Jump to content


  • Content Count

  • Joined

  • Last visited

Total Watts

4 Neutral

1 Follower

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. E = red (smoother than looks!) A = blue G = white D = red Requires a lot more muscle to play than had hoped, will put some tapes on when I've sussed the winding length.
  2. Looking at pics online... reckon you're right. Does that mean they'll chewn up my fretless?
  3. Sadly the thing isn't to hand for pics of far end... but are Jazz flats really that er not flat?!
  4. Are they even a set? The E and the A look roundwound, D and G flats.
  5. This all explains why I had an unnaturally lustful reaction to this ad the other week! https://reverb.com/uk/item/38055091-vintage-1981-odyssey-b500-b500ws-semi-acoustic-neck-thru-body-bass-guitar Want want want want.
  6. Getting a bit lost now, but please explain what the bass with this AA logo is? See this thread I started years back: https://www.talkbass.com/threads/aa-basses.183473/?amp=1281340863
  7. What's the string spacing at the bridge? And - out of interest - what does this ramp thingy do?
  8. Yes, but that requires expenditure. I have a distortion pedal... I don't have one that is blendable.
  9. My amp has a balance control on the fx loop enabling you to mix your wet and dry signals. While I understand what this is supposed to do, if I wanted to keep the dry signal at its original volume in order not to sacrifice bass when I engage a distortion pedal (on the assumption that's not a no-no for this loop malarkey), would a 12 o'clock setting do this? Or is that going to be 50 wet/50 dry volume? Or am I misunderstanding something? (I guess an associated question is whether pedals with a blend knob on full have all the wet and all the dry?)
  10. To be fair it's not Ibanez using the word "professional" in this context, that's from punters, although obviously they do use a Japanese-models-are-the-real-thing strategy. I always buy based on my hands and ears and hope I'd not allow marketers to pull the wool over my eyes, but this is my observation: My lower-mid-range (?) Ibanez SR is superb. I find it nicer to play than any of the superior Fenders I tried in an actual shop tuther day, and I can't be the only one. Yet I've never seen anyone playing an Ibanez SR at gigs/festivals/on telly*, and I bet they shift them in their thousands (and I bet their Prestige ones are awesome). That's only loosely connected with my post here, and to be honest I don't know what point I'm making, if any. *Or a Washburn, Peavey, Schecter etc.
  11. I was reading a thread about how in terms of the SR range, Ibanez consider any model with a number over SR1000 to be pro grade. What does that mean? And how do I compare that to other brands? Is any Warwick that isn't a Rockbass pro level? Is any Mexican Fender not pro? Is any instrument under £1000 or other arbitrary price still not pro? Yesyesyes, I know that "what you do with it" is the important thing... but wtvr, it sounds like there's a threshold between inferior and what you'd rock up with to your West End pit gig or Van Morrison recording session etc.
  • Create New...