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Showing content with the highest reputation on 23/10/19 in all areas

  1. Just bought an ACG Recurve Custom from @Bigwan of this parish. And it's the absolute business! I can see why there's so much raving about them... It does just about everything my Wal does, but is lighter and possibly even easier to play. So do I sell the Sandberg Bassic or Parker PB51?
    7 points
  2. To help out with the upcoming gig booking season, my band booked in at Unit 26 Studios in Trafford Park near Manchester for a 'recorded rehearsal'. 3 songs, recorded live, warts and all, with a multi camera setup in a 2 hour slot. First hour was setup and warm up, second hour was 2 takes of each song. Then mixed down, edited and sent to us 2 weeks later all for £150. We're very happy with the results. As a pub covers band paying for a full showreel was a bit much so this was a nice in between solution. I'd absolutely recommend the studio. For those who are interested, the bass rig was all bought from the sale boards on here: Stingray Stealth 5H - via @derek Handbox R400 - via @TPJ Barefaced Two-10 - I forget who from and can't find the PMs about it. Here's one of the vids, would be interested in your thoughts. Cheers!
    5 points
  3. I'm sure you're all aware of "One step beyond" syndrome by where anybody in the audience who doesn't dance, is over 50 years old and usually has a career as a QC, a surgeon or chartered accountant suddenly starts strutting around the floor and throwing upper-cuts at the air. Well, as a special request, we busked "I wanna be like you" a little while back. Singer only knew a few of the lyrics and we guessed a key (Em) to have a go. BLIMEY, I can only recommend that if your band is up for a little fun, get this in the set list. They go crazy. They sing along and, we've even had 50 people trying to dance like apes. We rocked it up a little as the guitarist had heard a version by Fall out boy which really moves. Highly recommended at the end of the evening or if you have a lackluster audience and need some response.
    4 points
  4. Norman Watt-Roy. Went to see Wilko Johnson in Portsmouth years ago and ended up stood in front of Norman for the whole gig. He was just mesmerising and had this awesome sound. I was a guitarist up until then, so I went out and bought a bass and started to learn it. Now I play Bass in a couple of bands and rarely play guitar.
    4 points
  5. And there you have it. The electronics aren't done yet because I lost the tone cap I was going to use, but other than that it's pretty much done. I cracked the scratchplate (again) but it's not that noticeable. I'll make (yet) another one when I can be bothered, but it's a minor quibble for now. The thing I'm happiest about is the balance. It sits perfectly - not a hint of neck dive!
    3 points
  6. Bit of progress today. First of all, I got the frets in. This is a always a bit nerve wracking. I press them in and the little buggers occasionally decide to jump around, gouging the top and leaving me in paroxysms of anger. Not this time though, oh no. Lovely well behaved frets. I'm using Evo gold, which look nice against the black ebony background that MOP dots... Unlike most builders, I fly in the face of convention and sometimes don't glue in the frets. I've never had one come loose, maybe because I use a radial arm saw (and a stewmac blade) to cut the slots so they are a very consistent size. These ones went in very smoothly, tight but no issues, so they're going to be glueless. As I go I check each one is seated properly (meaning I can't get the thinnest fealer guage underneath; 0.038mm), and when sighting down there's a consistent look to them... I then cut the frets back as close to the side of the neck as possible before starting filing them flush. This. takes. forever. Even with a diamond file. And gives me tennis elbow, so I've only done half of it. Photo to follow tomorrow once I've done the other half. Looks lush though😁 Also today I finished the binding the f holes. I didn't find it easy at all. I always think guitar building is all about process, getting an order of jobs down that causes the least amount of aggravation. I can plainly state now that I will NEVER do f hole binding again on a guitar that has already had the top glued on. Having said that, it has turned out rather nice, even if not perfect - there are some gaps at the sharp pointy ends that need to be filled, but that's what epoxy is for, right? I'm now officially looking foward to introducing the body to the neck😎 Edit: forgot to mention, that my technique for bending the binding (which in reality is just thin strips of constructional veneer) was just to soak them in water for a minute or two, then bend them by hand around a drill bit that was approximately the right size. No heat, just water. I found the key was not to soak it for too long. The ones I left overnight immediately split.
    3 points
  7. ANYBODY buying this before I get the funds together, will get a visit in the small hours, with a shaped piece of finest willow!😡😂
    3 points
  8. Getting past the fact that it's a Fender video - there's some great insight about Paul Simonon himself here: 👍
    3 points
  9. Have a listen to the few clips of Father Christmas playing through the pedal scattered through this thread. Steve Harris sounds like none of those. Hope this helps.
    3 points
  10. Nice Hohner 'The Jack'. I always fancied one of these back in the day but never quite got on with headless basses at the time. Mind you, in respect of strings on a fretless, I have to say I've mainly always used rounds on my various fretlesses (apart from the EUB). I've tried flats in the past but just found the sound a little too 'dull' or 'muffled' for my own taste/style. In fact, at the recent South-East Bass Bash -- to quote @BreadBin -- we both agreed that "...moves should be made to start the Fretless Deviants register for all of us round wound users..."
    3 points
  11. There are several things the young me could blame on Suzi Quatro!
    3 points
  12. Suzi Quatro and her leather jump suits on TOTP in the 70's. It's all her fault!!
    3 points
  13. I wasn't thinking about him then, just trying to construct a sentence without spilling my wine.
    3 points
  14. I’ve been mulling this over for ages now but as I’ve now retired from gigging I’m going to free up some space, win some brownie points and free up some cash for a desktop amp of some variety. So up for sale (or possible trade for something with 4 strings) is my Trace Elliot Twin Valve combo with a rather under estimated ”Trace Elliot” 115 watts RMS with a GP7 graphic Eq and 1 x 15 speaker combo. It dates from the late 80s / early 90s and is in really good condition. It also benefits from a recent re-valve and service by Tech to the stars Dave Lunt who replaced the old valves with a really expensive matched pair (GEC equivalents if I remember but I’ll have to check the make. The valves alone were in his stock - and he has some stock - and he let me have them for £175 which was way way under valued). I have the receipt from Dave’s service. I’ll also include the old valves (wherever they are) although one of them is a little rattly which is why they were replaced. I’ve had the combo for about 2 years and had the intention of returning to gigging but I’ve accepted that it’s not going to happen. If I was going to gig, I’d use this as the sound is stunning. The watts of 115 are Trace Elliot watts and are valve watts so it comfortably rattles the windows. It also runs at 8 ohms standard but can run at 4 ohms so you could add a 2 x 10 for a truly trouser flapping rig. I’d love to keep it but it’s wasted in my office. Needless to say it’s not been gigged by me and judging on overall condition I’d say it hasn’t been gigged a lot. It’s got the original speaker which still sounds perfect. I had previously been an Eden stalwart but always felt that there was some depth and resonance missing despite their amps being so lively and wonderfully hi-fi. When I got this Trace I realised that this has the resonance and depth that I was missing. Maybe it’s that valve sound or maybe it’s classic Trace engineering but either way it really is a fantastic sound. Anyway, I’m in Chester and will drive up to 75 miles to deliver, swap or trade. Trade wise I’d consider any Fender 4 string. I could even add a little cash for a USA Fender. I’d prefer not to courier as it’s valvey but may courier it within the UK. It will be very pricey though as it would be insured. Dimensions are a compact 33cm x 48cm x 65cm. The weight belies the compact cab at 30+ kg. Here’s a summary of the features. Features: Front: Active / passive inputs. Input gain dial & overload indicator, pre-shape EQ button, an in/out button for the graphic EQ and the 7 band Eq faders. Jack sockets on the right are FX loop send / return, Line in / out and a head-phone socket. Lastly are master volume and standby switch on the far right of the panel (speaker on/ off switch). Rear: Rocker switch for 4 or 8 ohm load with two outputs - XLR and 1/4” jack. On / off switch. Thanks for looking.
    2 points
  15. Some years ago I was in a guitar shop where a young lad was explaining to his Obviously Very Well-Heeled Father that the Marshall DSL full-stack on display was the ideal home practice amp. To his eternal credit, the salesman tried to dissuade OVWHF from this course of action, suggesting a smaller and less expensive option. 'No, if that's what he wants then that's what he'll have,' harrumphed OVWHF, oblivious to the hideous fate that awaited him.
    2 points
  16. My middle daughter (average height, arm length etc) started out at 7 with a 3/4 size Squier Strat. It was the perfect introduction for her. We did spend quite a bit getting it fettled so it stayed in tune. Once she'd had it for a couple of years, was regularly playing & serious about it, she invested her pocket money in a full size USA Strat deluxe plus when she was 9. She plays in a band with other (much older teens) now, and has even taken up bass (now 10 she manages a full size 4h Stingray). She picks up an acoustic now and then, but her tutor teaches her the RGT syllabus for Electric. You need to make it fun for them, find a teacher that your kid can gel with & by the time they are in their mid teens they'll be the coolest kid in the school. If your kid does take up electric, invest in some good ear protection too.
    2 points
  17. And yet people here still claim they can't play a Precision because they've got small hands
    2 points
  18. I'll miss your dulcet tones. Good luck with the sessions.
    2 points
  19. 2 points
  20. My previously listed MG fretless has flats on it, and I'm not really fully bonded with it. I'm not sure if the flats are the reason. I didn't put the LaBella flats back on the Hohner because while they are the only double ball end flats I could find, I wan't impressed with the quality. I have a precision Warmoth fretless neck in the post (due Friday), but I already have a set of pyramid flats for it. I'm wondering if I shoudln"t get a set of Ernie Ball Slinky's to put on her first. I have flats on all my fretted basses except one, and that's because I was too lazy to change them. I don't want to open the set of pyramid flats unless I'm sure... They are quite pricey on this side of the pond. And if I don't use them I will have to buy another bass to go with them.
    2 points
  21. I started with a BassState B150 and I have fond memories of not only the excellent sound, but also the complacent attitude I took to gear. I owned one amp and it was heavy, but it was my amp so I had no choice but to grab it by the fingertips and climb those 3 flights of stairs!! Now, I'd need yet another amp set up, or maybe a suitable dolly, or maybe.....
    2 points
  22. In The City another one from The Jam, so may not be a simple riff but the intro, alongside Weller's guitar, is so direct and grabs your attention - the first bars of their first single, the promise of so much more to follow. From the same era how about Too Much Too Young by The Specials? The album version, particularly, with Terry Hall singing at the end about 'Beans on toast for tea' just supported by Horace Gentleman's grooves.
    2 points
  23. For sale is this bitza Fretless Jazz Bass. The body is 70's Columbus with original pu's etc all working ok. It's had a few knocks and bangs over the years so would make a great relic project J Bass. Scratchplate has been badly cut around control plate. Another bridge fitted as the old one was seized up. The Rosewood fingerboard neck is from a later 90's? Hohner Precision Fretless Bass. Plays well and sounds great, currently with flats, and a cheap Bass for trying out Fretless. I can throw in a cheap soft case. Collection from Poole or can courier at cost. No trades please. Thanks.
    2 points
  24. Actually it was Skank that hinted at it. All I did was confirm that it would be a valid way to go in certain circumstances. On a slightly more serious note, and just to be tediously repetitive for the hell of it... Chords on an electro-acoustic is only one of a number of ways the topic can be approached. If, for example, the young lad goes through a course at school, he'll most likely use something like 'The Guitarist's Way' series as mentioned above. If he does that then he won't be seeing any chords for a good while as it focuses on learning the notes and where to find them on the fretboard using standard music notation (so he'll be learning to read music as well as learning to play the guitar). Not classical as such, but definitely more compatible with the classical approach than the song-based, chord-based approach that many Basschatters will be familiar with, and very likely to require a nylon strung 1/2 size classical guitar. As I hinted though, not everybody wants to do it that way so knowing what sort of music and what sort of approach is anticipated has consequences for the choice of instrument (among other things). This in turn means that these kind of questions are important to ask (for me at least) before suggesting an instrument. Boring I know, but it's something I'd make a point of clarifying as much as I reasonably can with the parent of a new student at the first point of contact. In primary schools it's normally a routine procedure since most of it is laid down by the local music service (or at least it was where I worked). For private home-based tuition it's more of an issue that needs to be explicitly covered. This is just the way I'd do it and the OP is under no obligation to take any notice of it. Since I no longer teach there's nothing I have to gain or lose by offering the advice so I'm happy to give it freely.
    2 points
  25. I think foam under the strings might still produce a bit of noise unless the foam is REALLY thick or solid. Worth a try though!
    2 points
  26. For me as a 12-year-old metal fan back in 1986, it was Steve Harris and Gene Simmons at first, followed by Duff McKagan, and Tom Hamilton of Aerosmith. Started off playing finger-style (thanks to watching Maiden videos) but then got into using a pick too thanks to Kiss and G'n'R. Still use both, and still trying to be as cool as any of them....
    2 points
  27. You could maybe cut some slots in a fairly firm piece of foam and push it over the unused strings, similar to this but on the top 🙂
    2 points
  28. 2 points
  29. Hopeless with favourites, but here are three that I highly recommend. The first I only just discovered and is super obscure, I don't know if it's available anywhere except youtube but needs a shout as its rare gold - From - Power On! (German psych-era Miles meets Neu meets Mahavishnu) Kompost 3 - Epigenesis (Incredible Austrian hip new-wave jazz) Kamchatka - Volume II (Swedish power trio , a perfect album)
    2 points
  30. So basically you're saying that a half-size steel-string acoustic is the way to go. God, it's like pulling teeth
    2 points
  31. You can either fit a rack shelf to the rear rails or just wedge a block of scrap wood between the bottom of the amp and the rack floor.
    2 points
  32. Cheers gents, appreciate the comments. The bass sound came out with more mid and treble than I'd usually dial in, but I like it a lot. @Beedster Our singer was really struggling that day, lots of coughing between takes etc. She did a fab job of covering it up but her power at either end of the range was down a bit which affected her ability to really go for it. And then we made her do this:
    2 points
  33. Paul Simonon, Sting and the 2-Tone guys like Mark Bedford, Horace Panter and David Steele. I was ten in 1979, just getting into music and I thought all of them were great. Still do.
    2 points
  34. 2 points
  35. Off-Topic is staging a hostile take-over of General Discussion. Insurgent forces have seized control of government buildings and the TV station. Remain calm and stay in your homes. Further communiqués will follow. PFLOT (Popular Front for the Liberation of Off-Topic)
    2 points
  36. +1 A Precision is a one trick pony. The magic is that the trick encompasses everything from James Jamerson to JJ Burnell.
    2 points
  37. I think G&L have always been a bit obscure and niche, possibly from lack of big-name players as you suggest, and less marketing than the big names. I believe they were difficult to get hold of in the UK for a while with distributor problems. It will be intersesting to see how they fare now with being exclusively sold by Andertons (and 2 other shops I think). There's always comments and views about them being 'the authentic/true (Leo)Fenders' versus 'not a proper Fender(Musical Inst Corp)'. I think there is plenty of room for both to exist alongside each other. The other thing that seems to put people off is the teat on the headstock; it's not something that I really notice but each to their own (not all of the Leo-era instruments had this actually). The 3-bolt tilt neck may still be seen by some as a point against them, this is from association with Fender's poor implementation of this in the 70's - it was actually Fender's poor workmanship and construction that was the problem, not the 3-bolt neck per se. G&L's used 3-bolts until 1996 with no problem, only changing because of the hangover from the poor 70's Fenders. Look at the classic model that @Jadenacre has advertised, 30+ years old, still great. For those who do take to them, they are great instruments and very good value. I have 2 from Leo's era, a 1987 ASAT and an 1987 SC-3 (marketed at the time as a student or beginner guitar, it has a beautiful ebony fretboard - imagine that now). I also have a 92 Legacy, this still has a lot of the features from the Leo era but over the years, BBE (the new owners) standardised the production and removed some of the little touches and quirks, although making a consistent and still very good product. e.g. the bass that @bloke_zero is selling will have a hand-shaped neck which is a nice feature, the necks became all machine made from about 2005. All this plus a slow market, as @White Cloud said, can make them a hard sell. The other side of this is that there can be some good bargains. That went on a bit...apologies for the ramble, you can probably tell that I'm a G&L fan.
    2 points
  38. If it's just sticky keys it's dead easy just be careful. Most synths of this age used two silver coated rails to determine notes using control voltage which is then sent to the oscillators. You can clean them easily with isopropyl alcohol or switch cleaner and gently rub with cotton buds. Put switch cleaner into knobs and faders as well and twiddle them back and fourth to stop dead spots and crackles. I build analog modules from schematics and these synths are tougher than you think.
    1 point
  39. EUR 1300 / GBP 1125 I´m selling my 88 Stingray, the color is the rare transparent teal green. This one is from the transition era, the bass still has some pre-Ernie Ball features. The trussrod nut is at the headstock, and it has the old large bridge with the individual dampers. The rubber on these have fallen off but can eaysily be replaced with some black foam. The bass has seen a lot of playing, there´s the typical scratching and buckle wear on the back, but the greenish finish is still on at all these spots. The maple neck feels very nice, it feels similar to my former 77 pre EB stingray. The 3EQ electronic sounds big and smooth, the mids and highs are not as harsh as on many later MM models. The jumbo frets have some wear but not much, the bass weighs 4,2kg which is pretty good for a Stingray from this period. Everything works including the trussrod. The electronics are fine, no noisy pots. The bass is all original except the nut which is black, it might be a graphite one, and the new black pickguard. The original clear pickguard was broken so it had to be replaced. I´m in Berlin, international shipping is no problem.
    1 point
  40. Up for sale is my Fender Duff Signature. This is the new recently released 2019 model. I bought it new in August 2019, somewhat on a whim having been knocked out by it whilst playing it in store. I bought it from the Birmingham branch of GuitarGuitar and paid £1166. However I’ve hardly touched it since, I’m a Jazz Bass fan and they’re my go to basses, so I’m letting the Duff go as it deserves to be played. Given it’s age and excellent condition I think £800 is a fair price. It comes with the Fender Deluxe gig bag that it shipped in. I have changed the original stock bridge to a far superior Gotoh bridge but will include the original with the bass. It’s in truly excellent condition, as it was when it left the shop with no dings, dents, scratches or damage whatsoever. It has a Hipshot detuner, TBX circuit and Seymour Duncan Hot Stack bridge pickup, all factory fitted. It’s a very versatile instrument. Any questions, please ask. I’m in Banbury, but I regularly visit Birmingham and London, and often Manchester. I’m happy to ship it if you want to risk it (no hard case!) - but would much rather meet up. I’d rather sell, but trades aren’t out of the question if it’s the right Jazz Bass... Thanks for looking. All the details are here: https://shop.fender.com/en-GB/duff-mckagan-deluxe-precision-bass/0146510306.html?rl=en_US
    1 point
  41. I've got one almost ready, it'll be finished by tomorrow evening 👍
    1 point
  42. Only awkward until you get used to it, I regularly switch between a Uke, mini acoustic and Ibanez electric basses I find doing a warm up on the fretboard before I start helps me get my fingers/brain adapted but then I'm still pretty crap anyway.
    1 point
  43. Owners manual now on line http://www.tech21nyc.com/wp-content/uploads/2019/10/SteveHarris_OM.pdf
    1 point
  44. An Open Letter To The Musical Equipment Industry Honoured Sirs and Madams The punning exchanges above are testament - were one required - to the pressing need to fully understand the mind of the Bass Player. BassChat enjoys the respect and affection of literally thousands of middle-aged men whose response to a sales pitch will either be 'Fvck off and die, shop boy' or 'Just take my money'. BassChat knows which buttons to press to elicit an almost Pavlovan response. You don't. The choice is yours: get slagged off by our members or do a deal with us. No threat intended, obvs. For more information contact: Mr Pedro Ped BassChat The Caravan C/O Burger King Clifton Moor Retail Park York YO30 4XZ
    1 point
  45. Quite. The author has completely neglected to highlight the instrument's exceptional natural "heft."
    1 point
  46. Hi folks! Here is the third one Flamenco model 5 strings Fretless 33” scale 24 frets Myrtle top wood walnut : body Delano : preamp nordstrand : Pickups hardware : hipshot
    1 point
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