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Chris2112

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Everything posted by Chris2112

  1. I once played a set at a Shadows club (a funny Northern thing where old blokes who like red Strats meet above a pub to play Shadows tunes). The guys in charge gave me a red card when I got out my white Kubicki Ex Factor. They'd never seen anything like it.
  2. I'd be up for an NE bass bash. Out of interest, where did this meet take place?
  3. This is now on hold pending sale. Once the packaging materials arrive, it will be boxed up to go. I will update further once this is all sorted, thanks for looking.
  4. I have seen a couple of interesting pieces on reverb so whilst I will entertain trade offers, a straight sale would be preferred. Also, my preference would be for collection from Northumberland, about ten miles from Newcastle Upon Tyne. That way, the buyer can try the bass through my amp (or bring their own). I would also be willing to deliver within a 75 mile radius of Wylam, Northumberland, but over that distance it would probably make more sense to post with the proper insurance.
  5. I think I have replied to all the PM's I've had. Give me a nudge if you're waiting to hear back from me! Here is a video of a previous owner putting the bass through it's paces. The below photo illustrates the area where the finish had worn through. You may note the figuring on the wood, as this is merely a part that had worn though over time, exposing the wood below. This was refinished prior to me getting the bass, as the worn parts have been sanded smooth and sealed with a satin finish, such that they are practically imperceptible to the touch. Although this bass has clearly been all over Europe and well played and recorded with it, it remains in great shape and plays and sounds fantastic. I also think the pricing for reflects the fact it has a bit of mojo, which I benefited from when I bought it, making a considerable saving over what a box-fresh Pentabuzz would have cost.
  6. I think I have replied to all the PM's I've had. Give me a nudge if you're waiting to hear back from me! Here is a video of a previous owner putting the bass through it's paces.
  7. Hello Gianlu, sorry but I am not really a Precision guy.
  8. It once belonged to a Marcin Pendowksi who posted a few videos of it on YouTube, and a TB'er named Lukasj who lived in Birmingham. I was able to find a bit of history on it online, including that it had been sold through Bass Direct and also turned up in Google Images:
  9. Hello, I am considering selling my 1994 Pedulla Pentabuzz bass. I bought this bass in late summer 2017 through Basschat, and owning one was a goal and a dream come true but the reality is, I always tend to grab a fretted bass first. A change is as good as a rest, so I thought I'd offer this up tentatively for sale or trade to see if anything should take my fancy (fretted basses only). This 1994 Peacock Blue Pedulla Pentabuzz comes with the original branded hard case, which is well-used but in good working order. The bass also comes with the Pedulla truss rod tool, though aside from having the bass set up a year ago, I haven't needed to use it. The bass comes with the proprietary Bartolini electronics, namely a P/J pickup set and active preamp (controls for balance, volume and active tone control). The bass is 34" scale, with the original gold hardware. The wings are solid flamed maple and the fretboard is ebony, coated with the proprietary Pedulla Polyester treatment. It looks like glass and gives a distinctive tone. I'm not sure on the weight, and despite it's relatively small proportions it isn't a lightweight instrument due to the maple body. The balance is excellent, testament to Michael Pedulla's excellent design. Edit: weight as per the listing when it sold through Bass Direct is 4.7kg. The bass is in good condition though has obviously been a player rather than a case queen. This is reflected in the price. Before I had the bass, the previous owner had it cleaned and set up. The notably thin Pedulla clearcoat had worn in a few places on the body and neck, these were sealed over and feel as smooth as satin. There are a few small minor dings, and the control knobs are a little worn and slightly stiff (I never touch them, but I expect anyone with a desire to do so could take them off with an Allen key and lubricate inside, if not replacing outright). The bass plays very well with a low action, and I have adjusted the pickup height to balance the volume. When I bought the bass, the bridge pickup was notably quieter than the neck pickup, though since I never use the neck pickup when playing this was a quirk that I didn't address for some time. I can ship in the UK and Europe at the buyer's cost and with adequate insurance. I will entertain any trade offer as I don't have anything particular in mind other than a thought that I would find more use for a fretted bass than a fretless. I do have a particular fondness for anything with a bit of graphite in it, but other than that I am open to ideas. A few pictures (including some from when it was sold at Bass Direct before I got hold of it).
  10. I don't think much of the bass (there can't be much cash in it after these guys buy it, modify it and then sell it on). However, this picture really made me laugh, good show!
  11. The BadAss II is a brilliant bridge but the Babicz is even better. The craftwork put into the Babicz bridge shows.
  12. Holy moses!
  13. He certainly demonstrates how close you can get the strings to the ramp. Gary Willis really takes advantage of this when he plays in his cramped Ibanez. His action is so low as to produce the effect of producing a note by stroking the string rather than plucking it. I noticed that the guy in the video is having some intonation issues and also suffers from the strings cracking against the ramp or the board when he plays hard. So before fitting one of these, care needs to be taken to ensure that it's the right thing for you. Some players also use 'ramps' for slap too, in the form of a plate of material fitted between the neck pickup and the neck. This is the ensure that your fingers don't dig in too deeply when popping. Stuart Hamm had a scratch plate on one of his Kubicki basses in the early 90's, ostensibly for this purpose, though it wasn't something that I ever saw him re-use or mention again in future. Stuart Clayton had a clear bit of perspex on his Bogart Blackstone for the same thing. I own that bass now, the perspex was long gone before it came to me.
  14. Whatever the case, they have really supercharged their social media presence since Marcus got on board. I see YouTube videos and Facebook posts every day. They're really rising from obscurity to bring the Enfield brand to the fore.
  15. Realistically speaking, I think I'd go for a passive, four string bass with Bartolini humbuckers, a Babicz bridge and an ebony fretboard. In the world of dreams, I would have a Spector with a Modulus thru neck (basically quilted maple wings joined to the exposed graphite cricket bat, like an old Status Series II). It would be passive, with Bartolini soapbars or J singlecoils, and gold hardware. That would be my lottery win commission.
  16. I saw this advertised on Facebook and thought it a good idea, though the entry fee is maybe a little steep (I see performance cars getting flogged in Facebook lotteries for £20 a ticket all the time, with more tickets sold but less customer outlay). I didn't realise it was actually illegal. The regulations around gambling are rather strict.
  17. I essentially sought to recreate Jeff Berlin's wonderful tone when I came back to playing. So I sought out a Cort Rithimic and bought a Markbass CMD151P Jeff Berlin combo. I later acquired a Peavey Palaedium, which which Jeff's signature Peavey bass in the 90's. I will never part with either instrument. Despite sharing the same basic configuration, they both have their own distinct quality and play brilliantly. Ultimately, I think that every player has their own sound and style, and I have never found a signature bass to infringe upon that. A large part of the equation for me was buying the right gear to secure the tone I wanted, and then using that for my own ends.
  18. This is the deal of the century.
  19. Ivory, that is really something else! Wow!
  20. They are all great writers although Sheehan is the only one in a supergroup. I'd much rather listen to them than any of the other names you've listed (and I wouldn't listen to any Pete Townsend out of principle in the same way that I wouldn't watch a Jimmy Savile TV show). I am not a huge fan of the Winery Dogs because they are focused on 'straight up' rock. Kotzen, Sheehan and Portnoy are all amazing players, I just wish they had went for a fusion or shred sound. 'Niacin' shows Sheehan in a fusion setting, and is a better band IMO. I am not surprised to see Animal Logic turn up here. They have some great songs and some absolute horrors. The issue there was that Deborah Holland was the main writer, indeed, I believe she had prepared most of the material on her own and brought it to the guys to arrange. At their best, they produced some wonderfully played, intelligent pop music. At their worst, they made some right cheese. So that at least, conforms to Stan's track record of mixing moments of brilliance with some real rubbish.
  21. They are all great writers although Sheehan is the only one in a supergroup. I'd much rather listen to them than any of the other names you've listed (and I wouldn't listen to any Pete Townsend out of principle in the same way that I wouldn't watch a Jimmy Savile TV show). I am not a huge fan of the Winery Dogs because they are focused on 'straight up' rock. Kotzen, Sheehan and Portnoy are all amazing players, I just wish they had went for a fusion or shred sound. 'Niacin' shows Sheehan in a fusion setting, and is a better band IMO. I am not surprised to see Animal Logic turn up here. They have some great songs and some absolute horrors. The issue there was that Deborah Holland was the main writer, indeed, I believe she had prepared most of the material on her own and brought it to the guys to arrange. At their best, they produced some wonderfully played, intelligent pop music. At their worst, they made some right cheese. So that at least, conforms to Stan's track record of mixing moments of brilliance with some real rubbish.
  22. I started when I had just turned 13. I didn't really know any bassists at that point but I was mad about Slipknot and wanted to play music myself. Around 2013 or 2014, I took a couple of years off playing bass and played guitar. For whatever reason, I was burned out on bass. A sudden rediscovery of Jeff Berlin's music and teaching inspired me to pick the bass back up and I have never been so in love with it as I have for the past three years.
  23. That has cleaned up very nicely indeed. I love this colour on the TRB.
  24. Indeed. Talkbass has taken the sensible step of banning any threads praising counterfeit basses since they don't want the threat of being sued hanging over them like a primed gun. Basschat could be liable to severe action just for hosting this thread.
  25. I used to own this too. It is a nice bass. Mahogany body with an amboyna burlap top and headstock cap, flamed sycamore rear, neck of lightly flamed maple with macassar ebony stringers and a few other bits of macassar ebony detail if memory serves. 34" scale, a nice player with some great sounds in that bridge pickup.
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