Leaderboard

No, better for sole.

Yeah. I've found that keeping your teeth in the glove compartment of the van on those long overnight drives never endears you to the younger members of the band.

Anyone got JH's number?

What, Paedo Pellets?

Second gig with the ska band last night. Longer set this time. Went really well and i got lots of compliments on my sound, the band in particular loved it (all i did was roll off the passive tone on my Sire V7 fiver about 60% of the way to take the bright snap out of the tone, and boost the active bass a bit). I had a total mare in a couple of songs, Ghost Town in particular was a real car crash. Which is annoying because it was fine at the last gig -- more personal practice needed and less complacence. I'm having a ball playing this stuff. The venue fed us too, absolutely belting pizza.

Ordered

good for metal?

Hi You can buy the EQ01 directly from me or John East. The preamp amp I use in my own basses is the DFM the EQ02 was discontinued a while back. This along with the MC Series pickups are not available outside of the basses. The DFM is the fourth version of the pre-amp and will probably be the last having got it where I want it. The EQ01 was the first version made but has had the spec updated as we have moved through the different versions.

Thanks for all the positive responses, the drummer from Band B , messaged me about putting together a band to back a singer he's worked with in the past. So I guess it's a case of one door closes another one opens. Maybe I'm not quite ready for the scrap heap.

Hi Guys Thought i should close the loop on this one, and announce I have taken the plunge and bought a CS 62 P bass relic. Having missed out on the Nash that came up on here from Croatia, I then saw a 60's P come up on the Bravewood site and bombarded him with e-mails only to find it was a ghost page that popped up during editing of a bass that had been sold some time ago. So a CS bass seemed the sensible route, but it would be at least June before i had the funds, then this came up at a greatly reduce r.r.p. wrong timing but the right bass so had to go for it, which is why i didn't get the time to take you up on your kind offers of trying your axes first. But Thanks The neck wood and Rosewood board are beautiful, my wife commented "its a bit knocked about isn't it"

But there's definitely an argument to be made that the sooner some you old fogeys graduate to pipe and slippers, the more opportunities there'll be for youngsters like me.

I’ve had this guitar in parts for about 3 years but it’s finally finished!!!! I’m really happy with the way it’s turned out!! It’s much better plain than chequered!!! 2 down 2 to go!!.......

I have not read the whole thread but there is both a lot of good and bad info on this thread so I will put in my 2p. For the record I am an Electronics Engineer and advised on the design of the HPF on passinwind's HPF design. However that was all his work and I take no credit for it. So what is an HPF? High Pass Filter or less commonly called a Low Cut Filter. So why do we need one? Bass guitars and DBs and the whole system between them, and the Loudspeaker, produce very low frequencies that do not add to our sound. These VLFs work the speaker hard and rob us of headroom. How do I know if this is happening to my system? If you can see the speaker moving, that is caused by VLFs. Take you grille off and watch the cones while playing. Your eyes will not see a cone vibrating at 25Hz* so if you can see it move, it is below 25 Hz and well below Low B at 31Hz. Watch the video of the Micro Thumpinator in action on the SFX site to see the effect.Microthumpinator web page My amp has an HPF do I need an external one? It depends, some built in ones are too shallow. 12 dB per octave is too shallow, 24dB is the minimum in my opinion. That rules out the Broughton. It would be better than nothing but imho not much. What if I just turn down the bass? Most bass controls will affect frequencies in the low mids and higher and have a big impact on your tone. Do I need a variable or adjustable HPF? If it works it does not matter. The Thumpinator works well and also the various FDeck versions from the USA, are good. Variable Filters have a bump at the f3 point. No a good design will be flat to all intents and purposes. If a fixed HPF works well, what benefit would a variable HPF bring. Mainly to help tame room resonances/boominess in conjunction with the normal EQ. It can also allow you to experiment for yourself, a variable HPF can start the cut-off higher for a 4 string than a 5 string. Alternatively it allows you to tune the response so as to just remove the unwanted VLF stuff leaving more of you tone intact.

Bass heaven: Listening to a great bass player Bass hell: Listening to me try and play the bass

Heaven- tommy cogbill, duck Dunn, chuck Rainey. Hell- slappity slappity slappity slappity, especially on gear demos.

Sorry, but if you don't hear the difference between ebony, rosewood and maple, it's about time to make an ear test as there are huge differences in tone. I know that most the musicians are almost deaf and only hear harmonics, but stop this please : it's not only a cosmetical difference, it's a tone difference. At a time, for some personal reasons, I had two identical Leduc MP 6 strings fretless basses (neckthrough abd bubinga wings), but one had a pau ferro fingerboard and the other a Brazilian rosewood one : there was a BIG difference in tone between the two. Strangely I ended up keeping the pau ferro one that had more bite and high mids, which was what I was looking for at the time. In November, I bought another Leduc MP 6 strings fretless I was hunting for 10 years : quite similar in contruction but the wings (flamed maple top over ash with a mahogany veneer in between) and the fretboard which is Brazilian rosewood. Soundwise you get a more present fundamental, more low mids and less high mids, so a hugely growling and mwahing fretless. I know I'm a bit harsh on this subject, but I'm really fed up with these comments. It's like saying that a carrot tastes the same as a cabbage.

Nice. Like the S/B but wd go for Candy-apple red 'under the radar' approach.

And the right way up

Oh boy........... (I could live with some of the colours though I think)

There’s an old saying for us older guys. We have learnt, played and forgotten more songs than you young guys have yet to play. 😁😁

Changed my mind

I owned an original 1987 until a couple of years ago. Dunno what the RI is like but my 1987 was almost completely unusable in a home environment. Tried a power soak - quieter but lost all the tone. Even for recording it was so loud there was too much bleed onto the drum mikes. The other thing about 1987s is that anywhere below full beans they're actually fairly clean amps by modern standards. To get the rhythm crunch I wanted I was running either a TS or a Colorsound Overdriver clone into the front end and bridging the two channels. Getting 'the Marshall sound' is problematic for a couple of reasons: * There's more than one Marshall sound; Plexis, Mk2s, 70's Superleads , JCM800's each have their own flavour. * I've tried the modern little 5 watt Marshalls and they don't do it for me. Far too boxy and constipated There's a modestly radical alternative which I've now adopted; a small, clean valve amp (15w) and a good Marshall-in-a-box pedal, e.g. Catalinbread DLS, Wampler Plexidrive / Plextortion / Pinnacle, JHS Angry Charlie. Check them out. The advantage to this approach is that i) One can swap in other flavours of pedal in order to approximate Fenders, Voxes ii) One can run the pedal (not the amp) directly into one's recording device (start with all knobs on zero then adjust), slap a cab sim across it and away you go.

Might do better in the Musicians/bass players wanted section. There are probably some members that only look at that section.

Like Wal, his filter pre-amps and multi-coil pickups are only available when buying an ACG bass. John East makes the pre-amps for ACG and you can buy the EQ01 filter pre-amp from him, but it's more basic than the EQ02 you can get in an ACG bass.

Clive has just acquired by Barefaced rig. What a nice guy to deal with, great comms etc. as has been said above many times. Top banana and a credit to BC, deal in confidence.

-

58 is a bit old for wearing platforms 🤩🤩

They just get better as they get louder

Joy of joys! The neck and body are both finished and will soon be making their way to me.

Second outing with a new band I joined back in September. These guys are a real blast and know their stuff, so it's good for me to pushed to improve - which is just what I want. New venue for me, great crowd, dancing from the first song onwards. I came home with a real buzz 😀 Three weeks til the next gig and I can't wait.

Bought a couple of cabs from Alain, could not have been an easier transaction. Spot on in every way and cabs are fantastic. Deal with confidence.

Used Yamaha basses can be had for peanuts, and to my mind represent almost unbeatable VFM.

I got an email from Warwick. Although the site says "out of stock", they do have stock. So 1 is ordered and on the way to me now.

Anyone wanting to start playing in the Anglian region, I also offer basses for sale as well as a range of amps too! [email protected]

Squier VM Precision & Jazz 5 str's. Bought both s/h for under £200 in virtually unplayed condition. They are my go to gig anywhere workhorses. Great basses for the money.

I like Barefaced Cabs, but if weight were not an issue I'd use Markbass cabs. I love 'em. If they are guilty of colouring one's sound, then it's a colour I like. I've used Markbass rigs a lot as backline and I'm always pleased to see an MB rig because I know I'm going to be heard, I'm going to hear myself, and I'm going to sound good. So I play better. They're relatively expensive because they're well-built. They're not actually that heavy, either - only when you compare them to boutique, ultra-lightweight cabs. I'm a fan of Markbass combos, too - the 1X15 combo in particular is fantastic. I have a theory (possibly insane), that bass gear manufacturers know that a large percentage of their customer base never play outside of their rooms and tailor their products accordingly. Markbass may sound a bit flat in your bedroom, but at a venue they really kick it out and sound very punchy, articulate and lush at battle levels and 'in concert'. OK, I'm done!

Sermon on the mount-Jesus what a gig.

Welcome!

one man's meat and all that, I sold a Stingray, nothing wrong with it just not my thing, I sort of told a porky, said I was joining a Clash tribute and needed a Precision which was half true, I just wanted a Precision, still got it, gas has disappeared, thankfully, but I do think it's over the top to say "best bass I've ever played but need to thin the herd" well sell one of the others then!

Can't believe than no one has mentioned the Sue Ryder ...

I'd be up for one with a 10,000 year old mammoth nut.

Bass heaven - Instrument at waist height. Bass hell - Instrument at chest or knee height.

Just to get back on track, I'm thinking of ordering another Mike Lull with a bradypus pygmaeus body, a brachylophus top and a honey badger fingerboard.

In my case that was about....10 seconds 😀

I totally get it - but if you haven't played a Wal before ensure you try before you buy. They are (in my opinion) a bit Marmite. Something of an acquired taste. Despite being my dream bass I just couldn't live with mine. The build quality was sublime, and the filter pre-amp is to die for...yet it just felt wrong to me. Not a criticism of Wal basses, I really admire them, but just wasn't for me.

Is there a regional element to this topic ? When I worked in Bishops Stortford our place was just outside Hatfield Heath. Could say I'm pratically one of you

...but not in headstock design. If I owned that, I’d need to put a brown paper bag on it.

I used the older CB100 and gigged it in pubs and clubs with no trouble. They are not lightweight. I would say the 60 might struggle.