JellyKnees

Andy Summers and Robert Fripp are 2 examples of great rock guitarists who came from a jazz background. The idea that the 2 genres are somehow mutually exclusive is nonsense.

Bought a Seymour Duncan Compressor from Jon, excellent comms and pedal arrived nicely packaged. Unit as described and fully functional, deal with confidence.

Interesting discussion. As an almost exclusively fingerstyle player since forever, I've recently started using a pick regularly for the first time in about 30 years as I'm currently playing in a 3 piece post punk-esque band (with a couple of guys I also haven't played with for 30 years!), and I needed a bass sound that is fairly aggressive and will cut through the mix - think JJ Burnel Raven era, gritty but not quite as full on at his early sound. Tone wise, there is no way I could get that sound with my fingers. So far, I'm finding that a .88 or 1.00 mm tortex pick is giving me the right balance between playability and tone. Any thinner, and the sound is too thin, any thicker and it becomes hard to play fast 16th type runs with precision and it looses that bite that I'm after. I'm running my ACG bass through a Bassrig Super Vintage preamp, pushed just past the edge of breakup with some bass rolled off, into a cheap TC electronic BQ250 head set flat, and I'm very happy with the sound I'm getting - punchy and bright with just enough clank - it sounds spot on in the mix.

My latest offerings... enjoy!

Bought an ACG J-type 5 off Geoff yesterday, a top bloke, excellent communications, bass as described, whole process was smooth and stress free. Cheers Dude!

Sold my Dingwall to Stephen today. A great bloke and an absolute pleasure to do business with.

I saw him twice at the Manchester Apollo, once with Terry Bozzio and Tony Hymas in 89, then again in the early 00s with Tal Wilkenfield and Vinnie Colaiuta. He was astounding both times, one of those players who genuinely made the hairs on the back of my neck stand up. A sad loss.

No worries man, thought it was worth mentioning with you being fairly local. I'm sure the NGs are fine basses.

I was alluding to the Scouser 'witticism' of refering to Wirral as 'the dark side'... I prefer the oblong of dreams myself. Now that Nigel's properly witty. OMD I'd rather forget about.

Hey Brian, if you are interested in Dingwalls I have a Canadian made abz 5 for sale on here... https://www.basschat.co.uk/topic/460459-dingwall-abz-5/

Cheers Brian, we've always been a bit overshadowed by Liverpool, but there has always been a pretty decent scene over here not to mention the odd success or two down the years... Neil

Hi Brian, a welcome from the 'other side' of the river...

After reading this thread, I had my 3D copy out and cranked up on the turntable a couple of days ago. Scratched to flip, but till one of my favourite albums ever. I also had a play along to the title track with my Dingwall ABZ though my recently acquired Bass Rig Super Vintage, which sounds the absolute dogs btw - I may have to reconsider my decision to move the Dingwall on...

Similarly, it was the first album of theirs I bought when it came out, I was 13 and already had the other 3 second hand, so perhaps that's partly why it has particular resonance for me. Nostalgia is not to be underestimated...

It's got to be good thing I reckon. Better they hear good music that way than not at all. When my daughter had her 18th birthday party a few years ago I was amazed at the amount of older music that they were playing on Spotify. For all their faults, social media and streaming services do potentially open up a whole world of music to their listeners, which hopefully leads at least some of them to delve further.

Fair enough, I realise it's probably a minority opinion, although I don't hear anything on it that I would remotely call early 80s generic pop. It's certainly more polished and less aggressive than the first 3 albums, but I think you can definitely hear the progression from Black and White to this. To me it's always been the album that sits on the cusp their early and later work, some of which was definitely poppier. Perhaps you had to be there...

Yeah, it all went to merde after La Folie sadly, which is apparently when Jet started using drum machines in the studio according to Hugh's book. I was very lucky to see them twice in Liverpool in the early 80s with Hugh. The Raven is their magnum opus IMO.

Thanks, it's actually In 17/16, which took me a while to figure out as I just came up with the bass line first. I'm in Bebington, where are you?