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My sire v7 has a good B think it’s 130 on a 34” a certain amount comes from the construction, strings aren’t the whole picture I play one for the ability to get more location options, it isn’t about playing low notes per se
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I replaced my two One10s with a single Monza and I'm over the moon! The single 1x10 cab is louder, goes lower and beautiful punchy way, and has better dispersion than the two BF combined!
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I can arrange this. Please let me know where are you located. -
Now 590 GBP delivered to any door in Europe! Here is my Fender Precision 57 RI Made in Japan. N serial-FujiGen made around 1993. 42.3mm width at the nut, 4.095 kg. Punchy and powerful sound. Shipping to Europe included in the price. Any question please ask. Cheers!-
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Man, they sound very very interesting, but €120 for a six string set is wild! Maybe one to add to the lottery win purchase list...
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Does this make sense?
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Thomastik flats (check reviews) https://www.thomann.co.uk/thomastik_jf344.htm but super long scale 36”) they fit my 34” jazz fine though E string does wind around post but no issue .. but I’m really a roundwound steels player & thought I’d try em as they are more metallic sounding than regular flats & have normal kinda tension .. less than an hours play & strung inline 4 (jazz bass) .. £30 posted -
As a 4 string player, I would ask a question. When I did play a fiver it was to allow me to get to a D below low E. I never needed to play the the Low B as it is to far into the “muddy waters”. If you go through a PA, a decent sound man will HPF your sound to about 70 Hz, which means almost no output via the PA playing an open B.
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What are you listening to right now?
mikebass456 replied to Sarah5string's topic in General Discussion
Next doors kids screaming at each other over who's next on the paddling pool slide (extended 12" remix) -
Cracking job looks brilliant now
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Anyone else doing the Black Sabbath live stream?
Skybone replied to Newfoundfreedom's topic in General Discussion
Probably not. -
dead letters - the rasmus
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This is quite an investment & their is a steep learning curve to this particular pre..So i trust you get the best results for your outlay...( Take other preamps out of its signal path to hear just what it is imparting upon your tone)
- Today
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Reduced again to £475! 😀 -
IEM Conundrum ....... possible solution??
Al Krow replied to Pirellithecat's topic in PA set up and use
That sounds like a best of both worlds scenario, thanks! So to summarise: by switching to pre fade setting for aux out: (i) singers will get consistent IEM volumes irrespective of what's going on with FoH volumes / adjustments (ii) singers will still get fx (reverb) in their IEMs, but based on FoH volumes, as fx is applied to the post fade signal. Is that a fair summary? -
Hobgoblin is more your folk music shop - they do have acoustic basses (4 string, fretless and even a 5 string which they made for me). But they specialise in stuff that other shops don't stock: accordions, thumb pianos, erhu (Chinese violin), Indian lap-harmoniums, fretless banjos, marimba, chambord, bagpipes, and a couple of zebra-hides worth of African drums. If you haven't heard of it, can't play it, and don't need it, Hobgoblin stock it.
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I bet he dines out on that! I really like Hobgoblin, but I have also been a bit disappointed the last couple of times I've been in one. I just felt a bit unwelcome. Massive shout out to Foulds in Derby. Great shop.
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Being Gig Fit (Like Match Fit in football)
TimR replied to Chienmortbb's topic in General Discussion
I usually spend at least an hour revising the set in the afternoon before a gig. So by the end of a gig day I will probably have spent close on 4 hours of playing. I'm wondering how many of us do 30minutes a day of practice. -
IEM Conundrum ....... possible solution??
David Morison replied to Pirellithecat's topic in PA set up and use
Yeah, it's a little counter-intuitive, for sure. Your last line has it right - basically, all of the input channels feeding each mix can be pre-fade, but as the FX come post fade before they reach the IEM mix, they would remain post fade. So, if you turned up the vox in the main mix, the level of the dry vox would remain the same in the IEM, but the level of the vocal reverb would still increase in the IEM. Given that you hopefully don't need to make massive adjustments to vocal levels once the show is underway, and that the preferred reverb level is hopefully several dB lower than the dry vocal level in the first place this is unlikely to be a deal breaker, but it's an easily overlooked quirk that's worth being aware of. HTH, D. -
Here we go again... this is a great bass, but the length of it exacerbates my nerve pain, and no matter how incredible the tone is I need something a bit smaller that sits in a different position, like a Music Man. These are Jazz Bass size, with one extra fret, so a touch longer. I think that the magic of this bass is in the pickup, and not the pre amp as some folk have written online. I'm lucky enough to have bought a used pickup, which is pretty amazing as these basses are rare, so I'll be putting it into what ever bass I replace this one with - it has a huge output and sculpted tone. A maximum of 550 of these were made, with 250-275 in silver and the same amount in pink. This is another reason I've been reluctant to let it go; and also why I'm not all desperate to trade it - this advert is just out of curiosity to see if there's anything out there. Made in USA for about 2-3 years, this one from 2019. Weighs approx 9.33lbs / 4.23kg It's in a 9.5/10 condition, with just a few tiny marks on the back. Quatersawn neck, alder body, compound radius fingerboard, Tim Shaw designed pickup, Aguilar OBP-1, BA style bridge.... It's a beast. Comes with the original case and all candy. Trade only - for an EBMM Stingray Special, or maybe a pre 2018 Stingray. Cheers My feedback Sound Clip MODEL NAME: Flea Signature Active Jazz Bass®, Maple Fingerboard, Satin Shell Pink, Satin Inca Silver MODEL #: 0192612728 SERIES: Artist COUNTRY OF ORIGIN: US COLOUR: Shell Pink, Inca Silver BODY: Alder BODY FINISH: Satin Polyurethane BODY SHAPE: Jazz Bass® NECK MATERIAL: Quartersawn Maple NECK FINISH: Satin Urethane NECK SHAPE: "C" Shape SCALE LENGTH: 34" (864 mm) FINGERBOARD: Maple FINGERBOARD RADIUS: 12"-16" Compound Radius (304.8 mm to 406.4 mm) NUMBER OF FRETS: 22 FRETS SIZE: Medium Jumbo STRING NUT: Bone NUT WIDTH: 1.620" (41.15mm) POSITION INLAYS: Black Dot TRUSS RODS: Standard BRIDGE PICKUP: Fender® Custom Humbucking PREAMP: Aguilar OBP-1 18-volt CONTROLS: Master Volume, Treble, Bass PICKUP SWITCHING: None PICKUP CONFIGURATION: H BRIDGE: 4-Saddle HiMass HARDWARE FINISH: Nickel/Chrome TUNING MACHINES: Fender® Lightweight Vintage-Style Keys with Tapered Shafts PICKGUARD: None CONTROL KNOBS: Knurled Dome STRINGS: Fender® USA 7250M Nickel Plated Steel (Gauges .045 - .105) CASE/GIG BAG: Hardshell Case-
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Popped in there last year briefly. As a bassist I thought it had nothing to offer me.This is by no means meant in a slanderous way whatsoever.
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One of the chaps there (John, who has since left) told me how Paul McCartney was a regular visitor to the shop, and he sold him a Hathway mandolin. Paul McCartney asked for a discount, and after a few minutes of negotiation, John said "in the time that we have been talking, you have earned enough in royalties to buy it!". All in good humour, and Paul McCartney paid full price. John also taught Paul McCartney a few chords, which he used in a song that he later released - Dance Tonight.
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The holy grail of 4 string basses IMO. I love mine and have done well over a 1000 gigs with it. If I win the lottery, I'd love to have 2. -
Thanks all @BigRedXno just a stock photo, not my bass
