Kiwi

I bought a pair of Hotone Loudster Class D pedal amps a couple of months ago and was surprised how good they were. I found a set of these attached to the underside of the ODR and wondered what they were...! Cheers.

Ronnie Wood played bass on Maggie May didn't he? It wasn't really bass as we know it, more lead guitar on a bass.

I'm spoiled for choice. I could even make my own from factory second parts. Not tempted in the least, however because often what one gains in appearance is lost in functionality and poor fit. There are some excellent PRS clones for 700 quid but the rest of it I would steer clear of.

It's a detail that gets in the way of communication IMHO

Xotic AC Booster Not made any more. Send it into a Fender amp and it'll give you thick articulate boost overdrive with a little something extra in the character which I haven't identified yet. Just luscious. Way better than a tube screamer and sounds magical with the ODR and Amptweaker below. Amptweaker Tight Rock The original one, it does fabulous distortion. Use whatever boost pedal you want to emphasise a different character. It does plexi as well. Super quiet and robust build. Nobels ODR This took me by surprise but it's an audio oxymoron. Really pleasant sounding overdrive while remaining articulate in the mids and presence frequencies. Great as a boost pedal too. Does everything well. Crowther Hot Cake Utterly unique drive pedal that does fat and grungy sounding distortion which teeters on the edge of fuzz but never quite goes there. It can be used as a boost as well. The presence control really does mids and it can be tweaked to a very entertaining level of intensity. It's the best drive pedal for a Vox AC30. PRS is a fan (which is probably a good thing) Joyo JF14 American Sound A copy of an old Tech 21 pedal. Use the voice control to move between tweed and twin midrange. The only criticism I have is the components are not as durable as they could be. Slightly higher noise floor. Otherwise, warm, articular midrange distortion from a Fender amp, use it with the ODR1 or the AC Booster for different takes on that mid to late seventies Rivera modded Fender thing. Mosky Silver Horse A little more versatile than the Goldern Horse if you are in the market for a Klon clone. Also, if you don't want or can't find an AC Booster, this does something similar but to a lesser degree for the cost of peanuts second hand. Slightly higher noise floor too but I use it as a boost pedal into the amptweaker for modded tones. That's it, I don't need any more drive pedals. Oh wait, there is the MXR Rockman...

Noise floor can sometimes be higher though

In my defence I'm left handed and footed in everything else, Sir.

Not me, I've played right handed from day one. Mainly because my drum teacher made me play the skins right handed two years before I took up bass. I've never really learned to play left handed and there's not a lot of motivation to learn given Mark King is left handed too. I can play drums ambidextrously more or less, but need the kit set up Phil Collins style.

Pretty much every UK luthier can make a tele. They are the simplest popular guitar to construct. Most of the sound comes from the pickups so body woods can be anything from pine to ash. Just choose one closest to you, pre-purchase the neck and pickups and get him to make a body to suit.

On Saturday we had a work party where we provided the entertainment. About six weeks ago I rounded up a bunch of colleagues and proposed we do a song together. Below is the result: 52fb7b34b4790dbaf517c3d5cce802d3.mp4 It was my first time performing on guitar and I used the instrument mentioned here: All sorts of technical issues that I won't bore everyone with but the band had no right sounding as good as this recording suggests. I originally rehearsed with a 4U rack containing my beloved Triaxis and MPXG2 into a Marshall 20/20. But there were 60Hz hum and phasing issues so I swapped the rack for a Kemper and used a profile of the Triaxis instead with only marginal improvement (no more phasing). The Kemper went into two Hotone Loudster Class D power amps sat on a pair of Joyo 1x12 cabs loaded with Celestion Neo Creambacks. The speakers struggled to disperse, but this shouldn't have been too much of an issue if we had been given PA support. Unfortunately the video stops just before I move up front for the solo guitar breaks. I did the thing though - one foot on the monitor. No hair in the wind unfortunately.

There is a Chinese amp maker called Grand who ghost built the Classic series for Peavey at one point. I have a couple of their handwired 5W Princeton Tweed amps for home use. They're sold under various other brand names by resellers on Ebay but they would fit your needs perfectly. Or...you could look for a used Peavey Classic 20.

I picked up a super cheap Ibanez S670 with a fake body for 1500RMB ten days ago and went about upgrading, fixing and customising it with chrome Gotoh hardware and Dimarzio Satriani signature pickups. I wanted to do a Chromeboy painted finish but it's not possible to do it well on wood bodies. The original Chromeboys had finish cracking and bubbling issues do to wood expanding and contracting with seasonal changes, the follow ups had bodies made of lucite not wood. So I did the next best thing - bought a load of mirror vinyl wrap online and found a friendly auto wrapping firm to do it for me after my own attempt failed miserably. The reflection isn't 100% sharp but only really noticable when you are standing closer than 5 meters. I'm planning on using the guitar for a show coming up on Jan 11. The good thing of vinyl over paint is that I can get it re wrapped if it starts to look a little worn.

Looking forward to some bass guitar related content...

Checking frets with with a fret rocker would be the second thing to do after checking the neck relief and string height.

I really like PRS Mira pickups. I have two sets installed in guitars and feel they're a bit of an industry secret for those who aren't label and trend orientated. Loads of upper midrange and note definition in the style of a Seymour Duncan 59 but without shrillness. If I want a classic rock (think AC/DC or GnR) then I'll sling a set in.

I have a soft spot for boogie kit and have a triaxis and studio pre as well as formerly owned a Bass 400+ and Strategy 400. The bass needs stamping on in the Mark series amps (and the studio pre) but that singing lead tone is unbeatable.

Nice guitar. My headless Kleinberger looks like a toy on me. Yours doesn't.

Not convincingly. The Hank Marvin was single coil pickup, alder body, maple neck and tape reverb and a very clean signal. That's all.

Very blonde hair and british...it's not a lot to go on. Could be Geordie Walker (who died recently) or Billy Duffy - both were fond of semi acoustics. Any clues about genre? Years they were active? Associations with other musicians? How many arms do you have? Asking for a friend.

Welcome aboard! Feel welcome to make your own gear thread, if you haven't done that already. Update: I've been playing around with this stuff for nearly a couple of months now. I really like the triaxis. It has nearly all the sounds I want to hear and it has plenty of midrange attack. By comparison, I'm finding the Studio Pre is a little looser, a little more old school and it seems more sensitive to pickup output. I am probably going to list it for sale soon. The Marshall is great. It's got those classic sounds that we know well from records. I can also get the triaxis to sound like it if I boost lots of treble and select the british voice. But yeah, it's going to stay with me for a while. The Carvin Quad X is a really interesting beast. First impressions was it's very hifi - lots and lots of presence. It's a bit of a swiss army knife in the sense that there are loops for each of the four MIDI selectable channels and a master effects loop as well as inbuilt spring reverb. If anything, it's a little excessive. The gain channels (3+4) sound very tight and crisp, the tonal curve is a little flatter than the triaxis which suggests that putting some kind of filtering in the channel effects loops may be worth while. Either eq pedals or perhaps amp sim pedals like the Joyo American Sound. But as they stand, the eq isn't quite as ear-friendly as the triaxis. This is a shame given it's potential versatility but it's not a lost cause by any means. The Fender Princeton Reverb II is just lovely. I've been playing around with preamp valves and at the moment it has a set of TAD 12AX7's with an EHX in v2. I had the opportunity to compare the EHX to a Mullad, a Mazda, the TAD and a JJ Tesla Ruby. The EHX and Mullard were very close to each other tonally - lots of warmth and slight compression without losing attack. Very nice to listen to at higher volumes. A full set of TADs was a little modern sounding and hifi. The Mazda was half way between the TADs and the Mullard. The Ruby was a little harsher than the Mazda but not quite in TAD territory. So the TADs are doing the heavy lifting with something in v2 for shaping tonal character.

Right, time for an update. Firstly...it lives! But just as I thought things were going to get easier, they didn't for the following reasons: 1) The control cavity needed to be made bigger. I actually bought a SSS strat body template and compared. 2) The pickup cavities needed to be made 1mm wider. 3) The pickup cavities needed routing out to allow for the depth of the screws (the screws couldn't be shortened enough) 4) The neck pocket had to be shimmed with a 2mm piece of sapele veneer so that I could fit the scratchplace under the fingerboard extension. Any how. The neck, pickups and bridge were all aligned. I changed the pickguard from HSH to HH because the pickguard fitted better and the electronics were simpler to get sorted. The pickups are an old set of PRS Mira (non coil tap). It plays really well although a couple of the frets have been knocked at some point and won't level so I'll need to replace them. But apart from that, the Mira pickups are giving off AC/DC vibes, plus both the string tension and action are satisfyingly low. It's my first unsupervised build and it's not as bad as it could have been. I'm fairly sure none of the issues would have happened with Fender licensed parts and they would have sunk anyone with just a screwdriver and hex key set. But I managed to solve all the cavity and neck heel problems and come out with admittedly a cosmetically rough but still very giggable instrument. I might just need to start making my own bodies after the next build - tone chasing Phil Collen.

You had posted the same content in at least three different locations. It wasn't necessary and normally we would discourage posts that provide a commercial benefit to the original poster. I've consolidated the content of your posts into a single one in the most visible location as an act of good will. Feel free to edit it as you see fit.

It's Guthries promoter rather than Guthrie. I'm sure Guthrie would take a dim view of spamming. The posts in other parts of the site have been hidden.

Last night I tried to fit the pickguard and the neck on at the same time and discovered the neck pocket was probably 1mm too deep. So I fashioned a shim out of some 2mm sapele veneer I had left over to fit the neck pocket and now the pickguard fits. It's a less than elegant solution though and one that wouldn't have been discovered until I'd nearly finished the instrument.

Over the Christmas NY period I hand sanded the neck heel to fit and managed to get it aligned enough to screw in place. However the problem with hand tools is that they round off edges and corners and the end of the fingerboard had suffered as a result of over enthusiasm. After a few days of feeling frustrated, I had another burst of inspiration and, after setting up the bandsaw/sander, I rounded off the corners. It looked great. I also disovered that the electronics cavity was too small. 111d575d0ceb271657641c2113bb3e76.mp4 It feels like if it's not one issue then it's another. Anyway I carefully took a couple of mm off the sides of the pickup routs and enlarged the control cavity a little. Then the HSH pickguard didn't align properly anyway and I double checked with other HSH pickguards and they were all the same. They were all a bit squashed from top to bottom and didn't sit on the bottom horn attractively. So I'm not sure if the body is the issue or multiple pickguards from both Chinese and overseas suppliers, it'll need double checking against Fender licensed products. However the HH pickguard did align a lot better and it's sort of more consistent with a punk/street asthetic anyway so I went with that and applied some stickers... The pickups are some SD clones by a company called Johnny Eleca. For Chinese knock offs, they're not bad at all but there doesn't seem to be much difference between split and humbucking modes. Just a little more edge to the split mode. Currently I'm still applying glue to the neck heel and fingerboard edge using a scalpel blade to dig out any bubbles before backfilling. Then I'll sand to achieve a fit.