Achtane wrote:I pretty much hate the Micro Synth/Bass Micro Synth.
To me, any sound you can call from it belongs to an age that has already passed. Maybe it would be cool when put through other effects and used as a noise maker but alone it's horrible. It is versatile, you can emulate a lot of tones that would otherwise require an individual effects unit, but every emulated tone is marred by its cheesiness.
i agree, i've never liked it's t0nez.
I fucking love my BMS, and don't use it to make awful retro 70's funk and shit like that. I use it in my electronica/industrial group, and it kicks ass.
Mudfuzz wrote:This is definitely one of the more amusing threads we've had in a while
I will admit to having no interest in those fugly single cut basses... observe...
I.... just.... don't..... get..... it.....
I guess it's ergonomically more friendly? I never got it either.
Got to play an Elrick last summer at a place in Chicago. I was looking forward to it based on all the things I've read. The bass was built beautifully, was super light-weight, and did nothing to inspire me to play it more than the five minutes I had it. Very sterile, with no real character.
Mudfuzz wrote:This is definitely one of the more amusing threads we've had in a while
I will admit to having no interest in those fugly single cut basses... observe...
I.... just.... don't..... get..... it.....
I guess it's ergonomically more friendly? I never got it either.
Got to play an Elrick last summer at a place in Chicago. I was looking forward to it based on all the things I've read. The bass was built beautifully, was super light-weight, and did nothing to inspire me to play it more than the five minutes I had it. Very sterile, with no real character.
Other than aesthetics, the other idea behind the singlecut was the extra mass and connection to the neck in some way enhancing the response and the rigidity of the neck. Who knows if it makes a difference, but some of the designs look cool and some look like humpback whales. The Elrick design is not one of my favorites.
Achtane wrote:I pretty much hate the Micro Synth/Bass Micro Synth.
To me, any sound you can call from it belongs to an age that has already passed. Maybe it would be cool when put through other effects and used as a noise maker but alone it's horrible. It is versatile, you can emulate a lot of tones that would otherwise require an individual effects unit, but every emulated tone is marred by its cheesiness.
i agree, i've never liked it's t0nez.
I fucking love my BMS, and don't use it to make awful retro 70's funk and shit like that. I use it in my electronica/industrial group, and it kicks ass.
Long notes, long sweeps, awesomeness Only negative side imo is that it stops entirely at some point when it doesn't trigger.. That can be annoying..
Mudfuzz wrote:This is definitely one of the more amusing threads we've had in a while
I will admit to having no interest in those fugly single cut basses... observe...
I.... just.... don't..... get..... it.....
I guess it's ergonomically more friendly? I never got it either.
Got to play an Elrick last summer at a place in Chicago. I was looking forward to it based on all the things I've read. The bass was built beautifully, was super light-weight, and did nothing to inspire me to play it more than the five minutes I had it. Very sterile, with no real character.
I can say the same thing for every boutique bass I have ever played... I have never found one I would shell out $500 for let alone $$$$, as a wood worker I can respect the workmanship but sound-wise meh...
Mudfuzz wrote:I can say the same thing for every boutique bass I have ever played... I have never found one I would shell out $500 for let alone $$$$, as a wood worker I can respect the workmanship but sound-wise meh...
Amen to that, Mudzy..Give me a passive J-Bass (maple fretboard, please) over one of those any day.
Mudfuzz wrote:I can say the same thing for every boutique bass I have ever played... I have never found one I would shell out $500 for let alone $$$$, as a wood worker I can respect the workmanship but sound-wise meh...
The Ken Smith 6 string I played at the same store was THE real deal. I was saving up for it when the Warwick endorsement came in. The Streamer LX however quickly made me forget the KS. It's easily the best playing bass I've had.
I'd like to let it be known that Hell Yes I could rock a PRS, Fuck if I care if someone else is raping the instrument, I can turn it into my own thing, my own style, if it plays nice, then it's nice, Not letting a stigma depict my use of it out of principal, some douche may play it, but I will strangle him to death with the strings then play a better set than he wishes he ever could.
Overall, it's not a silly instrument, they play nice, are well made and i'd rather rock them than get back problems with a Les Paul.
Only negative side imo is that it stops entirely at some point when it doesn't trigger.. That can be annoying..
