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therealting

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Everything posted by therealting

  1. Prices are about supply and demand. Martin is probably getting more orders than he can build and still keep up quality. He is also growing in reputation, and no doubt in his experience and skill as a luthier. I think it's only fair that given those conditions, he has the right to increase his rate. As a gigging or session musician, if you start getting more offers of work than you can manage, you are well within your rights to increase your fee. There will be people who think it's too high, and they won't employ you, and others will think you are still worth it. Others may actually perceive you as a better player because you charge more! In any case, it helps you deal with the decision of which work to accept, since it gets filtered out for you. You get more money for the same amount of work. May I also point out that someone like Martin (a WORLD class luthier) probably spends many many hours working on a bass. Once you subtract the overheads and materials costs, and then divide the remainder of the price by the number of hours he spends building, he probably doesn't get a much money per hour. Probably less than an average Joe gigging bassist.
  2. A bump for an awesome bass player. Saw you guys at Barfly (at the invitation of Charlie and Martin) and you were all superb and cool guys to chat with after!
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  4. [quote name='nivek' post='35849' date='Jul 23 2007, 11:32 AM']A nice fretless 6 (his real 1st wood work !!!) [/quote] That's his first real wood work?! I can only imagine what his 20th bass will be like! Stunning!
  5. Jean Baudin, who is probably best known for his two-handed tapping of the Mario theme on 9, 11 and 12 string bass, currently has a 13-string bass on commission from Adler Guitars. A huge leap in quality from this rubbish though. You can see pictures of some of his monsters on [url="http://www.jeanbaudin.com/"]http://www.jeanbaudin.com/[/url].
  6. E-series Japanese Fenders are horrible. Send it to me.
  7. I own a Yamaha TRB-6, a Conklin modified eight-string, and a Bassix electric upright bass, and the bass that I take out for most gigs with me is an OLP MM3 5-string. Partly because some bandleaders don't like too many strings, partly because I'm less afraid of anything happening to it, and partly because it's just a great, fun bass to play!
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  9. All the advice given is good. I sing and play on most gigs, either on guitar or bass. It's definitely harder to sing while playing bass or lead guitar than it is while simply strumming chords. Simplifying the bassline really helps particularly to begin with. I had to simplify the bassline quite dramatically when I first started playing and singing "Living on a Prayer" for instance because the song is so technically difficult just to sing that I had to put all my concentration into nailing that. After a couple of months I realised I was able to play the full bassline while singing it. I still sometimes have to simplify it if I haven't done it for a while.
  10. Ok, I have to say it. Was anyone else slightly disappointed by his playing? I am a huge Tony Levin fan. and his playing on some all-time classics is legendary, but I thought he was off-form at the clinic. Granted, I realise he may have just gotten off a plane or something, and I wasn't expecting a technically flash display, but I thought it was sloppy, out of time, etc. Maybe it was just me. Having driven from London to see it, I would probably have been more disappointed if I hadn't had him sign my bass, and I hadn't picked up a sweet new cab later on in the evening.
  11. Cool, 500w seems to be the way to go, or 600w but not fully cranked which would give more clean headroom. Thanks for your input, it's been extremely helpful!
  12. [quote name='pete.young' post='37155' date='Jul 26 2007, 08:36 AM']What a good idea. I've had problems getting rid of the 'hum' too. Do you have a circuit diagram? If you have any spare switches I'll take off your hands - PM me and let me know how much you want for it. Kind regards, Pete[/quote] If you're near West London then you could come by and pick one up for a quid or something... otherwise you may find it easier just to buy a batch from the seller I used. These are the ones I got: [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=160136460751"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...em=160136460751[/url] Five switches for just over four quid shipped, difficult to argue with that. As for circuit diagrams, I used a combination of these two diagrams: [url="http://www.guitarelectronics.com/product/WDUH01101"]http://www.guitarelectronics.com/product/WDUH01101[/url] [url="http://alexplorer.net/guitar/mods/serpar.html"]http://alexplorer.net/guitar/mods/serpar.html[/url]
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  14. Good point on the insurance, but I think I'd still be absolutely paranoid about anything happening to such a nice guitar. I am one of those people who thinks it's stupid to buy a beautiful guitar and then not play it because you want to keep it pristine. Unfortunately, I am now one of those people. I once said that of the two scenarios, I'd much rather someone stole one of my guitars and played it, than spilt beer on it / fell on it breaking the headstock / anything that ruined the guitar. I generally only by well used or relatively inexpensive guitars, partly of course because I don't have a great deal of money (otherwise I wouldn't be selling this guitar), but mostly because I'm much less afraid of damaging them. I bought my Strat off the eBay partly because of the nicks and scratches the body already had. I will also say that if the guitar was a jumbo instead of a dreadnought, I'd probably keep it (I've actually contacted the school to ask Yamaha if they would consider a swap)... I just like jumbos more (they sound different, and I look more proportional onstage with one!), but most people seem to prefer dreadnoughts. Whoever ends up buying this will not believe what a stunningly beautiful instrument they are getting. It's spent quite a lot of time on its bed, lying in its open case, being looked at by me. If somehow I don't get a swap from Yamaha, or end up getting a good offer for it, I'll probably have to hang on to it... but I'd rather it went to someone who would really enjoy playing it as opposed to playing it in fear like I know I will. (interestingly, I did the vocal diploma last year, and also received a prize for being the best student at the end of that course... I gave that back to the school in exchange for a discount on the guitar course fees. I don't know what it is with me and prizes)
  15. Markbass LMK perhaps? Ultralightweight, powerful, dual channel...
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  18. Brand new Yamaha LL26 acoustic guitar from their Lotus Series. Handcrafted by Yamaha's top luthiers in Japan from the finest tonewoods. Easily in the league of the top American manufacturers such as Taylor or Martin (probably closest to the Taylors in terms of a more modern, clean acoustic tone).[indent][indent] [/indent][/indent]This guitar is absolutely flawless - I have looked over it from every angle, and the Japanese craftsmen are doing immaculate work. There is absolutely no blemish on this instrument: the woodgrain has no discolourations, unevenness or knots, the fretwork is perfect, the inlays, binding and joints are as cleanly executed as I have seen on any instrument of any price.[indent][indent] [/indent][/indent]Why am I selling this guitar? Well... I actually received this guitar last Sunday as a prize for being the top guitar student on my diploma course. It's so much nicer than the acoustics I have been using for gigs (which are worth about £200 each)... but I am quite a showman when I perform, hitting the guitar and so on, and I'd almost be afraid to play it for fearing of scratching the finish. Plus, I would spend the whole night making sure it didn't get stolen, because there is no way I could afford to replace it.[indent][indent] [/indent][/indent]The guitar is unplayed other than me strumming a few gentle chords when I received the guitar for school publicity pictures and things. It sounds (to me) fairly similar to a Taylor, quite a modern sort of tone. I still have the original box. It is still in tune from the factory.[indent][indent] [/indent][/indent][b] Specifications:[/b][list] [*]solid premium Engelman spruce top [*]solid premium rosewood back and sides [*]5-ply striped mahogany and padauk neck, satin finish on neck [*]hand-finished ebony finger board and bridge, pearl diamond inlay [*]Dreadnought-size body, natural gloss finish [*]intricate wood binding [*]premium Gotoh open-geared tuning machines, in vintage brass finish [*]luxury leather-like luxury hardcase with plush lining, secure gold latches, leather handle and Yamaha logo [/list][indent][indent] [/indent][/indent]More information is available at Yamaha's website: [url="http://www.yamaha.co.jp/english/product/guitar/aguitar/message.html"]http://www.yamaha.co.jp/english/product/gu...ar/message.html[/url][indent][indent] [/indent][/indent]I can take high-resolution shots of any parts of the guitar on request... but this guitar is best seen in person.[indent][indent] [/indent][/indent]I will also consider interesting trades or part-exchange ideas, as long as they are realistic... please don't offer your Squier strat as a trade. And I will only do a cash-on-collection/delivery deal unless we have agreed an alternative in advance. I may deliver within a reasonable distance for petrol compensation.[indent][indent] [/indent][/indent]I would obviously like to get as close to the full value of the guitar as possible - I'm selling it for the lowest available online price of[size=2] [b][size=3]£1,399[/size][/b][/size], but by buying from me, you have an opportunity to see the guitar before buying and confirming that it is every bit as perfect as I have said... plus you get to help out a broke student![indent][indent] [/indent][/indent]So get in touch, and save this beautiful guitar from the alternative fate of only being played quietly in my bedroom.
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  21. [quote name='whynot' post='36586' date='Jul 24 2007, 09:53 PM']I have used the 2x12 with a HA3500 in the past. Did a dep where I supplied the cab and the band leader provided the amp. The sound as you would expect with this combination gave a tight low end, very punchy with clarity. There appeared to be power/volumn in reserve and it was a pretty loud gig if I remember. I used the 2x12 with various other amps and the Edens worked well, WT405 as an example. My Warwick Quad IV (rated at 600w) on the other hand was just a little too much for it. The 2x12 is quite deceiving. Standing close to the cab may give the impression its not that loud but there is a lot of throw in it. It can fill out a room without you realising.[/quote] Sorry to take your thread on such a detour, but this is really useful information to me. I have only used the 2x12" twice now:[list] [*]the first time was with a Laney 165w head at the rehearsal space we were using. The amp was terrible, but the 2x12" actually filled the room better than the stack of cabs they had in the room (a 4x10" and a 1x15"). I was astounded by the efficiency. [*]the second time was at a showcase on Monday. I used a Behringer ADI-21 preamp pedal into a t.amp TA1040, which I'm guessing puts out 525w per channel into 4 ohms... however the ADI had a very weak output (despite actually sounding pretty good), so it was hard to assess how much power was going into the cab. I ran one channel at full volume, with the ADI also at full volume. It sounded glorious. [/list]The Quad IV is rated at 400w though, isn't it... was the cab farting out, or were you getting cone over-excursion or something? Do you feel it works better with a head with a tube preamp or a solid-state preamp?
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