krispn

It's always good to be recognised for ones contribution to fashion as much as music. As @Dood says 'Every Little Helps!'

Reaper is worth a look and it’s free!

As others have said it’s not always a great long term deal for the end consumer when companies join forces/sell out/merge etc. If Korg leave Aguilar to their own devices to continue doing what they do from their NYC base and don’t impose the business model of ‘more profit year on year or else we move production to Asia then I’m sure folks will be happy. Look at the stir caused by the Vietnamese made SVT’s QC and the ensuing and entirely predictable USA made Heritage model’s which were priced way above what many can afford. Line 6/Yamaha were mentioned and that appears to be a good example of a company leaving well enough alone. To be fair It’s not like Line 6 were some start up and I‘d imagine the L6 crew had some specific clauses to preserving their autonomy. It’s a;so very likely that Yamaha are no fools either and see the market moving to digital/modeling and rightly identified L6 as a market leader in modeling and innovation in that area and the benefits of their acquisition benefit both parties long term. Korg and Spector have been mentioned as a positive move too and presuming they don’t have some caveat that after X years the bean counters have the main say in how things develop I’m sure it’ll continue to be a positive move for all involved. People’s pessimism is totally valid as there’s a few terrible examples already highlighted (Fender and the recent Sadowsky/Warwick stuff) where these type of deals (Gibson Mesa is another recent deal which has caused concern and I think that is totally valid too) have meant a drop in quality or brands disappearing entirely. I guess Fender used the Genz Benz know how to inform their Rumble amps so the end user doesn’t necessarily ‘lose out’ but the marketplace becomes that little bit less exciting in terms of competition spurring innovation but who knows what clever ideas are on the horizon! That’s at least something to be positive about. I’ve no plans to buy any Mesa, Aguilar, Gibson or Korg gear in ’21 - well not new at least and I’m more likely to sell off gear due to the pandemic. I guess for companies a deal with Korg or Gibson isn’t too far removed form that notion either. Better to put money in the retirement fund as the global pandemic continues to rage and gigs don’t look that likely in the near future for many of us, few peo-le with disposable income and nowhere to play as the global economy continues to struggle.

I guess old Aguilar and Mesa gear before the prices shoot up further!

How long before this becomes part of the Yamaha folklore or worse ‘fact’ 😂

To be fair Alex Aguilar has been out of the company for many, many years and recently worked with Fender on the Downtown Express ‘multi fx’. I do understand that a buyout or ‘takeover’ is a different thing and not that I plan on buying any Aguilar gear in the near future let’s hope that a well respected company can keep its rep and continue to bring out decent products. I wonder if we’re likely to see a sudden surge in pedals and other non amp/cab gear?

Maybe I should go and buy that DB680 before the prices get stupid.

I wonder if ‘21 will be the year of the 12 string!! Probably not.

That does take care of the faux Royal Blood thing!

I hear that’s what he used on the original track too.

This bass has a slightly ‘thicker’ headstock so any gains made from lighter tuners might be offset but the thicker headstock. I’ve a jmj and it’s a cracking wee bass not just sound wise but the feel, build quality and components all add up to make a great bass irrespective of who’s name or brand is on the headstock.

You’re not the first believe me and you’ll not be the last. 😀

“Do YOU need a 5 string?” Five string basses are funny things. A lot of guys I know who played them felt it made things ‘easier’ in the sense that a player could remain in the one position on the neck and have access to many notes all within that position. An example - If you consider playing in the key of C off the E string 8th fret you’d rarely have to move from that general area to find all the notes for the song. The point those players were making was they felt things could get ‘boring’ as it could be easy to get comfortable in these one position zones but it was also quite handy as some songs could be quite easy to play and require little shifting about. One of my mates is a singer/bassist so he loved the 5er for these reasons - minimal position shifting when singing. I played with a 5 exclusively for about 5yrs on a gig where most songs were transcribed into different keys (it was with a choir thing) and having the 5 string was great in keeping the bass lines sounding like the originals and being able to keep things ‘low’ and not playing way up the neck to keep the patterns playable! I also experimented with BEAD on a four string and really liked that too. I’m back on a standard tunes four string now and don’t miss the 5’er but that’s not to say I’d never own one again...I might just go BEAD first rather than the classic BC excuse of “I’m in a new band which NEEDS a five string so sell me your bass!” A tip I learned when moving to the 5er was to play it exclusively and don’t think of it as a four sting with a few extra low notes. Take songs you already know well and shift the starting notes/patterns to the B string or higher up the E string i.e like I mentioned above if the song is in C play from the 8th fret E string and incorporate the B string and the notes in that position. It’s a great way to get familiar with the fretboard as we can sometimes ignore this area up about the 7-12 frets. You might find that having all the notes available in ‘one position’ really opens up the fret board in a way a four string didn’t before rather than it feel like things are boring. Just don’t fall into the trap of just throwing notes onto the low C and D “just because”... there’s always a time and a place and good tasteful playing will always sound better over “lower because I can”. Another place where a 5er really shines is the slow ballad or going low on a key change when the rest of the band modulates up. That’s where a good player can really make the 5er fit in and work in the band.

Or post it to yer man with the ad.

Could be but still not a fan... of course actually playing one might change that.

Always thought the p pick up was way out of position on these.

I guess if he does so much on the G and D strings the fatter gauge might make sense?

As ever the price of any piece of gear is what someone is willing to pay or what the seller is willing to accept. Be it an over priced bass or an underpriced bargain. There’s examples of both and that’s not to say some folks aren’t chancing a high price for a ‘desirable’ but relatively inexpensive and not uncommon bass. A more sinister example is the amount of ‘pictures of a play station 5’ for sale on eBay recently. Although the sellers are clearly stating in their ads that it’s only a picture of a PS5 bids are up in the £500+ region as many folk aren’t reading the description and desperate to get their hands on one. Total d-Ck move considering the financial hardships many have experienced over the year.

To be fair if you were the seller you’d be on here saying some c-unit was just on FB haggling me over an already decently priced BB 😀

Sounds pretty raw and unprocessed (in a good way). Quick email to the BTW guys and I'm sure they'd share the signal chain. I think BTW may have a video on this bass too - they do say it's their fav jazz and it get's a lot of playing especially on the earlier stuff.

Yeah I’ve done this on a Sandberg VM with great results. Just check your truss rod, adjust the nut width as necessary, opt for a tapered b string set and you’ll be good. I really enjoyed having the bead set up and it makes a lot of sense for many folk.

Tidy work

@Biggsy2 you’d be better off posting in the wanted section as it might see more traffic

Yeah you look at the pic's again of the BBz you can see what I mean with the cam design and how the string doesnt always 'break' like on a normal bridge

It's a tad unrealistic to compare a Ken Smith nut in the same sentence as a Yamaha 424/5 or many other basses for that matter Actually that's a great point in relation to the pre-amps - how does the KS pre-amp compare to your active Yamaha's? Are there discernible differences that are clearly heard? I know that the KS has some switches and trickery going on under the hood but I'm not familiar with them enough to know if that's model specific or if all his pre's have the same switching and fine tuning available across all his basses.