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There's a £45 Squier Affinity bass on Gumtree, Edinburgh at the moment. Is that inexpensive enough..? Gumtree, Edinburgh : Squier bass ...
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Cheapest solution is to take off that B from one of your fivers 🙂 What's you budget? Ultra cheap is a relative term if the end product is useless. Instead of ali/dh/temu, look into something like this: https://www.glarry.co.uk/glarry-precision-electric-bass-guitar-p7.html?color=Black&srsltid=AfmBOoqxQ1ZhsJFF-0Aa3cFDd-_MRReoMtPyMJ6zDLMtdabzZE56v01IC10 https://www.gear4music.com/Guitar-and-Bass/LA-Bass-Guitar-by-Gear4music-Pink/7LN?utm_campaign=surfaces_across_google&srsltid=AfmBOopXzB5Ud0HiElX0nu8vwmVH6EvC0KKdt2ncn1guJBcxJzf3NT5h4Zk Although for £110 you can already get a Harley Benton. If you'd like to stay around the sub-75 quid range, I suggest checking Cash Generators and the like for a good used one, instead of the cheap end of the chinese imports. Some of these pawn shops have an ebay presence too, I bought 2 of my pedals on the cheaps from them!
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Not really understanding why people feel the need to just be nasty bastards on here. Get a life.
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Fender Fatfinger
Owen replied to funkle's topic in Accessories & Other Musically Related Items For Sale
I love it! Everything comes through here if you wait long enough. -
Anyone bought a cheap (Chinese) neck off eBay?
HowieD72 replied to NancyJohnson's topic in Bass Guitars
I just bought a lightly roasted maple jazz neck off Ebay. Coming from China. It's going on my PJ parts build. I have a nice Fender Vintera 60's Roasted maple neck on my jazz bass. It will be interesting to compare them once the Chinese version arrives. Will update once it's installed. -
I just recently bought a Monaco cab from LFsys. I've done a few gigs with it now, and as there doesn't seem to be much info out there on their use for double bass, I thought I would leave a small review. Practicals first: It's really nice and light. Very easy to carry with the recessed handle. It fits in my car standing upright, so plenty of space for other gear. The finish and appearance look very smart, in fact I don't really think the website pictures do it justice. Construction quality feels really nice and premium. For these purposes I'm going to compare to my Barefaced BB3, as they are similar scale FRFR speakers - different price points, but broadly comparable. I've finally realised that I can only really use flat speakers for upright bass at any reasonable volume, because any specifically 'voiced' cab, with humps and bumps in the response, tends to make the feedback issues with the instrument much worse - unusable in fact. Efficiency: The Monaco is plenty loud enough. I would say the BB3 is a few dB louder for a given amp setting, but both are freakishly loud compared with a lot of traditional cabs. It's subjectively the same volume as my BB Supermini T. Response: It's flat - extremely flat. I think I would actually be pretty happy to use a pair of them as studio monitors. Out of box, the BB3 feels as though it has a deeper bass extension (in my case I have to roll all that rumble off with an HPF anyway) but I did check with a bit of tone shaping on the amp, and the Monaco is still very capable of generating those very low notes if you dial them in. I wonder if it's the difference between the big-ass slot port on the BB3 and the reflex port on the Monaco? I guess if you were after a particular 'sound' then you would use a cab-sim, or a head that provided it. But the Monaco is very much a blank canvas. Load: This is an interesting one. If I push my amp really hard at LF, much harder than I would hope to need to on a gig, the Barefaced cabs will eventually cause the class D stage pop into protection/mute for a few seconds. This isn't a criticism of the Barefaced, because I'm taking about abusively high loudness levels at this point. But this doesn't happen with the Monaco. And if I run the Monaco in parallel with the BB3 then the combined load doesn't cause the class D to trip either. I'm not sure what's happening here, but certainly it points to the Monaco being a good, consistent load impedance and easy to drive. Actual use on gigs: It's a very clear sound, very easy to hear what you're playing and get your intonation right. The notes bloom into the room (or field if it's an outdoor gig!). So the dancers get a tasty set of low notes to set their pulses racing, but the player gets something that's nice and focused so you can hear what you're up to. The low end is present, but really tight and punchy. And here's the big deal for me, very little feedback. Loads of BassChatters will know if you're playing upright with a loud guitarist and drums then managing feedback is a full time preoccupation during a gig. I don't have a 2nd sound posts fitted. I don't use a mag pickup because I'm playing guts. We don't generally use IEMs. So all I have to damp things down is a pair of F-its sound hole blockers and the fact that I'm playing a laminate instrument with a lacquered finish. And using this Monaco cab, I can get to a perfectly acceptable volume without causing horrendous feedback issues. I have got a quieter dinner jazz gig coming up in a few weeks, for which I'll use a carved bass. So maybe after that I'll report back here. You always take a bit of a punt when you buy a cab online, without trying it out via a dealer beforehand. But generally speaking I'm really pleased with it so far, and thanks to everyone on here who recommended LFsys to me. If anyone is near York and fancies trying it out for themselves then message me on here and we can sort something out.
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I've been asked to 'bolt together a cheapish Mark Hoppus style bass, but in black'. My first commission. Heh. As this is just going to be Modern Prometheus, I'd be interested in how close the body sizes of the Squier and Harley Benton JB basses are compared to what constitutes the real thing, or if there's any weird carves/bouts. Thanks muchly.
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It's just another portal for the same builders on AliExpress. I wouldn't buy anything off there unless you're happy with fretboard radiusing and refretting tbh as you might get something which looks nice but hasn't been built correctly, especially if you're aiming for the cheapest bass that matches the aesthetic you want. If you want a cheap version of his Jazz Bass Special or Signature bass then a 90s Aria Pro II (maybe with an aftermarket neck) like this might be up your street: https://reverb.com/item/19560539-1991-aria-pro-ii-fb-bass-white For the Aerodyne Jazz look at Gear4Music's LA Select line (they also do a P copy): https://www.gear4music.com/Guitar-and-Bass/LA-II-Select-Bass-Guitar-by-Gear4music-Black-Burst/3L4L
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What do you call cheap? I bought a used Westfield P bass for 20 quid locally a few years ago. Perfectly serviceable with a setup that I did myself. You'll be able to find a multitude of named used basses for under £100, all of which will be a better bet that something from DH Gate. All it takes is patience.
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Played an end-of-season outdoor festival at a local(ish) footy club; you know the thing - bouncy castles, ropey burgers, BYOB, a charity raffle, generally a family day out on the pitch, with a proper stage, unfortunately facing into the sun, so it was verrrry hot (the drummer/PA engineer's iPad shut down at one point because he'd left it on the stage in the sun and it overheated), but a good day. Mostly singers with backing tracks, a couple of solo acoustic types, we closed it out for an hour at half seven. I'd brought my QSC 12.2 just in case the cobbled-together PA wasn't up to much bottom end, and it's a good job I did, as one of the (12") subs (we had 2 x 12" full range cabs each side, too) sharted itself just before we went on, so I brought the QSC up to the front on my side (where the bust sub was) and didn't go through the desk. Made it loud onstage on my side, but I went out front with my wireless and blimey charlie o'reilly that QSC can generate some bass; lots of it even a good way from the stage. Admittedly we weren't at Knebworth levels of volume, but lots of people said how well it all sounded, and I'd never have imagined playing an outside venue with one bass cab and being heard more than 40ft from the stage against a miked-up drummer, guitar and vocals in the PA. Extraordinary. It didn't break a sweat, either, and was on about 75% volume, with 50% more (linear) input from the Stomp to come, too; clean (Stomp patch dependent) and very nice...as I say, the onstage sound was naturally bass-heavy on my side, but it was the overall amount of sound the thing is capable of which surprised me - I can't think of a full stack rig I've ever used that would've made more, and that's including an Ampeg fridge and SVT...
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Fernandes The Revival Jazz Bass RJB-75 '60 original Fretless 1981 with Stone Logo on the neck plate and original Seymour Duncan Hot Jazz Bass (SJB-2) single coil pickups. It will be delivered with the original Fernandes pickups (the neck one is cut), a spare new old stock SLB8 (0.065") Rotosound string and an original BadAss II bridge. This bass is the successor of the Jaco model (FJB-65J) of the previous series. The bass has been used a lot and is showing signs of use, wear and dings: it's a player and a fantastic one! This is a really rare version of the RJB-75 '60 with a factory lined fretless fingerboard, which is impregnated (not epoxied) rosewood as the wood doesn't mark even with the long standing round wound strings, and these are the Rotosound RS66, so the ones which would mark the most. I've owned several Fender Jaco Pastorius models including the Custom Shop ones, and this bass is totally equivalent to them, no worries. NO TRADES (as I already have its successor)! NON NEGOTIABLE PRICE! Asking price including fully insured shipping with tracking number, to your home, in these European countries (ask for other countries): Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding DOM -TOM), Germany, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom: €950 EUR (£825 GBP is an approximation and I will only accept payment in Euros)!!! Shipping to the UK is of course possible and included in my asking price, but with additional customs charges (VAT + other taxes + courier costs), as the UK is now outside the EU. Here are the specifications : Body: alder (imported from the U.S.A.) Neck: hard maple (imported from the U.S.A.) Fingerboard: impregnated rosewood (7.25" radius) (imported from the U.S.A.) Positions: 20 lined, and dots at the fretted positions on the front and side à la Jaco Headstock: 4 in line Tuners: Fernandes (Fender-like non reversed) Pickups: original Seymour Duncan Hot Jazz Bass (SJB-2) single coils Controls : classic volume, volume, tone (CTS pots plus a PIO 22 nanofarads capacitor) with Bakelite knobs Bridge: original Fernandes with threaded saddles à la Fender pre-CBS Strings spacing at bridge: 19 mm (or even 20 mm, which is my preference, thanks to the threaded saddles) Nut: bone Strings spacing at nut: 9 mm (width 39 mm) Scale: 34 inches Hardware colour: nickel Truss rod: one, single action, 100% functional, even if a bit hard Finish: polyurethane Country of origin: Japan Serial number: none as it's still a Stone Logo neck plate (only for the very first series) Year: 1981 Weight: 4.460 kilos Action : from 1.5 mm under the G string to 2 mm under the E string at 12th position (can even go way lower if you shim the neck, but was perfect for me) Will be delivered in a brand new Fame gig bag Antique Deluxe in faux brown leather. Non-smoking environment as usual. The bass has been fully set up. It has received a new old stock set of stainless steel Rotosound RS66LD strings (45-65-80-105), which really serve this bass, think Jaco. What you see is what you get! Look carefully at the photos taken from different angles and lights to see the real condition, which is used with wear and dings, with some light ones at the back of the neck. Here is the link to 45 photos in high definition: https://drive.google.com/drive/folders/1cadFMVhpadl8HNt3UjpSZUQnSNdJdQ-h?usp=drive_link Due to severe back problems (67% officially disabled because of it) plus left and right shoulders injury (it's really painful to reach the tuners), I'm selling all the basses I'm not using like this one as well, because it's too heavy for me. I've also considerably lowered the price for a quick sale. Don't hesitate to ask for more, but, please, before asking read my ad first as the answer is certainly already in it! -
I recently switched from the Zoom B1 four to the Boss gt 1b. I'm loving the Boss. It sounds great and I di straight into the desk. It's very flexible, using control pedals or the built in pedal to assign to whay you want. But it only has 2 fx channels (delay. Overdrive and reverb are separate switches) so unlike the Zoom you can have oct>chorus>phaser>wah>synth (if you were mad enough!), but that's not really been a problem. The Boss synth isn't as flexible as the Zoom. Overall I prefer the Boss.
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My band has worked the other way. You can only purchase one of our CDs by actually coming to a gig, and both of the CDs were are currently selling have "bonus features". "Lost Souls" includes a remix of one of our most popular songs that is only available by buying the CD, and "Robert Smith's Eyes" has special packaging that can't be replicated by an on-line image. It's a strategy that appears to be working. We expect to sell out of "Lost Souls" after the next 2-3 gigs and after 2 gigs we've sold almost a third of the copies of "Robert Smith's Eyes". Currently we are not selling physical copies of either single on line, mostly because the P&P even in the UK would double the cost of the CD. We may reconsider when our album is released, but until then if you want a physical copy you need to come to one of our gigs. However as I have already said, you need to tailor your releases to what your audience wants. Our audience are still into buying CDs so they are worth producing.
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Tried listening to The Stranglers today....
Beedster replied to Beedster's topic in General Discussion
I'm not sure that all of the words in this sentence were necessary...... ...and i'd like to have seen Mr Nifield say this face to face to the band themselves -
Selling my Harley Benton PowerPlant Junior, as I have outgrown it and needed some more power too due to having some digital pedals now. Never had any noise issues, nifty little thing. One of the 5 longer power cords is missing, so comes with only 4 long ones, and all the short and daisy chain ones. -
Here's the rub...I'm not well off and can't afford to spend a ton of money on a bass that'll get used once in a blue moon. I want a cheap bass to teach with, because I only have 5-string basses at the moment and it's proved to be confusing for learners to follow along. Half the replies have been snarky and elitist, which is sub-optimal. If you have nothing to add to the conversation scroll on. Bit sad that you have nothing better to do with your time than trash other people's questions and ideas. 🤷♂️ Big thanks to Russ and Paul for their objective input, though.
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Tried listening to The Stranglers today....
Stub Mandrel replied to Beedster's topic in General Discussion
The Stranglers come to Wales. -
But look how accurately it follows the shape of the pickguard. That's been put on with attention to detail that has.
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Alembic Epic (4 string) from 1994 with a rare Watermark Koa top
W1_Pro replied to bojar's topic in Basses For Sale
Thats absolutely lovely, GLWTS.- 1 reply
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- alembic epic usa
- alembic
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I think you definitely need to try and find a way of trying them both. They are really different basses, the feel very different to play and sound quite unalike, particularly the 5's. No Basschatter will be able to help you with that stuff. You can't go wrong with an SSI (think Spector, only with character ) but the Thumb is my favourite. But they're unique marmite basses, for sure.
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I'm used to the traditional analogue desks, so an XR18 may do things differently, but, for me, once the gain has been set for any particular input (usually a mic...), it won't need touching, as long as the same input is used each time. I don't see how you're getting feedback if everyone is using IEM; if it's from the FOH, can the XR18 output not be reduced, instead of touching the active cabs..? There's something rotten in the state of Denmark not quite right, somewhere. If the levels for the vocals have been set first, with the guitars, and there's no feedback, it would appear to be the addition of the drums that set it off. If that's the case, can't the drums then be backed off a little..? Are the drums leaking into the vocal mics, fully exposed if there's no singer in front of 'em..? Which individual mic(s...) are feeding back..? They are what needs addressing, not the FOH cabs. Do any of the group know what 'ringing out' is, and how to do it..? Inviting a decent sound person along for a gig or two to sort it all out would be beneficial, I'd suggest, and/or a course in PA set-up.
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Done gigs where I've the basics (line check/30 seconds of something including a chorus) and the fuller thing (a couple of songs in full). In the main we've always used house engineers and generally they're on a needs must basis. In all cases, small room/big room, it's generally to an empty room, or at the very least the other bands/hangers on. Obviously the room dynamics will change once there's some people in, but by and large a decent sound guy will be able to sort that out on the fly.
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Responded to PMs. -
Fender Fatfinger
funkle replied to funkle's topic in Accessories & Other Musically Related Items For Sale
It’s for increasing mass of headstock to help shift dead spots. Some people use it to try and increase sustain, but for me, it dealt with a dead spot. -
Everybody's Carrying A Gun - Wilko Johnson & Roger Daltrey
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