Muzz

I'm possibly not an artist, and I didn't even enjoy the Coltrane clip - imagine what a downer the thread is for me...

Sold a pair of pickups to Jas - perfect transaction, great comms, he's one of the good guys!

*coff*coff*myavatarpic*coff*....

Talentless? Back of the queue, chief - take a ticket and wait till your number's called...

I guess mine would be Lizzy's Live and Dangerous, and probably 2112. Blimey.

Oooo, me first! Bought a nice modded Jazz: perfect, painless transaction, great comms and well packed. Deal with confidence, he's one of the good guys!

SVT-CL and 8x10. Done.

In a kind of arse-clenching-at-the-time-but-hilarious-later way, some of the most fun I've had in bands has been auditioning singers. The Irish bloke who wanted to audition with 'Moikel Jackson's Triller' was a standout, and yes, it really was 'Triller!' the way he sang-wailed it. This was well before the X-Factor-type programmes, though, so I'd imagine the bar for self-delusion is set a lot lower these days, and the ratio of ambition to talent is a lot higher...

OK, I'll confess: money, weight, storage aside? I'd have my 810 fridge back. There, I said it. I feel better for that. Meanwhile, back in the real world, I've tried lots of other cabs over the last three years, GAS being what it is, but none of them (including a Super12T I borrowed, good as it is) have made me want to sell my Schroeder 1515L. A very particular, Marmite voicing which doesn't suit every amp or everybody, but I like it, especially with a LMIII and my Streamliner. I've bought and sold a dozen basses or more, and half a dozen amps in the time I've had it, but it's stayed.

Well, this one's been a work in progress (albeit one I've gigged quite a bit in the meantime) for a good while, it was only the flats I put on it recently motivated me to get the thing more or less finished. Black and maple sounds really nice (most of my other basses are this colour combo) - any pics?

[quote name='silddx' timestamp='1358876719' post='1946433'] May I suggest you try to enjoy the whole song and appreciate the part you play in it, rather than doing what too many people do and only focus on yourself? The clue is that you hadn't even realised how simple the bass line is, THAT my friend is REAL music. You've been tricked by movement and harmony. I very much doubt that you are playing the part well enough to get your mojo on, so concentrate on nuanced playing and how you fit in the song. Just because you don't have 16th note triplet arpeggios to play does not mean the bass line is simple or unmusical. So many of us are trying to learn stuff that means nothing on the bass unless it's in a virtuoso context. There is far too much emphasis on chops and f*** all on MUSIC. If you can truly learn to love simplicity, you will be a much better and more useful musician for it. [/quote] That, Nige, is the most sense I've read on here in some considerable time...I'm tempted to to nick it for my sig, but it's a bit big. Nail/head, all the same.

By that reasoning, Jazz bass body = old bloke bass... I can understand that... On the topic of the pickups, here's my Fenderbird, with Dingwall pickups, cunningly lurking beneath these great covers: http://i1293.photobucket.com/albums/b585/MTM133/photo_zpsebe2a12f.jpg

OK, so I've been working on this one on and off for a long time, and it's pretty much finished for now, and I'm really, really happy with how it's turned out - it looks exactly like I wanted it to (was going for the 70s T-Bird/Fenderbird look), and sounds really good too. EPi T-Bird body, naturally reliced (AKA bashed about a bit), fantastic neck pocket done by Steve at PMT in Salford (tight as a tight thing), MM J-neck with shonky 70's Precision decal (still got the Epiphone neck plate proudly on there), Hipshot ultralites with D-Tuner, Hipshot Supertone bridge, Dingwall pickups under the covers, CTS wiring with pull-serial on the tone knob. [url="http://i1293.photobucket.com/albums/b585/MTM133/photo_zpsebe2a12f.jpg"][/url] I might rewire with a 4-way switch for Neck-Serial-Parallel-Bridge like my Dingwall, and I may even pick up a Warmoth neck when I'm in the States later this year, but that's about it, I think.

Wow, that raised the bar for pointless, tuneless fret-wittery a few notches. Tho the Mingus/spacehopper combo is oddly fascinating...

Apples and oranges, really - the Yam is a very very good traditional passive P/J, which will do a very good P impression, and the SR is an active/passive beastie with those great Nordstrand Big Singles and a 3 band EQ. Old school vs newer school looks-wise, as well. The Yam has a bigger neck, if that's important to you, the SR will feel very similar to your SR (tho higher quality). Both are great basses, as with any new purchase at this sort of price, try both before you buy. IIRC, PMT in Salford might have both in stock (they certainly did at one point recently), give them a ring.

The first time I tried one of these at Bass Direct, probably a couple of years ago now, I said "It'd be my perfect bass if only they did one with a maple board." Apart from a James Lomenzo example, I couldn't find one anywhere. I stand by my original comment, they are fantastic.

Oooooofffff, that's gorgeous.

Yeah, I never liked the MECs much. . I think that the 'bigger' sounding the pickups which go into the bass (and the Wizard Bigs are, well, Big...), the more the bass will sound like those pickups. Makes sense, really. It's certainly what I've found - it's been a while since I A-B'd the two basses (I don't play the Warwick much these days), but at the time I think I said they (the Fortress and a Precision with P/J pickups) sounded 90% the same when soloed, and as soon as the band kicks in, they sound the same.