thodrik

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.

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.

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.

Three tone knobs I see, because Yngwie has more tone than anybody on the planet.

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.

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.

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.

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...

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.

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.

This for me as well!

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.

I will get my copy and paste fingers working later on.

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.

Mad Season. Cream Bad Company Down Temple of the Dog A Perfect Circle Also, guilty pleasure but I quite liked Billy Corgan’s Zwan side project...

Metallica + Lou Reed. Though on some level I am absolutely delighted that such a collaboration actually took place.

The Winery Dogs Audioslave Queen + Paul Rogers Them Crooked Vultures I don’t dislike the above bands or collaborations, but I was never blown away by their output compared to how technically brilliant each band member was as an individual.

The most informative, honest and non-pandering online video reviews available to bass players. In the era of ‘adverts dressed up as reviews’, it is refreshing to just listen to a great player run through the main features of a product and give their honest thoughts in a non-clickbaity way. Highly recommended.

Okay, so on checking my own amp the rubber feet on the amp are solidly secured against the bottom of the EBS Proline rack case. There is no need to put anything underneath the amp to secure it further and I don’t think that there is any space to fit a rear sleeve in any event. Other rack cases may vary in terms of fit. However I don’t foresee any obvious issues that cause me concern or make me think that the amp needs to secured any further. I have toured with this amp and it has been travelling in vans and cars with dodgy suspension for nearly ten years. I suspect if there was an inherent design flaw of the rack case and how the amp is secured I would have discovered it by now. I don’t rule out the possibility that front mounting amps are less likely to survive a drop or fall than a front and rear mounted amp, however I don’t think that is an area of concern here as the amp isn’t floating. The amp is not all valve anyway so the risk is less than a front mounted Ampeg SVT II, Mesa 400+ or such like. I just try not to drop it in the first place.

I will take a picture of how my Fafner rests in the EBS rack case I have. I really don't think that you have anything to worry about, but it might help in any event.

Marketing mumbo jumbo. Just play one. If you like it, buy it. If a bass can be used for a lot of styles of music then it is a versatile instrument provided the player is also versatile. it is a ‘one trick pony’ in the sense that it only has one pick up, so you can’t really get that back pickup on a Jazz bass sound. However a Precision can do a ‘modern sound’ with the right use of compression and EQ. So much ‘modern’ pop music is still recorded on a Precision. My Precision is more ‘old school’ sounding than my Jazz, but my Precision is forty years old and my Jazz is a Sadowsky, so it isn’t really a valid comparison to begin with.

The little red one. It serves no functional purpose. It is only there to provide a cosmetic ‘valve glow’ effect.

The chrome ears on the Fafner are very sturdy indeed. Screw the amp into the rack case and that is all you need to do. No need to worry about the rear of amp. No need to buy anything else as you should get all the stuff you need with the rack case. Just have a screwdriver to hand and you are all set. My Fafner has been in a rack case for nearly ten years. No issues whatsoever apart from the fact that the little lightbulb needs replacing every few years.

My view too. Nearly three grand for a ‘production line’ made in Indonesia bass is pretty steep. Cool design for sure but the price is in the ballpark of Vigier, US Spector, Sadowsky Satin and other ‘hand made’ top quality boutique stuff. I suppose it is a bespoke design rather than yet another ‘boutique Jazz’ and for that you are paying an extra premium. If you want that design then you have to pay that cost, same as any other bass. Like the OP, I was also a Vigier and/or Fender P guy for years. However, my ‘something different’ ended up being a more vintage style Sadowsky Metro. Still, I would quite like a Spector, a Musicman, a Dingwall, a Rickenbacker, a Wal... GAS never ends.

Gorgeous bass but for that price I would just buy a new Wal built to my spec. An entry level mk I price is from £5800 as per the Wal site. I really don’t think I would be switching a neck back and forth. I just don’t see the extra neck as a great selling point that would greatly add to the selling value. Even with current Wal prices, I would say £5,000 at the most.