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About thodrik

  • Birthday 16/05/1986

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  1. Best: Mesa Big Block 750 . I had wanted one for over ten years, but could never afford one and by the time I could they had been discontinued. Not an amp for those that need a clean, flat response or really clinical EQ settings, but for driving rock bass tones, it is brilliant. The amount of gain on tap on the overdrive is brilliant. I had a big clear out at the start of the year to fund the Big Block and a really guitar amp (a Mesa Single Rectifier). Most pleasantly surprising purchase: I have been using the D'addario balanced tension 120-50 set for gigging since they were launched around 2013. I have recently decided to make up my own set of Elixirs using the same gauge as I am going through so many sets of the D'addario when gigging, rehearsing and recording. I must confess I think that the Elixir strings are absolutely brilliant and they are not dying on me as quickly as the D'addarios. Over the long term it should save me money. I am going to switch my five strings over to Elixir as well. Worst: Darkglass Alpha Omega pedal. Great pedal, but the Big Block now pretty much does the overdrive/distortion sounds I need without me needing another pedal. Is it sacrilege if I say that I actually prefer the B3K/B7K drive circuit? I probably won't move it on, but it isn't really getting used at the minute. Should have bought years ago: Purchasing a replacement Babicz bridge for my 1974 Gibson EB3. I had resisted buying a replacement bridge for years on account that getting rid of the original bridge would devalue the bass. However the 3 point Gibson bridge is worthless so it had to go. It took me ten minutes to fit the new bridge with no additional routing needed and I can reinstall the original bridge if I decided to sell it. I can now actually set the intonation properly for the first time in 18 years. It still sounds like mud, but a more in tune mud than previously.
  2. I have one. The best cab that I have ever played. Also perhaps the most awkward to move cab I have ever played. Even saying that, it is definitely not a ‘flat response’ cabinet compared to a Bergantino or equivalent. It really is a heavy duty rock cabinet in my opinion. If you see one second hand you might be able to get it for a steal. With modern cab developments, most people really don’t want or need a cab of that size and weight. I didn’t either but couldn’t resist the chance to buy one at 1/4 of the ‘as new’ retail price. I wouldn’t buy one of the new lightweight cabs at retail price as I think that they far too expensive compared the accompanying amps, or cabinets made by competitors of a similar quality.
  3. The outcome is actually even more underwhelming that I expected and I didn't expect much. Basically they have added coil tapping features on the HSS Strat. That is the only significant innovation I see in the whole guitar and bass line. The rest of the guitars and basses just feature features that are similar to the previous Elites. The standard, 'new' pickups (or rather newly named pickups), 'new and improved' compound radius and other features are pretty similar to features covered in previous years. They have also removed the truss rod wheel, which I believe is a considerable backwards step from the American Elite. In terms of the basses, I can't see any game changing improvements. The 'redesigned' preamp is probably the same preamp that is 'redesigned' every year. Unless the neck carve is something to die for I really can't see this being a massive success. I mean, since Fender now have a Flea bass, would it have killed them to have designed a Jazz bass with the humbucker in the bridge position, with perhaps a coil split in the bridge? It would hardly be a risky endeavour since that whole concept is something that Sandberg have been doing (to great success) for years. Fender had marketed the line as being game changing but this is a really underwhelming release. I say that as a massive Fender fan.
  4. BBE Two Timer Delay. Got it essentially for free as a bundle when buying a guitar amp. It has been my go to delay pedal for those post rock volume swells since about 2012. I bought the TC Electronic Flashback to replace it but it sounds too 'clean' for me.
  5. Three tone knobs I see, because Yngwie has more tone than anybody on the planet.
  6. Hmm, a new name and some finishes I would think. I would guess that there is more innovation on the guitar side than the bass end and that Fender will develop some kind of 'Super Strat' incorporating high output pickups (the 'Shawbuckers' screamed like hell at higher gain levels) and a flatter shred radius, basically borrowing from their Charvel sub-brand. In terms of the bass side , I just expect a couple of different colours, perhaps a 'new and improved' compound radius and a bunch of marketing videos with some social media influencers.
  7. Gorgeous. The Forte series is definitely my favourite series of Spector basses in terms of looks. The other ones a bit too bling for me. That finish is utterly brilliant.
  8. In terms of a bass based on designs I already have: Vigier Excess, but with the Vigier Arpege pickups and EQ system. Figured walnut top. I would also have two of them to fit my two opposing musical interests. One strung with light 100-40 strings for funk and tappy chordy folky stuff, one with 120-50 strings tuned to C sharp for Sabbath and fuzzed out doom. I would be a happy fellow.
  9. Never had a signature bass but I own a Gibson Les Paul, which is a signature in a way. However, I did buy a Gibson EB3 when I was 15 purely because I loved Jack Bruce and Andy Fraser. If I could own any signature bass it would be the Warwick Jack Bruce Cream Reinion bass. That was a real stunner of an instrument. But the price...
  10. My one from the same(ish) era. It was in mostly great nick when 13 year old me got it in 1999 for a bit under £400. Previous owner cut the pick guard into two, presumably to allow for easy access to the jack socket. I resoldered the connection when I got it, not touched it again since. The lacquer has really started to come off the neck the last few years. I don’t think I will get it refinished though as I’m frightened it would ruin the feel of the neck or the person doing the refinish would make a mess of it. Honestly, this is my favourite bass to play even ahead of my other basses. The shape of the neck is perfect for me. I don’t know exactly would carve it is but, but I actually prefer it to the neck carve of more modern Precisions, as well as my Sadowsky Metro Jazz. Generally retired it from gigging though as the Sadowsky is so much more reliable at this point. The wear and tear I have added has ruined any potential resale value. However I will never ever sell it anyway and it’s not like it is a 60s Jazz. Finally the weight, 9lbs 6oz. So pretty damn manageable for me.
  11. I have a Precision in the same finish from a similar era. Your bass is looking a lot nicer than mine! I will try and take pics when not at work. Mine is an S9 serial number which means it could have been made from any point from late 1978 to sometime around early 1981 (I have never bothered really researching the exact date of manufacture beyond that). I have owned it since 1999. My Precision isn''t too bad in terms of weight. Maybe 9 and a half to 10bs. I have never weighed it but it isn't appreciably heavier than my Les Paul which is about 10 pounds and it is much lighter than my Gibson EB3 which must be around 12 pounds. I don't have a thumb rest or pick up covers though. It has probably lost weight on account of bits falling off over the years.
  12. If you actually remove the vocals altogether (Hetfield and Reid), I actually think that it is one of the better mixed Metallica albums in terms of the balance between the instruments. The bass is audible and the kick drum and snare drum do not utterly dominate the mix to the point of making the album painful to listen to. Instead, it is the vocals, lyrics and general album concept that makes the album painful to listen to.
  13. I will get my copy and paste fingers working later on.
  14. It is. I think that Ian Astbury from The Cult made a brave attempt at defending it: From: http://www.noise11.com/news/the-cult’s-ian-astbury-defends-lou-reed-and-metallica-20120131 “Lou Reed, he’s a 67-year-old man,” Astbury continued, “His body of work is stellar, he is one of our greatest laureates. If you know anything about Lou Reed, he’s not well right now. He’s deteriorating, his body’s sick, he’s getting frail and fragile. He’s chosen Metallica to be his muscle, to be his armor, so he can come out one more time and make a statement of what’s happening in his internal life, and he’s using this Weimar Republic play, Lulu, to put himself over. “If you actually listen to the record, there’s some phenomenal moments on it, by anybody’s standards. ‘Junior Dad’ for example, I think is a flipping brilliant piece of music.” With that type of context I always wanted to give it another chance. One more listen. 'Maybe I was missing something?' Something that I will discover on the next run through. I put it on again, only to hear Mr Hetfield scream 'I AM THE TABLE' at the top of his lungs. It is hypnotically horrific.
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