All Activity

I very strongly disagree with this version of history. If you or anybody else enjoys Hooky's playing and find it inspiring for whatever reason then good luck to you, nothing wrong with that. If you like and enjoy his style that's good enough reason. But that doesn't mean that objectively he is a great musician or indeed qualified in any way to judge other exponents of the bass. He's just someone who people who don't play the bass think must be important because they've heard of him .Whenever I hear him interviewed about playing the bass he seems to be full of self-regard, mainly for his own lack of ability, something which he mistakenly sees as a great asset. That's why I think he is a conspicuously bad choice to present this series. I was passionately interested in music in 1979, just like you were, and in playing the bass. I thought Peter Hook was a crap bass player then, and I've heard nothing to change my mind in the interim period. Listening to him thrashing away was depressing back then, and it takes me right back whenever I hear it now. Lots of kids played like that in those days, I think that Hooky was just the one who ended up being famous. In the early ,1980's most bass players not playing slap or fretless were not influenced by his style. He still wasn't that well-known by then, and there were plenty of other role models. For post-punk bass players in the early '80's (and I know because I was one of them) bassists like Sting, Bruce Foxton Horace Panter and JJ Burnel were far more influential than Peter Hook. The idea that Joy Division were such an important band at that time is a classic example of a tale told in the telling. They had a cult following and a certain profile in the music press, but their "legend" is something which has been created subsequently by people with a certain agenda which necessitates rewriting history to their own ends. When they were together they were a moderately well-known post-punk band from Manchester. Nothing more than that. And regarding any equivalence between Mick Karn and Peter Hook, there isn't any. The crucial difference between the two is that Mick Karn's style is defined by his imagination, not by his limitations. It's also wrong to claim that Mick Karn wasn't a trained musician when he had a background in playing the oboe in orchestras ect. I know he claimed to have no knowledge of scales and chords ect, but in practise he clearly did. His facility on the instrument is in a different stratosphere to Peter Hook (and most other bass players, for that matter). That should be obvious to anyone.

The last generation of Eden cabs were light, but not featherweight. I think they were lightweight wood, but with regular speakers, not neodymium ones. I'd be expecting these ones to be similar. The original Nemesis range were proper featherweights, I'd have liked to see them go back in that direction, but as long as these ones aren't backbreakers, I'm sure they'll be fine. Just get the cabs with the fewest number of speakers (the 1x15", or the 2x12" or 2x10").

My brother found a bass dumped in a skip and salvaged it... most probably a cheap copy, but I'd like to find out what it is. Some points: *It's a Candy Apple Red-ish PJ bass (typical Precision body/white scratchplate) with a matching headstock. The headstock logo is "Guitar Workshop" with "Bristol, England" in smaller writing underneath. My searches inevitable just brings up guitar workshops in Bristol, and no mention of a Guitar Workshop brand. *It has a 3-way pickup selector switch then the usual volume and tone, which I think is a bit unusual (am I right that PJs are usually Vol/Vol/Tone?) *Annoyingly, the neck has to be completely removed to access the truss rod adjustment. *It seems solid, and is very heavy (11/12lb perhaps) with a chunky bridge. *Inside the neck pocket on the body are two engraved numbers, one above the other - 061082 and 020620. Apart from the headstock name, these are the only markings I can find. A quick check reveals that both pickups are working, the pickup selector is a bit intermittent, and the tone control doesn't work. All easy fixes. Machine heads don't feel great either. I'll get some photos up soon, but if anyone can shed any light on this I'd be most grateful! Aled

Whatever. It's just descended into what most Basschat threads become, it's us lot talking absolute nonsense. I sometimes visit Bajistas.org, a Spanish language bass forum, they'd never have threads like this. They're still trying to decide whether a P or a J is best or whether a PJ is a happy balance or a complete abominación of el Diablo.

I think the grifter seller's trying to say they've stuck a set of Seymour Duncans in it - although the other interpretation does sound like prime Ebay AI bullsh!t! If so I suppose that might raise their total outlay on this mess to about £200. Excluding the power consumed by running a belt sander for 10 minutes.

People in the audience might not hear what you're playing but people in the next town will hear if you hit the wrong note. Keep it simple, a complex bass part played badly makes your band sound terrible but a simple bass part played well makes your band sound great. Timing is everything.

Your a big guy Daryl, sure you could've sorted him out for your share. Dave

Here's my latest bass build... Built from reclaimed Scaffold Boards and old floorboards with a mystery veneer on top.....🤟🏻👍🏻

Yet sporting eight inches...! GWS

I'd like to say I'm shocked that he's got that wrong 🙄

Welcome Charles.

Can't comment on how good relative to Behringer as never owned latter. But definitely better preamps and IEM experience than with our Soundcraft Sig.12MTK, and has excellent channel EQ options. Very happy to recommend.

Connector plate hole cut out - I cut it a bit undersize then chamfered the edge, and I may well do the same thing for the speaker hole. Port hole also cut. Router jig ordered to cut circular hole. Battens applied to sides. Due to a dose of flu, I've called a short halt because bouts of dizziness and power tools don't mix. I have a feeling that I may need to sand down the sides of the front and rear panels as they're a tiny bit short and a tiny bit fat.

Connect the two 1+ together and the two 1- together. Connect the 1+ to the +/red of the speaker and 1- to the -/black. And I use thin neoprene draught proofing strip. Unfortunately I've bought both 1mm thick and 3mm thick so I don't know which one I used on my previous builds, but it was 10mm wide.