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leftybassman392 last won the day on April 19

leftybassman392 had the most liked content!

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About leftybassman392

  • Birthday 16/05/1953

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  1. I don't like it. Note to @Skinnyman : see how easy that was?
  2. Best of luck Skinz. Fortunately it's a problem I don't have, because unless they've changed their policy since I last looked, PRS don't make lefties. Seriously, get a grip man. Think of the children; and the third world; and, umm, the polar ice cap. Then give yourself a sound thrashing with a wet fish. Better make it two just to be sure... Might work, might not. Frankly, who cares: it'll make great viewing. p.s. Hope this helps.
  3. Excellent advice from Douglas as always. Having the keys player effectively setting the tempo because of the way his Macbook works makes no sense whatsoever. If there's a drummer in the band (which there almost always is) everybody works to the tempo (s)he sets. It's just the way it is, and seeking to rewrite the rules is asking for trouble. If the drummer needs a click to maintain tempo then so be it, but it's the drummer that needs it. If the app on the Macbook won't let you do that, get an app that will. If the keys player has any clue about working in a band with a drummer, he should know this. ETA: I'm aware that this analysis might sound a little harsh, but there is a simple solution in this situation. Trying to reinvent the wheel is really not the way to go. As always though, just my opinion.
  4. Yes indeed, but it's never really bothered me in 30-odd years of ownership, and being the lazy tart that I am I decided to let it slide some time ago. My '84 335 is a different matter though: everything works back to front, which at times has been slightly annoying, but being the lazy, etc....
  5. ...which is exactly what happens on my 1990 Am. Std. It basically becomes an on/off switch.
  6. +1 for Elixir strings. I've used them on my acoustics for years. They are more expensive (or at least they were last time I looked), but they sound good and last longer. Strings deteriorate with use and over time. There's no exact number of days or weeks as it depends on several factors, but you'll know they're gone when you get a dull, thuddy sound rather than a bright, pingy one. (I'm good with technical jargon, me. )
  7. I have a similar arrangement on my Rob Williams Custom 3pup Tele (see the Tele thread), but wired so that pulling the switch brings in the neck pup. There's a second pull-push that switches between HB and SC at the bridge.With both switches up and the selector in posn. 1, I get the classic Tele mid-position. The bridge pup isn't angled like it is on a Tele, but soundwise it's close.
  8. Actually I'm more of a guitar player who can play bass to a decent standard. Just don't tell anybody over there, ok?
  9. Update: I've just re-read the OP, and just to be clear; Is the £500 budget for everything or just the guitar? Also, how firm is the £500? Could make a considerable difference to the sort of gear folk recommend.
  10. Hi there @Bobthedog. Good to see yet another BCer making the journey across the divide. Sound advice as always from @ezbass, but with one caveat. IMHO, 50W of amp power is overkill (notwithstanding the number of modelling amps with this sort of power rating that come in at this price band). Even a solid state 50W amp will go terrifyingly loud in a bedroom/practice situation. Has anyone considered spending the money on an entry-level valve amp such as this? Don't be fooled by the wattage rating; it will go plenty loud enough for practice, and will have a better core sound to boot. Note that this opinion comes from a marked preference for valve amps on the ground of better tone. Whether that will be important to anyone involved in the purchase is something I have no control over, but just so I've said it.
  11. All good advice so far. As I've said elsewhere, I'm not a huge fan of Martins; none of the ones I've played made me want to spend the sort of money you're talking about. That's just me though; they're all excellent instruments that will be superbly well made. I've made a very similar point in another thread, but does it have to be a Martin? I mean, if you simply must have the name on the headstock then fine, but just so I've said it.. I also take the point made about Taylors. Not if I was spending the sort of money they cost anyway... IMHO you could spend less and get a guitar that's just as good (yet another plug for Faith guitars - sorry guys... ). Alternatively, you could spend the money you've allocated on something else (Fylde, Lowden, L'arrivee are all names that spring to mind). That said (and as has been pointed out), you really shouldn't consider spending this kind of money sight unseen. If you can wait a while for shops to open again, you will be able to find out for yourself. As always, just my opinion.
  12. Without knowing how much you're prepared to spend it's a bit tricky to offer a solution (and in truth I'm not so sure that there's a single model that would fit your requirement anyway). Also, bear in mind that throwing money at the issue may not be the answer as there are guitars costing thousands of pounds that quite frankly I wouldn't have as a gift, and guitars that come in at mid-price levels and are IMHO as good as anything out there. Try to avoid judging instruments by the name on the headstock. This could well become a sequence of posters listing their personal favourites, but in truth you won't know until you sit down with some guitars and try them out. That said... Personally I'm not a big Martin fan. Likewise Gibson. Hard to say why, but from playing several examples of each I don't seem to be able to get on with them. Others swear by them though, so (as with everything you're likely to read on here) don't take what I say as gospel. I get your point about Taylors too: beautifully made guitars but not really my cuppa (I've owned or played a couple of those as well). A few names you might want to have a bit of a look at would be Fylde (very popular with folkies at one time, not sure of the current situation but beautifully made instruments), Takamine (who made their name with the mid-range EN series in the '90s but these days make some really rather expensive instruments: I had an EN10 for many years as my main acoustic instrument and used it for everything from fingerstyle Blues to Oasis covers), and my current favourite, Faith (thought of as mid-priced instruments but TBH I never cease to be amazed at the quality of workmanship on offer at the price). As a final thought... A bit leftfield, but if you have the funds you might want to consider getting one made for you by an acousic specialist luthier. It'll be costly for a good one, but you get to specify want you want it to be able to do. Also likely to be some time before you get it in your hands, so perhaps not the way to go if you're in a hurry to have one. Other posters will have different views of course...
  13. Might be a touch above your price range, but have you considered Faith guitars? https://www.andertons.co.uk/acoustic-dept/acoustic-guitars/parlour-acoustic-guitars/faith-naked-series-mercury-acoustic-guitar I have a Lefty high gloss cutaway version of this guitar (which in fairness is quite a lot more expensive), but the quality on offer at the price is astonishing. Made in Indonesia (at least mine was whatever the official blurb about Shropshire may say), designed by Patrick Eggle and imported into the UK under his watchful gaze. Each instrument undergoes a rigorous quality check.
  14. Nice choices. I love Mesa amps. Had a Studio.22 (which was my main gigging amp for a number of years) and a MkIV. I swapped out the Eminence original speaker on the IV for a Celestion jobbie. Can't remember the details but I do recall it having quite a dramatic effect on the sound. Not better or worse as such, but definitely different. Had a few Marshalls over the years too, including an original 1968 top. Sold it for a song IIRC; now worth a small fortune no doubt! I don't gig any more so my current amps are for personal use only: Fender Blues Junior IV. Actually a bit more power than I needed for home use, but the clean sound with my AmSt Strat (picture on the nearby 'Strat' forum if you want to have a look) is to die for. AER compact 60 with the relatively rare solid oak cabinet. I bought it after a visit to my local PMT, who let me test it alongside about half a dozen other candidates. Although the test showed up some interesting results, in the end it was no contest: nothing else came close. Better still, the oak cab is normally an extra cost item (£100+ IIRC), but they didn't have any standard tolex ones in the shop so I got it at the regular price. DV Little Mark. I used to do the odd cocktail jazz gig, and this little thing was the perfect choice: small, light and portable. Made by the same people that make MarkBass bass amps (and almost exactly the same size as their Micromark). Phil Jones Bass BG110 for bass duties. Mine is an earlier version than the stock photo example, with the PJB logo on the top panel and nothing on the front. Not really a gigging amp (unless you DI it of course...), but ideal for my needs. I've had a few PJBs over the years, so it's a known quantity for me, and given its size it really wasn't a hard choice to make.
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