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I would put my own money on that never happening.
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Don't Call Me Baby - Madison Avenue
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Not sure - when we were young we would go past the guildhall and see that some group that was vaguely rocky was playing so we would just nip in and get tickets and go along, just because that is what we did - they didn't have to be favourite bands and it wasn't less convenient than going on line now, because at the time, you could absoultely guarantee that you would be down town at some point in the weekend as you would need to buy something and that is where you bought something from.
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Danny - you rock! (or ‘you jazz’ but that doesn’t have the same ring) Thank you for your time in posting here, it is very much appreciated. I especially appreciate your thoughts on the #7. For me, my (aural) stumbling blocks were firmly cemented in my early heavy metal beginnings - so a minor scale is Aeolian and there is nothing else! But I’m chipping away at that concrete and your explanation of, to paraphrase, a ‘constantly variable minor’ has just cleared away a huge block. Thanks again. -
2025 SE Bass Basheroonie! Sunday 9/11/25 *CONFIRMED*
knirirr replied to NancyJohnson's topic in Events
There's a good chance that I'll be free to attend this, if no-one would mind me dropping in. It appears that there might be a chance to discuss EUB technique, so I could bring mine. Or a DB, but probably not both. -
Gigs are the only revenue bands have these days. In the good old days tours would make a loss but the fans would buy the new album, which is where the money was made. The good thing is that bands tour continuously, to pay the gas bill. So we can see them more often.
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I think what lots of you are forgetting is that one reason bands used to go on tour was as a loss leader to promote and sell a new record. Now, you make a new record as an excuse to have a tour and make some money. It's not a coincidence that gig ticket prices exploded at the same time as Spotify took off.
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I’m usually a negative Nellie but I like this. Agree you’ll want to check it’s got the original pickups but looks great and if the regret is good and sympathetically done (doesn’t chop out loads of binding) it should be good for a long time.
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Rickenbacker 4003 from what I believe is 1998. Bought very recently from bassbros but to be completely honest (and I do this a lot) whenever I buy a ‘bucket list’ bass I always find my way back to P basses. The recent I went for this specific one is it has a really warm fireglo. Some look very bleached in the middle but this is lovely and vintage looking. It has had a full set up at PSG Guitars in Radcliffe where it was fitted with my favourite Elites Groundwound strings. What comes with the bass:- · Original Ric hardcase with keys · Bridge pickup bezel with thumbrest · Zero Mod clear thumbrest as per pics · Neck pickup cover Currently has Loxx strap locks fitted, can leave on and give you the strap fittings too or I can switch out for plain strap buttons. Ive tried to love this bass, I really have. It looks stunning and some evenings it sits on its stand and I just stare at it J. However, as per when ive bought Spectors, Burns, Warwicks etc in the past its only really Fender P’s that feel right in my hands – to this affect im going after something late 70’s fender P – black/black/maple would be ideal but the search continues. Condition – its played and is absolutely not a case queen. There is buckle rash to the back, several dings on the sides which ill try my best to picture and a few small knocks. Ive highly recommend coming to play and view this in person. Im also willing to travel for the right deal. Im looking to recoup close to my initial outlay (ignoring the set up, strings, zero mod etc) if at all possible but im very conscious of the current climate so serious enquiries and offers would be cosindered. Trades – as mention I like vintage P’s (late 70’s blacks with maple boards) J’s are a constant tease to me also. Not into 5 strings, actives or anything other than standard Fender thigs to be honest (I know im boring). Location is Bolton, Greater Manchester-
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Just seen this thread as I'm in the market for a short scale bass. I agree with @Obrienp. They could have gone a step further and added an active circuit.
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The light gauge LaBella Deep Talkin flats (green silks) are my favourite flats, they sound, play and feel amazing.
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Certainly could! 😁 -
My Euphonic Audio iAmp Doubler died silently at rehearsal a couple of days ago. Lights carried on working but there was no sound. The amp wasn't particularly stressed at the time, running at about 10 o'Clock on the Master. I'm pretty sure that it's the power module that has failed. If I take a line from the effects send into the effects return of another amp, it works fine and I can hear a difference in sound with the mute switch engaged (total silence or a slight hissing when not muted). The power module is an ICEpower 250ASX2. I'm assuming that there are no serviceable/replaceable parts in this module, and that replacement is the best option. It appears that it's a straightforward case of disconnecting the old module, removing the screws and swapping the new one in. Does anyone know if any additional configuration is required? There don't appear to be any jumpers on the board. There is a slight complication: there is what looks like a thermal sensor attached to the power amp heat sink, which connects to the fan control circuit. I'm assuming I can either re-use this sensor or replace it. Can anyone suggest a suitable adhesive for this application? It's also an option to just wire the fan so it runs all the time, but I don't think I've ever heard it running in normal operation.
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selling my incredible 1975 Musicman HD130 amp. Bought this back in 2021 and had a flight case made it for it straight away. Was serviced just before I bought it as well. Sounds amazing.-
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Completely agree - see my moan/rant about last Friday in the Who Did You See Live Last? thread...tho the main ars*holes were two blokes in their sixties...
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My other half and I go to gigs pretty regularly, but always at the bottom end of the price/venue market - luckily, there's some really good bands out there touring that you can see for £20 or less. She/we have a group of friends who are even keener on live music, and they loop us in on stuff we might've not noticed. Whenever a ping comes through to hershe'll ask 'Do you want to go to see xxxxx?', my first response (in order) is 'How much and where?' We've found Twickets to be a great resource for cheaper tickets, too: for example, we went to see Larkin Poe last Friday for £20 each, when the cover price of the tickets was £38 I've moaned before about big stadium stuff and how much I don't like it (at one point we'd walked out of about five or six on the trot as it was a pointless exercise), but the smaller gigs are newer bands, they're hungrier and more enthusiastic (and generally not creaky old geezers) and the experience is just so much better. We'll look at a gig, then go listen to the band and decide if we'll give them a try, we've discovered some great new (and new to us) bands this way. The Picturedrome in Holmfirth is my favourite venue; good sound, rarely too loud, free parking, you can find a bar that isn't four deep, and I don't think we've paid more than £25 to go see anyone there. The price of tickets is what you pay for giving Spotify a tenner a month to listen to anything you want, while the artists get very very little of that. Then there's Ticketmaster/Live Nation, who have sewn up all the big venues and cranked up all the prices...again, the artists see a small percentage of that...
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Line 6 HXFX great condition + free hard case £300
Inga replied to paul j h's topic in Effects For Sale
flippity floop is a wicked name ^^ also good luck with the sale -
I would say the increase in people chatting throughout shows is more to do with a decline in manners and respect, enabled by social media. After all, people seem to feel like they can do or say anything these days and there will be little/no consequences..... despite always protesting "Cor, you can't say nuffink in this cuntry anymore.... you get locked up for freeze peach!"
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It’s very similar spec wise to the Ashdown Capri but with an active preamp for £50 more. So, that’s not bad really.
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After sitting in the van talking about the talking at gigs thing quite a bit (ironic). My theory is that, i think we’re seeing people talking a lot more and being rude to the artists more and more because gigs are so accessible to everyone now. People that go to gigs are no longer just people that love live music and enjoy the artist. People don’t have to go to the box office to buy tickets or find out where their favourite bands are playing or just pop down to music venues because they want to be entertained by live music. People can now like one song of a band, or can see a clip on the internet that they enjoy and will go to a gig purely as a ‘night out’, because they can get a few mates and buy the tickets online and not think anymore of it other than a night out on the brew… Going out for a night out is so expensive anyway, people don’t really think twice about paying whatever it costs for an ‘experience’ … I genuinely think the only people concerned with the inflated prices of gigs are those that remember a time when gigs were affordable. For example, i grew up loving blink-182 but couldn’t bring myself to pay the prices when they recently reformed, much like a lot of my friends who also love the band. My ex-girlfriend however (Who grew up listening to R&B and absolutely hated anything with guitars in) went with a group of friends and plastered it across their instagram. But, this is just my theory on it and is more than likely to be wrong. Also, i know i sound like an old man talking about the good old days but I’m only 34. I just remember a time where going to gigs was something you only really did if you liked live music, and you learned a bit of gig-etiquette. Now, families will go for trips to watch a band or mates will book a stag do and pop in to watch a bit of a show because of one single, or because there’s nothing else going on.
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So dealers have started updating their websites - £299. How does that sit given specs and what you might choose as an alternative? https://www.jimmyegypt.com/cort-gb-short-scale-bass-forest-green?srsltid=AfmBOorp25-uBNzH-_YfNTakUjqyTxZiaXJrDePoxu79ZXU44aVtLCO7
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Full disclosure: It came off a ‘98 BT6 that I bought. At the time I didn’t realise that someone had swapped out the pickups and placed two bridge units in the same bass. You could see that the C string particularly was out of alignment with the polepieces leading somewhat to a lack of volume. It cost a fortune to order a new neck pickup from the States. I wrote ‘neck’ to keep track of the units as in time it needed a new circuit too (another story and fortune!) I now have this lying around… -
I hate it when the ads describe what a jazz bass is. If you’re paying for a vintage one, you know the difference between a jazz and a p bass! Personally I’d only buy if they have photos that prove they’re the original pickups.
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Just updating this thread to say that, as many of us will have now figured out, eBay have not slashed fees, just shifted them from seller to buyer as obligatory "buyer protection". Buyers can look on other sites (e.g. Basschat) if they want to buy the same good without the additional costs. Here's a worked example (excludeding P&P) Old system - wait till you get 80% off variable fees before listing, and then the seller fee worked out at about 2.6%, so if you sold something for £500 you got £487 New system - buyer pays 10p plus 4% up to £300 and 2% above £300. So if they are looking to pay £500, then you would need to list it for approx. £484 (or if you list it for £500, the buyer will need to pay approx. £516)
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I've heard you guys. No-one is a few notches above you guys. Dave
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