Chris2112

When the pickup is next to the bridge, that's all you need. This is perfect for any Jonas Hellborg fan with a friendly chiropractor.

That is really cool.

What I would note, and I say this having had experience dealing with matters involving fraud, this thread contains useful evidence that would help a court to understand the breadth of the alleged fraud, the chronology of the events that led to them coming to light and the tactics employed by the person against whom the allegations have been made. When you consider the motivations for wanting this thread to be locked or removed, it is reasonable to conclude that the accused might want that done to destroy evidence or to limit the potential for further victims to come to light. As an aside, scammers are effective because their victims are usually not connected. The fraudster can operate the same scam with little variation over and over to great effect, so long as the victims never get to know of one another or make contact. Soon, a plausible sounding excuse can be exposed as the simple modus operandi of a fraudster. This is why things like Watchdog have been an enduring success, because they connect victims and allow strong cases to be built.

This is something I take a great interest in as gaming is #1 hobby. The things marketed as gaming chairs are quite often absolute rubbish, designed with visual impact rather than ergonomic comfort in mind. Taking design cues from fixed-wing bucket seats that you'd find in a sports car was a bad idea for the market, as those seats are designed to be used with a harness and to stop you sliding around under cornering and braking forces. For a chair that you'd sit in an office or game in, they're all wrong and can be quite uncomfortable after a period of time. The rocker chairs, shaped like the end of a hockey stick, are also pretty poor and will make your lower back ache by design.

The G&L idea of having the adjustable pole piece is really smart, typically useful thinking from Leo Fender. However, the Stingray issue seems to be more to do with the alignment of the string and the pole piece rather than the height of it. A G&L will let you move the pole piece up and down as you wish, but in the Stingray they just seem to be plain off centre! (on the old pickups)

There is always plenty of fun to be had with six string basses! Enjoy it!

I prefer the wenge neck but really, the difference between the two necks on any given bass where the other specs are the same will be minimal and probably only noticeable to Warwick buffs - ie other bassists. Even then, in a blind playback test I doubt many could reliably tell the difference.

That Yamaha is wonderful.

You've hit the nail on the head. They're less interested in selling beer (it shows!) and more interested in building their property portfolio and disposing of it when it suits them. Clearly, there are some chains that are always looking to sell off their properties, you only have to look at the terms and charges they propose to potential publicans to see that they'd sooner the pub just closed and was sold off!

For me, it was the guys that used to play with Lee Ritenour in the 80's. He used to put together bands of sensational players where the objective was not so much solo chops as it were group interplay. The performances they did were just sensational and Lee's written material was at an all time high point for quality. He even had Jimmy Johnson on bass at one point, which was just insane. His drummer, the late and great Carlos Vega, is surely on the tightest pocket players the world has ever seen.

Thread resurrection: Total Recall I see this 'Bart Funk Bass' account posting on Facebook pages like No Treble all the time. I'm convinced it's a bot that just grabs pictures of videos of bassists from around the 'net and posts them to pages without reason or context.

The guitars are the property of the shop. They've got money tied up in them and will now have to go through the cost and inconvenience of dealing with the theft, so this is far from a victimless crime. It must be hard enough to run a guitar shop at the best of times, never mind with this sort of thing happening.

Iran's claims are utter nonsense.

If someone wanted to pay me £300m for a load of old crap I'd take their arm off.

Nice, I didn't even realise they had made that model.

Oddly enough, I own a Pedulla Pentabuzz that used to be belong to Marcin, as seen in the video below.

I definitely think that Spector should release an Alexis Sklarevski model, for all he has done for their brand. His old slap bass video/programme remains extremely detailed and comprehensive and really pushes the technique in some interesting ways. In the 80's, when it was released, most slap instruction was very basic - you had guys like Louis Johnson and Larry Graham basically slapping the root and popping the octave on the beat and that was it. Regardless of whether or not you think there is any merit slap bass instruction, the course was a decent effort. I always remembered that lovely Spector that Alexis played, it just looked and sounded great. It's a shame that you can't get the '77 models in an oil finish with a singlecoil at the bridge.

That worked, I must have changed the password at some point without remembering.

It's probably me having cocked something up. I'll try resetting my password. You're right though, Guitarchat should be massive. Basschat took a while to build up though, so give it time.

I thought maybe I had changed my password so tried a couple of others. Still no use and my account is now locked again.

Maybe I've just got sausage fingers... EDIT: Tried again and just locked my account for 15 minutes! 😅😅😅

Hello, Are the accounts shared between Basschat and Guitarchat? I was sure that they were, and yet I don't seem to be able to log in there.

Further to my earlier post, I had wanted to write futher but ran out of time! I think a lot of modern day DT's problems can be traced back to the very reason that Portnoy was forced out - DT is now industrialised and they can't stop the production process! Part of the reasoning given to Portnoy by the band was that, if he were to take even a year out for his own projects, the DT show would stop and that would mean all their staff would be without pay. They are undoubtedly a huge band and probably have a huge road crew who depend on them for work, along with all the other auxiliary staff for media, marketing etc etc. The flipside of that is that, it seems clear to me, DT have locked themselves into a pattern that they feel unable to break - album/tour/album/tour ad infinitum. I don't doubt that even most fans would not deny that the quality of their releases had tailed off years ago (even before Portnoy left). That is the inevitable result of a band that feels compelled to keep releasing albums to a schedule rather than when their creative whims take them. They have consistently released albums every two or three years for 30 years now, with the massive tours that go with that. Portnoy and Petrucci managed to cram in a couple of side projects and tours here and there too! It is telling to me that John Petrucci's new solo album is the best thing he has played on in years and he sounds really fresh and revitalised there. Maybe part of it is playing with Portnoy again, having a world-class bassist like Dave LaRue to play alongside or just being set free from the standardised DT format, but the resulting album speaks for itself, it is pretty damn good!

You're echoing much of the criticism I've read of DT in the last decade (or longer). Myung is an excellent player when it comes to just doubling passages with Petrucci or thumping on the root. I sadly feel as though the last times his lines were really creative were on 'Awake', though even there he could have flexed a bit more and taken an equal share of the sonic space. Portnoy is an amazing drummer and although the circumstances of him leaving DT are a shame, he has certainly made the most of his time away and has played in a load of settings that he never would have done if he'd stayed on the DT train. Sheehan and Portnoy are an amazing team, and Billy can be relied up to produce absolutely incredible tone and great basslines. There is a cover of 'La Villa Strangiato' that he did with Portnoy on Spotify, it is amazing. Mangini is a good drummer but lacks something that Portnoy has. Rudess has been an absolute curse for the band as far as I'm concerned. His technical facility is not in question but he brought keys right to the fore in a really awkward way. I hate his tones and his need to constantly overplay. Sherinian and Moore both did a better job with far less prominence, IMO. LaBrie is just so far over the hill it's not funny. His voice has never been great but it really tailed off after the turn of the millenium. Some critics suggest her lost his touch even earlier, following him getting food poisoning in 1994. Modern day DT is just painful to watch mainly because of LaBrie, who frequently seems to stagger round the stage like a drunk. His vocals are awful; he just shouts and pushes where previously the notes came easily to him and his timing is off, as if he is struggling to hear the band or find his cue. It must be hard to be a vocalist in a band that is all about technical musicianship because your gift will fade faster than those of the instrumentalists, but he should have stepped aside IMO.