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It was a spam, same type, probably same person, quote a long post, put a spam link in the end, comment 'thats interesting' or something at the end, and noone notices the spam.
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Loving that colour, nice one
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Those systems are hardly worth setting up!!
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Congrats P-T-P! That looks lovely, especially the P&J setup with the stacked concentric controls and through body stringing. Love the grain on the fingerboard too. Is that the all-rosewood neck option?
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For Sale: Pete Skjold Greyling 5 – Impeccable Condition, Handcrafted Luxury Up for grabs is my stunning Pete Skjold Greyling 5, in the best, near-mint condition. This exquisite instrument combines exceptional craftsmanship with versatile sound options, making it a perfect choice for serious musicians. Key Features & Highlights: Beautiful, Warm Tone: The bass offers a very pleasant playing experience with a rich, warm sound that sits perfectly in any band mix. Flexible Sound Shaping: Equipped with a 4-way pickup switch (Reverse P, Series, Parallel, or P), allowing for a wide range of tonal options. New Thomastik JF 345 Flats: Recently fitted with these high-quality strings, the bass sounds fantastic and plays buttery smooth. Comfort & Playability: 33-inch scale length with a lightweight body (only 3.85 kg) and a superb H string, making it comfortable for extended playing. Premium Construction: 4-piece body crafted from fine Mahogany Symmetrical roasted quartersawn Maple neck, a true feel-good neck Indian Rosewood fretboard Evo gold frets Controls: Volume and tone blend for easy sound shaping Finish: Special satin finish that feels great and looks elegant Extras: Comes with a very high-quality, sturdy Skjold gig bag for safe transport Price & Details: Original price: $4,400 USD (plus shipping, taxes, and fees) This beautiful instrument is offered at a very attractive price, as I am currently having a custom 5-string built. Don’t miss this opportunity to own a top-tier, handcrafted bass that combines stunning aesthetics with incredible sound and playability. Feel free to contact me for more details or to arrange a viewing! -
If the place was on fire, that’s have a huge tragedy on their hands, so you’ve done the right thing. If it gets them to reflect on their policies it’s a good thing.
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Classic vintage mania. Excessive prices for what it represents (peak Fender) rather than what it most probably is (a knackered old bass that needs a lot of work).
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It’s a sad thing, but he was very brave in admitting that nowadays he can’t play like he used to. It was also very humbling how he sort of named Charles Berthoud as the sort of ‘heir apparent’ who has gone on to expand what you can do with the instrument, where he couldn’t any more. Is it me, or was Victor looking quite gaunt and ill in that video?
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Here we have an all original Vigier Arpege from 1989 Original preamp with 18v supply It has various chips and knocks but nothing to drastic Carbon fiber neck which is straight and true Frets in very good condition Weight is 3.9 Kg's Nut width is 40mm Nice slim and very comfortable neck on these, silky smooth and fast, a joy to play Im told that these are quite rare to find from this year A very reluctant sale but something quite beautiful has come up close to home...I have another Vigier so that will keep me happy Will come in a generic case Here is a link to the controls https://www.basschat.co.uk/applications/core/interface/file/attachment.php?id=323436&key=bf06df3308eb6e206a930a5138202772-
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Ah, thanks. Now I have the full name I know who was being spoken about, but only by name, I've never seen his videos so I wouldn’t know he wears a glove. Mark
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Sure I have a long scale set I can part with. Let me check. -
It's very difficult to comment when it's only part of the mix especially when the vocals and drums which are going to be important features of the track are still to be added. However there are a few things that would be worth looking at, once you start the full mix. 1. All the synths except the bass line sound a bit full and all dominating the same mid range that might clash with the vocals. I'd start by quite aggressively HP filtering them and also notching out any frequencies that clash with the vocals. Then add back the missing frequency ranges until just before you can hear them interfering with the bass and vocals. 2. Get a single solid bass sound. You have some moments where the bass sound does some interesting things tonally, but it is at the expense of the bottom end. Do these separately again with a HPF so that the sonic interest is overlayed on a solid bass sound. When you come to do the complete mix, start with just the drums and vocals and get the track sounding good with just those. Then add the bass and finally the other synths. Hopefully then you'll get a sense of space back in the track but it will still kick which is what you want for something dance-floor friendly.
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R. S. comes across as a nice guy with his feet on the ground. Thanks for sharing.
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Pubs and venues to be protected from noise complaints
Lozz196 replied to Cliff Edge's topic in General Discussion
In a punk covers band some 15 years ago we all ran amps with 412s - guitarists had valve amps, I had hybrids. But, and a big but, we only played to the level of the drums and the drummer had quite a light touch. So we had a very full sound, but not a loud sound. -
I know just what you mean. For me it’s because they are associated with influential and iconic players and relatively rare. You certainly don’t see many on my pub and club circuit of venues. I’m lucky in a way, as I had the chance to try @Norris’s out at a Bass Bash a few years ago. Lovely as it was, it didn’t feel right. That’s saved me a heap of money and disappointment. I do have a hankering for one of Retrovibe’s short scale Lil’ Richard looky-likeys, though. A itch that needs scratching 😆.
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Pubs and venues to be protected from noise complaints
peteb replied to Cliff Edge's topic in General Discussion
But it often does. Also, a clear loud sound doesn't sound as offensive or as noticeable as an overly distorted (where its not meant to be) one does. I still see people taking out JCMs and the like, but they are not cranking them as much as they used to and only using one 412 (or even a 212), whereas in the past they would have taken two cabs. Also, even if you don't want to take the modellers / IEMs route (and I'm not keen TBH) but think that a JCM is too much, there are loads of quality, lower wattage valve amps available now. -
I wish I had either of them
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I’d love another Ric 4003s, but it would have to be a walnut one, I can’t cope with the weight of the all maple ones. Interesting enough (or not, depending on your POV), the position of the 4003 bridge pickup and the ‘Ray are almost the same (when scale length is rendered equal).
- Today
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The future of amps & cabs - stage props only?
Stub Mandrel replied to SimonK's topic in Amps and Cabs
I saw Alice Copper supported by Bobbie Dazzle on Tuesday at Cardiff Indoor/Motorpoint/Utility Company Arena. The sound for the support was awful for the first part of the set. Dominated by drums especially the snare, vocals weak, bass inaudible. My ear for a mix must be getting better as by some miracle the snare was tamed and everything else balanced to get a decent (tough not exceptional) mix by the end. I imagine their sound engineer is still getting used to huge venues. Sound for Alice was exemplary, as you would hope. -
QSC CP12 Active PA Speaker 1000 Watts One of two - priced individually or for a small discount if sold as a pair. This speaker is as new and has not been used since purchase. It comes with additional QSC waterproof cover for outdoor use. Very powerful speakers however I’m downsizing and selling my larger portable PA gear. Street price is £579 cheapest I can find so this is a good saving. The covers cost an extra £67. The user manual is included. I have two of these for sale. I can knock off £40 if you buy the pair. Pickup definitely preferred but talk to me if this is impossible. UK only. Postage would be at buyer’s cost and I’d need to source packaging as the boxes have been recycled. These speakers get glowing reviews in Sound on Sound magazine - https://www.soundonsound.com/reviews/qsc-cp-series I own a pair of QSC CP8s which are perfectly fine for keyboard monitoring and rehearsal PA so these aren’t needed now for personal use. Specifications from QSC below - Features Class-D amplifier with 1000W peak power output Selectable contours (presets) for quick setup Advanced DSP with Intrinsic Correction™ Superior sound quality and speaker protection Directivity Matched Transition™ (DMT) ensures uniform coverage across the entire sound field Suitable for use as a main PA, stage monitor or instrument amplifier 35mm pole mount socket Lightweight and incredibly portable Specifications Configuration: Two-Way Active Low Frequency Driver: 12'' Cone Woofer High Frequency Driver: 1.4'' Compression Frequency Response: 49Hz - 20kHz, -6dB 47Hz - 20kHz, -10dB Sound Pressure Level: 126dB (Maximum) Nominal Coverage: 75° Axisymetric Amplifier Type: Class-D Amplifier Power: 1000W (Peak) Input Connectors: 2 x XLR/TRS Combo (Line and Mic/Line) 1 x 3.5mm TRS Stereo Output Connector: 1 x XLR (Mix) Controls: Power 2 x Gain Mic Boost Push Switch 6-Way Contour Selection Switch Indicators: Power LED 2 x Input Signal LEDs Input B MIC Selected LED Limiter Active LED Power Supply: 100V - 240V, 50Hz/60Hz Enclosure Material: Polypropylene Grille: 18 Gauge Powder Coated Steel Dimensions: 516mm x 350mm x 323mm / 20.3'' x 13.8'' x 12.7'' (H x W x D) Weight: 13.7kg / 30.3lbs-
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I've been keeping half an eye out for a 5er. They don't get brilliant reviews though. My 4er hangs on the wall waiting patiently for the day...
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Was that a Ric or a Stingray? My second ever bass was a Ric copy, which was awful and put me off them for life. A mate of mine has a Ric that he adores, but I reckon is probably among the the worse 'expensive' basses that I have ever played (sorry Paul)! I have a curious relationship with Stingrays. I think that they sound, look and play great. But... I never seem to take them out on gigs! I have bought, then sold, the bought again a number of Stingrays, but hardly ever played one on a gig. I currently have a red 91 Ray, which a mate of mine sold me cheap after me admiring it for a few years. Because he wanted me to have it and insisted on letting me have it so cheap, I feel a bit bad selling it on. That and my missus telling me to just keep it as I will inevitably buy another one in a few months time! It currently goes out as my spare for the tribute band gigs, but rarely leaves its gigbag!
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Some great ideas there. However, for my VTDI alone, it would cost in excess of £70 .
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Thanks! Now reported for environmental noise with EPS Sheffield. Fire service already contacted.
