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When I'm Sixty-Four - Beatles
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Help The Aged - Pulp
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paulbuzz started following Why were older basslines so much more interesting?
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Why were older basslines so much more interesting?
paulbuzz replied to Stub Mandrel's topic in Theory and Technique
Having come up with his proposition, Stub has tested it by comparing today's top 10 against that of 50 years ago. It's a smallish sample size, but it's a fairly reasonable approximation of a random sampling, and not subject to the bias you suggest. It could be improved by testing a few other randomly selected past/current weeks against each other, but I don't think anyone's aiming for a publishable research paper here. 😆 It is of course restricted to 'top 10'-style music, but that's the point of Stub's proposition. Personally I wouldn't care to venture an opinion one way or the other (not least because I haven't the faintest clue what's in today's charts), but it's a reasonable and (subjectively!) testable hypothesis. -
Why were older basslines so much more interesting?
Beedster replied to Stub Mandrel's topic in Theory and Technique
I still think it's a matter of opinion mate, two of those are standout basslines to me, I could probably find the same % in contemporary chart music, alongside a whole load of boring basslines as there certainly were in the 50-years ago list 👍 -
After a lot of measuring, lining up, measuring again etc, the cage nuts are now installed in the chassis and it bolts neatly into the headshell. The M6 bolts are some that I had in stock and I may end up changing them for something prettier.
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I played the exact same today. I’m surprised how much I liked it as it’s active. Truly an enjoyable bass to play.
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Come On Eileen - Dexys Midnight Runners
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G&L Custom JB Electric Bass Guitar - Sonic Blue - Reduced
Ian Somerville replied to Clint's topic in Basses For Sale
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Thank you. Well by the time it got to me for 49 quid some joker had knocked the scroll/pegbox off so I couldn't say how awful it was prior to me replacing the neck ... but I think it would have been pretty dreadful. If you factor in the lack of 'coupling' of a neck joint not fully pushed home when glued (are you listening to me Gibson) then I think it probably sounded as bad as it played! Really the whole idea here was to take an entirely written off bass ... and make it giggable. When I strung it up the other week ... I could have put my Rockabilly Pro preamp and pickups on and gigged it ... it would have looked horrible ... and the neck was like a cricket bat (wide end) but I could have done it. So yes ... the net double bassage of the world has gone up by one 😁 I'm ridiculously sentimental about musical instruments - especially as I spend much of my working life making old pickups live again - and I wasn't about to see this old girl turned into a 'sign' as the owner suggested or a wall cupboard. It needed to make music again - and it will.
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Why were older basslines so much more interesting?
Stub Mandrel replied to Stub Mandrel's topic in Theory and Technique
The current top ten. https://www.officialcharts.com/charts/singles-chart-update/ 50 years ago? Whispering Grass ... mellow, fairly straightforward jazzy line on an upright. I'm Not in Love ... any questions? Three Steps to Heaven ... simple but some nice stops The Hustle (Van McCoy) ... nice syncopated funky disco bassline. The Proud One (Osmonds) ... verse very simple, gets funky in the chorus Listen to What the Man Said (Wings ) ... nuff said? Stand By Your Man ... quite a bit going on there. The Way We Were (Gladys Knight) ... a great slow upright line. Disco Stomp - (Hamilton Bohannon) .. Would be pretty simple some really honky slides used as accents. I've done my comparison and I think my observation stands that test. -
I built a five string with a pair of J’s and a P, along with a five-way switch (N, N+P, P, P+B, N&B) but only ever used P & P+B options live. It was inspired by the Fender Stu Hamm signature bass, and include John East active eq (bass & Treble stack, and a mid-stack).
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spyder started following Newtone Bass Shorties. 46 - 130. 5 string set. £30 inc. UK postage.
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Budget transparrent class D amp heads ~300W?
DocTrucker replied to DocTrucker's topic in Amps and Cabs
Thanks guys, some food for thought. I had wanted to simplify things by reducing the character of the amp and cabinate as far as possible and relying on emulators to shape tone where needed. My hearing isn't great - pretty much deaf to speach on one side - and setting up tone at gig volumes is somewhere between very daunting and impossible! I hadn't considered finer eq adjustments being needed on the fly, so fiddling with a pedal board eq while on stage would be far more impractical than doing so on the amp. Glad I asked, but looks like I'd need to think a lot more about this before going further. -
I’ve always been intrigued by this arrangement since I first saw Metallica’s Jason Newsted’s Alembic Elans with this configuration:
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Hi all. This is a fantastic bass and in great condition. I have never gigged, rehearsed with it a few times and mainly played at home but that’s it. Just finding it’s not really what I am looking for and I am using my Heavily modded P Bass for most of my playing at the moment. For the interests of clarity and honesty there are a few small chips around the neck pocket which I have tried to picture, I think it’s from where the neck has been taken off to be adjusted as it’s a butt end adjustment. It appears that when the neck has been put back on, it appears that they’ve gone a bit tight on the neck plate as there appears to be the marks in the finish around the plate, as I have tried to picture in the photos. It was like this when I bought it from Richtone June 2024, I haven’t had the neck off. This is just in the finish, it’s only really noticeable if you go looking for them and it doesn’t structurally effect the bass in anyway. Other than the finish issues at the neck pocket and neck plate, the bass is in great shape, shows some light playing marks as to be expected but nothing, other than the metioned neck pocket, that breaks the surface, it plays superbly with DR Hi Beams 45’s on it, it sounds exactly as it should tonally and it has been well looked after by myself. All the case candy is still in its packaging. Ideally and preferably i’m after a trade/swap for a P/J Style Bass like a Fender US Deluxe/Elite, Spector Euro 4, Yamaha BB2024x/BBP34 or a G&L USA L1500 or L2000 (maple board) or Lakland MM/J (maple board). Can be swayed by a 5 string version of any of the above as well. Price on the listing is reflective of trade value. Would be happy to sell as well, but have a preference for trade/swap at this point. I am happy to answer any or all questions. Please don’t think that the above list is set in stone in terms of trades and happy to hear cash offers. Thanks. Below is all the information from Fender. The Fender American Vintage II 1966 Jazz Bass is and instrument that has been manufactured with passion and care by the best guitar makers in the world. Every corner is a new discovery designed for your convenience - and of course it looks just as good as it sounds. The body is carved from alder, a sturdy tonewood that is frequently used for bass guitars as it excels in the low-end with a punchy midrange, too. Balanced out by the brightness of the maple neck, which delivers clarity and sparkle to the high-end, you'll able to excel across the spectrum. What's more, the neck is carved into a 1966 'U' profile, providing a comfortable performance and minimal strain that will have you gliding over the gorgeous rosewood fretboard. Loaded with two single coil vintage '66 pickups, this instrument is capable of producing a ferocious, growling bass tone that can be tailored to suit any style of playing and will slice straight through the mix onstage or in the studio. Complete with a 4-saddle vintage bridge which works to hold a stable tuning, as well as a chrome bridge cover included - this instrument really is the whole package. Product Ref: 238936 Full Description Tonal perfection The Fender American Vintage II 1966 Jazz Bass is a premium grade offering, from construction to sound and functionality. Equipped with single coil ‘66 Jazz Bass pickups that deliver an unmistakable voice based on the vintage bass sounds from the 1960s, your creativity is sure to be boundless. Powerful and responsive, these pickups are extremely versatile and range from a more aggressive sound for a punchier mid-range and an all-round red-hot output - to more delicate bass tone that is well-rounded and warm. What's more, Fender basses are built so that as the tonewoods mature over time, so you will be rewarded with tonal development the more you play. The body of this guitar is an alder build, delivering a balanced response, featuring tight lows, clear mids and bright highs that are helped on by the brightness of the maple neck. The timber build of this bass brings a vintage, warm and natural feel to the tonal palette, providing a rich sound that is full of character and can be moulded to fit your taste. Built for the road The Fender American Vintage II 1966 Jazz Bass is fully loaded hardware designed to survive all the trials of life on the road. Aside from the 4-Saddle bridge, the vintage style lollipop tuning pegs work with the bone nut to hold the strings firm and enhance your guitar’s tuning stability. You’ll be able to utilise the master tone and two volume knobs for the respective pickups to find your own unique voice. All the hardware comes with a chrome finish for a robust performance and simmering visual effect. A premium bass experience The Fender American Vintage II 1966 Jazz Bass is equipped with a 4-saddle American vintage bass bridge, so you'll always be assured a consistent and reliable tuning stability alongside a comfortable action. This means you can say goodbye to re-tuning between every song. All the hardware is complete with a chrome finish that will hold firm and look fantastic against the natural sunburst finish of the body. The neck is designed into a vintage 1966 "U" shape, eliminating any strain when fretting so that you can play in comfort. For additional effect, the neck itself is finished with a gloss nitrocellulose lacquer for a supreme feel that will have you dancing across the laminated rosewood fingerboard with ease. Complete with a gorgeous, vintage aesthetic that is instantly recognisable and will be the envy of everyone in the audience. Specifications Body Body Material: Alder Body Shape: Jazz Bass Body Finish: Gloss Nitrocellulose Lacquer Neck & Fingerboard Neck Material: Maple Neck Finish: Gloss Nitrocellulose Lacquer Neck Shape: 1966 “U” Neck Construction: 4-Bolt Fingerboard Material: Bound-Round Laminated Rosewood Inlays: White Pearloid Dot Frets: 20 Truss Rod: Vintage-Style Butt Adjust Nut Material: Bone Hardware & Electronics Bridge: Pure Vintage 4-Saddle w/ Threaded Steel Saddles Bridge Cover: Includes Chrome Bridge Cover Bridge Mounting: 5-Screw Vintage Style Pickguard: 4-Ply Tortoiseshell Control Knobs: Vintage-Style Black Plastic Jazz Bass Hardware Finish: Nickel/Chrome Tuning Pegs: Pure Vintage ‘Lollipop’ Bridge Pickup: Pure Vintage ’66 Single Coil Jazz Bass Middle Pickup: Pure Vintage ’66 Single Coil Jazz Bass Controls: Volume 1 (Middle Pickup), Volume 2, (Bridge Pickup), Master Tone Code: 190170800
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Uncle Balsamic started following DOD FX84 Milk Box Compressor £60 ONO
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DOD FX84 Milk Box Compressor £60 ONO
Uncle Balsamic replied to PaulHornBass's topic in Effects For Sale
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Double bass rebuild - not for the faint of heart!
alyctes replied to The Guitar Weasel's topic in EUB and Double Bass
If I read this correctly, the bass was never really a usable instrument before, with the neck being so massively out of alignment. Therefore, you have increased the number of playable double basses in the world by exactly one. Kudos to you -
Cosmo Valdemar started following Low B clarity
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Absolutely this. The best 5 string I've ever owned was a 34" Warwick Thumb. The B string was a 125 tapered Sadowsky. Complete tonal authority, with none of the usual leap in note integrity when playing across the B and E string. In my experience a really heavy B string just results in ill-focused whumph, but playing styles should be taken into consideration - if you pluck lightly down by the bridge you're likely to have a very different response to someone playing hard with a pick or aggressive fingerstyle.
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