LeftyJ

Zander Zon

*cough* Warwick *cough*

Oh hell yes, I remember that clip well!

I used to be part of a very poppy female-fronted metal band, but we haven't done anything in almost 5 years. When our lead singer had her 4th child, her family life became so demanding she unfortunately had very little time left for our band. She has 5 now, and it's become a fulltime job! And then our lead guitarist left to pursue an academic career in chemistry at Oxford University for 3 years. He now lives in Barcelona and has little desire to come back to the Netherlands unless he can find a good position at a university as a teacher or (assistant) professor. It was fun while it lasted though, and we're still good friends! The 3 remaining members (the other guitarist, the drummer and me) are now more or less permanent substitutes in a doom metal project of our drummer's brother. It's a one-man project, but when he plays live we're the first guys he calls Here's my old band playing live on Dutch national radio a few years ago (2013, just after releasing our first and only album, between 1:00 and 4:00 nighttime so probably for 5 listeners at best ). I play my lefty Warwick Streamer LX5, which has been my main axe for most of my time in that band. I play it through an Ampeg SVP-PRO 19" tube preamp, straight into the mixer. Live, this was usually my setup too. No effects, and if there was an amp on stage I would only use it for personal monitoring. That Ampeg preamp was one of my best bass-related purchases ever, I love it! It's basically the preamp section of the SVT-2 Pro in a 1HE package, with a great built-in DI. In this video I use a pick, but I mostly play fingerstyle. The backing vocals and keys come from our live backing track, we never played live with a real keyboardist.

Lovely! I dig the Clover too, how do you like it?

Some are more equal than others I don't know about Klos' process, but I do know they have a fair bit of experience with building carbon instruments. This is their first bass design, but they've been building all-carbon acoustic travel guitars and ukuleles for about 5 years. Their site mentions they outsource the manufacturing of many parts to suppliers in USA, Canada, China, Korea, and Brazil, but doesn't state which ones. I wonder if that includes any carbon parts! Some of their higher-end acoustics (the ukuleles at least) appear to be a one-piece mold, their cheaper acoustics have wooden necks bolt-on to a carbon body shell.

Came here to post exactly this. They look very similar.

At the Jackson (a.k.a. Fender) Custom Shop I'm afraid . I don't think Jackson ever made lefty 5's in their regular range. I'm based in the Netherlands, so it's difficult / near impossible for me to join in any swapping / borrowing / lending activities. It does sound like fun though! I have to admit, I've never really had trouble finding basses I like. There were a few that I actively searched for that took me a while: it took me over 4 years until I finally managed to source an Ibanez Musician. And of course, as the saying goes: when it rains, it pours. So I found two. And bought them both . In most cases though, I ended up with basses I didn't even know I wanted. I have a few standard search words on a couple of advertising sites, and check them almost daily, which will often ignite spontaneous GAS attacks. I never knew I wanted a lefty Status Graphite, and now it's my main axe

I love Xerath! Too bad they disbanded in 2017, the 3 albums I have from them are all awesome. Djenty, orchestral, and pretty intense.

It looks like an 8 bit Stingray. Weird!

Most guitar gigbags will be fine. Do check whether the insides will suit the two bottom strap buttons. Not every gigbag will be tough enough in those spots, most will just have a sturdier section in the middle for a strap button in the regular center position. I very happily use the Mono M80 Classic electric guitar gigbag for my S2 Classics. It was about twice your budget though. It was by far the most I've ever paid for a gigbag, but then again my S2's are very dear to me and weren't exactly cheap too, so I like them to be well-protected

This! We had a workaround for this with my band, where we built a small 3HE rack unit that would mount on the bottom half of a drum seat, with a laptop on top running a DAW with a clicktrack and a backing track with all the keys to our songs (we recorded synths and a Hammond on our album, but didn't gig with a live keyboardist). In the rack were a 19" signal splitter, 4 wireless in-ear transmitters (and one wired headphone for our drummer) and a very basic 19" 8-channel USB mixer which controlled the master output levels to each of our IEM transmitters. We plugged all our outputs into that system, and from the splitterbox we ran our signals to the FOH engineer. Our drummer controlled the backing tracks. This setup unfortunately meant there was no easy way for us to adjust our individual mixes during the gig (this had to be done in a software mixer on the laptop). Depending on the size of the stage our system allowed for two scenario's for the use of the system: All of us used the monitoring system, were able to hear the clicktrack and our pre-set monitoring mix. All tracks started with a countdown, so no need for our drummer to signal; Only our drummer used the system, and the rest of us used our amps or the venue's own monitors. Our drummer would set the tempo with 4 taps before each song, and would softly keep tapping during sections with no drums. This worked very well for us, and has served us well for several years

Did you just join a forum especially to tell someone he was wrong 11 years ago?

Here is a cool, brief history of most Warwick models ever produced. It's a PDF made by two Warwick fans and describes some of the changes that have been made to models throughout the years. Not by model, but in chronological order. Not all versions of the Thumb are pictured, unfortunately. The Thumb has changed shape considerably during its lifespan, the first ones had even more compact bodies with an even shorter top horn. It wasn't until Jack Bruce started playing Thumbs and requested the top horn to be extended that it started to look like the current Thumb NT. Here's a rare 1985 Thumb with the original bodyshape:

Now polish those dull frets

Every black metal musician ever

Not typically a 2 bassist band, and not quite a rock band, but I always enjoy this performance by The National at the Letterman show, with guitarist Aaron Dessner strumming a Fender Telecaster Bass in the front, and barely visible behind him is bassist Scott Devendorf (who also regularly picks up a guitar in The National) playing his Precision.

Here's the regular music video: The guy plays an Ibanez RG guitar here, and it can actually be heard in this version too . They toned it down a bit for Eurovision, I guess to make it less industrial and metal and more appealing to a broader audience.

Yes, but that's not the point. That's just comparing the products, not the means of production. A better comparison would be if a paintbrush that was held by Da Vinci at some point would be worth more than one that was used by someone who just finished a paint-by-numbers set for the first time. I personally wouldn't pay more for an instrument used by someone famous. I'm just a regular bloke making a bit of music in my spare time and having fun with a few mates in a band. I will happily play whatever I can lay my hands on as long as it sounds good and plays nicely. A guitar owned by Jimi Hendrix wouldn't suddenly make me able to play or sound like him, and I likely wouldn't even dare taking it out. What always baffles me most are people asking more for a used guitar or bass because it was autographed by someone famous. If anything, to me it just becomes less valuable when someone has scribbled their name on a guitar with a sharpie! I can't stand it.

Nice Ibanez RB650 on Gumtree: https://www.gumtree.com/p/guitar-instrument/left-handed-ibanez-roadstar-bass-1982/1405555073

Thread is gone, but the one that still haunts me to this day is a left handed Modulus Quantum 5. I think the seller was @whynot. It had a beautiful quilted maple top finished in natural, 19 mm spacing at the bridge, and the seller was asking just 700 GBP for it (!!!). I really couldn't afford it at the time, or I would have swam across the Channel if I had to! It was back on eBay within a week for double the original asking price. And there was a Wal Mk1 that I had actually already paid for, but after a lot of hassle at the post office (because the package was too long) the seller decided it was pre-destined and he had to keep it. He transferred me back my 1700 GBP (yes, they're a fair bit more expensive these days!)

I'm bound to agree! I usually don't like gold hardware, but my 2001 Warwick Streamer LX is a nice exception.

I love that Sequoiah Gold Ray! One of the prettiest finishes they've ever done. So far the metallic purple has my vote, followed by bright, shiny white.

Looks a lot better with the black! I did the same with my Streamer LX5, I bought it used around 10 years ago with badly worn gold hardware and it just looked bad. I changed it all to black, and love the look now. I got another older LX recently with gold hardware, but on this one it fits the finish colour of the body so I'm keeping it as is. On waxing the body: the recent Pro Series / Teambuilt German Warwicks actually don't have waxed bodies anymore. They're finished with a very thin satin lacquer finish! Same goes for the necks, with the exception of the fingerboard facing.

Sorry for your loss, but what an awesome way to commemorate someone! It looks incredible, and sounds really cool too in your video. Lovely!