that track when listening to Kill 'Em All ?

I can't find a YouTube clip of it with the lyrics

When I got to know this song (a B-side collected on the cassette version the Standing On A Beach singles compilation iirc) I didn't have a clue what it was about. Most of a lifetime later, a YouTube comment explained it to me. To be fair, dentistry isn't typical rock music subject matter..... ....or is it? Perhaps there plenty of other songs on this theme which have similarly escaped my notice?

Here's a rather more useful review

These instruments really aren't anything to do with acoustic guitars, though they can impersonate them.

Anyone else forseeing a setting on the Fender Acoustasonic Jazz which produces a slap tone when you're just playing it normally

When you do this, I would be interested to hear what happens to the sound quality when you drop the volume into its lower reaches - if the richness of the texture slips away

How have you been getting on with it? Atm I'm using a very old Peavey 15w practice amp. At low volume, it sounds a bit underwhelming - a raw, untextured kind of noise - and so have been trying to work out what would be the best way of getting a warmer, more pleasurable sound without making any more noise. This seems like it could be what I'm looking for. I know the modelling has only three bass amps, but all I would want would be to find one setting that I really like, that I could use the entire time. Until I learnt about this amp, I had been thinking my best option might be to combine a cab sim (eg the Neunaber Iconoclast) with a small FRFR active speaker

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Jamie Stewart

Given how far we had strayed from the opening premise of this thread, I thought it would be best to stop posting on it, but I just noticed something which brings me back to the OP. As I've already droned on about quite enough, I've found that I vastly prefer Ride The Lightning to Master Of Puppets. But if I were to remove from RTL my two least favourite songs (tracks 5 and 6) and replace them with the only track on MOP that I have any real enthusiasm for (the title track) what would I have? Seven songs all of which name Cliff Burton in the writing credits.

I wondered if the pearl would look better if the photo wasnt so dark ... so I tweaked the photo ... erm, not really. And generally I like pearl pickguards. Perhaps only against a darker colour. Perhaps not Stingray ones.

Pills 'n' Thrills and Bellyaches was released in 1990

When I turned the pictures on their side, as if the bass was being played, my opinion changed

This is why I like doing it when I do it: it gives a colder, more austere sound. Which is right for some things.

I love this guy's right hand when he's playing with a pick - it looks so loose and easy. The kind of action that would be making a teacher very proud

Was that when they were supporting Tad?

Wikipedia told me that My Creation wasn't on the original, so I've been skipping that. If you're wondering which ones I'm on about, it's been tracks 3 and 4, Take No Prisoners and Five Magics, that have been disappointing me.