Leaderboard

Hey all, I am new here and excited to join the chat!! He is some of my family members!

I think it's safe to say that 95% of the talk about tonewoods is still nonsense... 😁

During the first half of a gig once I noticed my top strap button had worked loose in the last song. I finished the song by holding the neck up with my left to take the weight for fear of the strap button pulling out, and sending bass tumbling groundwards. In the break I tried to tighten it but the screw wouldn't tighten properly so I went to the bar and purchased a box of matches, pushed one into the screw hole and broke it off flush. The strap button screw now did up nice and tight, great stuff, now I can enjoy the second half worry free. How wrong was I? All the way through that second set I could hear that the wood composition had changed in that bass. Like an idiot I had not asked for tone matches. What a fool I felt.

Bloody hell! There's badassery of all kinds happening here. Respect! 🤘

My bass set up (excuse the guitar amp in shot). There’s also a Schroeder 1210 under the guitar amp too that needs a bit of TLC so it’s parked up at the moment. Would just like a chance to use some of it live soon really.

Proof that we are listened to; from Facebook

Can't disagree there. I must admit when I bought my first bass and when I first dipped into BassChat I thought all this talk about tonewoods was nonsense. I'm a scientist by training and how could the tiny amount of energy I put into the strings move something as massive as a bass body in such a way as to affect the movement of the strings in respect to the magnetic field of the pickups enough to be audible? Well it's pretty obvious the bass body does vibrate, I can feel it through my body and those little clip in tuners work pretty much on any part of the bass (with varying success). It's fairly obvious that a lot of this is down to resonances within the structure of the bass. Those resonances are then related to the physical dimensions of the vibrating body (the bass's not mine) its Young's modulus (stiffness) and it's mass. Wood is so variable, growth rates vary from year to year, the relative proportions of different cell types and their structures vary during the growth of the tree and in different parts of the tree. Trees grow differently even planted at the same time and only a couple of metres apart. The density and elasticity of woods varies and species overlap hugely. Every screw, machine head, routed cavity, the strings, pickups and even where you rest your hands are going to shift and change resonances. Can a tonewood change the sound of a bass? Obvously. Is this predictable enough that you can reliably say which timber was used or how a bass will sound from looking at a body blank? Well I'm sceptical.

Sorry for the delay folks, but she's here! I couldn't be happier. The most playable bass I've owned, and easily the best sounding. The closest I've had was an Aria Pro with a through neck back in about '84 (might have been an SB1000). Anyway...

Fingerboard blank made. Next is a scarf joint

Something for half time:

My BB604 & BB605 and I have a BB435 away in its case. I think I may well and truly have the Yamaha bug....

Some more stuff

It's new (old) amp day for me! Ashdown Mag 300 EBS Classic 112 Ampeg SVT 112 Going to strip them and re-cover them all, probably black but I am tempted by white... Good friend of mine sold these as a stonking deal!

Wow! They are women! They are in a band but they are women! They are playing their own instruments but they are women! They are playing metal but they are women! They are doing what men do but they are women! Whatever next? Maybe we'll have women driving buses, and possibly even women being politicians!

Hi Friends, attached my actual EVO-X5 in progress

How refreshing to not see anyone spouting any of the 'pick playing is not real bass playing' type of cr*p so prevalent on social media groups... Well done everyone!

Roger Waters in goal... he’s excellent at organising The Wall.

Nothing about how the ultra low emissions zone, congestion charge payable before and after 12am, and 24 hour parking charges in central London, will affect anyone who wants to go or play there.

Nice bit of ply...😉😉

The problem is not Spotify. It's the fact that the record labels take a massive proportion of the royalties that a Spotify play produces, and they sold the streaming rights for (relatively) next to nothing. Looking at what my songs earn from a Spotify play, if I had 1,000,000 streams I'd be doing quite nicely. Not enough to give up the day job, but certainly enough to finance the next round of recordings and videos for one of my bands - in other words a great deal more than £33. That's because I haven't signed a crap deal with a rip-off record company. On the other hand I don't have a 1,000,000 streams because very few people have heard of either of the bands I play with, so if a record label came along and could guarantee getting my music the sort of publicity that would generate millions of streams I might at least take a second look at that deal. The other problem is that streaming doesn't really pay anyone. None of the major players actually make any money off providing streaming services, even when they are paying peanuts for the privilege. They are either being propped up by the profitable parts of their parent companies, or gullible investors who still haven't seen any return on what they have put in. SoundCloud did manage to turn a profit for a while but that's because they weren't paying any royalties at all! Since that was discovered they have been in financial difficulties.

Played the bass (quietly) to the unborn this evening - apparently it kicked hard. I'm going to take that as a positive crowd reaction.

That's one of the things you pay Ken Smith prices for. It doesn't alter the fact that any half decent instrument (maybe not outright El Cheapos, as I pointed out) will be made from reliable materials. Talk of leaving instrument timber for years for the "grain to align" or exposing it to vibration to "make it resonate properly" is all part of the sales pitch (some may even say snake oil) we're fed by those eager for us to spend our money on their wares. Aren't I the cynic?

Hi all - I've not posted on here for a LONG time but things are changing round a lot for me currently so hoping to be WAY more active again moving forwards... Speaking of which, I've just finished uploading my first ever solo release video... The video for "Trust In Me" is now finished and LIVE. It's a song of hope - about letting go of worry and hanging on to trust, faith and belief (in whatever form that takes). The tune features regular AND piccolo bass throughout along with some incredible guest musicians. The track will appear on the forthcoming EP and Vinyl Single. All the "guitar" parts are played on Piccolo Bass which may be mildly interesting to some...?! Here's the video - hope you enjoy it.

I can’t comment on the bigger AER combos but my AER Amp One is shockingly loud and deep sounding for its size. Don’t look at the specs, try one. I’m sure it’s fit for purpose! If you go down the separate amp and cab route, I can recommend the Greenboy Fearless F112. I’ve got one and it has a wide and very even response, and is really all the cab most people need. Check out the Bass Whisperer’s youtube review to learn more.

On eBay: https://www.ebay.co.uk/itm/Silver-Yamaha-Full-Size-Bass-Guitar-/274702594634?_trksid=p2349624.m46890.l49292

As the making of musical instruments long predates the invention of electricity is it possible that certain woods were selected for their suitability for this purpose. These woods are now collectively known as Tonewoods. Specific factors such as density will affect the tone produced by the wood. These woods all have varying acoustic as well as aesthetic qualities. These may diminish when used to make a solid bodied instrument but the wood remains a Tonewood.

I hadn't seen that tri line tape. That was kind of what I meant with the fine line tape, two strips 5mm apart and lacquer/nail varnish between them. The tri line will be even easier. The join line might not need sealing in at all, but if you do, try to peel the tape either side of your lacquer off while the lacquer is still wet. This will allow the edges to flow ever so slightly and leave a nice smooth edge rather than the sharp edge you get when left to dry first. Work out how you can pull the tape off in one easy action as you don't want to let it touch anywhere else with wet lacquer on it. It's not vital but just makes for a slightly nicer finish.

When the string vibrates at a frequency resonant to the wood, you get dead spots, so yes it does make a difference. When the wood is vibrating at a resonant frequency it saps away the energy from the vibration of the string.

The new single from Eek a mouse , after listening to it a few times I’m liking it

mostly pick, purple tortex maybe 1.14mm usually Roto's RS66 (La bella on the hofner) Usually Fender P ( a choice of several)but a good chance to post my favourite from 1973 could be Ibanez Musician MC940 fretless, Hofner violin bass, Rickenfakers x 2, (depends on the gig) Cable, Whirlwind maybe, there's certainly one in my case amp (currently Ashdown RM500 Evo 2) cab (currently mark bass club 1x15 and 2x10) Nothing else, clip on tuner or the tuner on my phone

Also using the Boss. Have used it on gigs where stage space meant there was no room for pedals in front of my size 8s. It does the job and its handy in music shops when you don't want to look like a fool asking for a tuner.

Two tuner apps I've used are Pitch Lab and the Boss TU-3 Chromatic Tuner. Both work well for me. (The TU-3 is my current tuner app).

You can probably guess who's behind this. And you'd be right!

The link sends people to different 'conditions' these are video+ music 1, video + music 2 and music only. I'm seeing how people experience the music in the presence of different visuals. You were placed in the control group which acts as a baseline (no pun intended!). And also thanks a million for doing it!

Closer to a vintage pickup than the Entwistle and waxed, which is rare enough to be mentioned. To me, the best replacement pickup to get the original tone (back). If you like the Fender 1975 fitted, you'll love the ToneRider.

what would you call all the woods that bass makers reject? and have learnt to not use because they sound bad, (non tone woods) ? logic says hundreds of years of musical instrument making, using wood has led to some favorite woods now known as tone woods

I haven't used a pick in such a long time but the HD DAVA ones are pretty good bits of kit. Dave

Some great pictures here of Bunny Wailer https://www.theguardian.com/music/gallery/2021/mar/03/reggae-legend-bunny-wailer-a-life-in-pictures

Peter Steele from Type-O-Negative at over 2m tall needs to be in goal.

I guess so. Have you got anything at home you could use instead? 🤔 😁

Quackery...

Yup. A friend let me hear them a few years ago (along with Aparat & Moderat). They’re fantastic.

There does seem to be an obsession with what is the ‘major’ influence, and thus discounting various other bits Its like one gentleman said about it being a recipe, it’s a combination, that little tweak of lime juice at the end of a dish, or the fact you caramelised the onions as opposed to normal frying them could be the thing to give it a lift

There was this similar thing with violins where it was postulated that old violins had vibrated for so many decades that they got better and better. Also this notion was flip-flopped with a similar notion about repairs and new layers of lacquer. Yet in a double-blind test violinists proved unable to discern an Amati, Guarneri or Stradivari from recently built violins. Bummer! 😀

Those sorts of terrible is what my OP was about. One time I went to a fools on stools after work and the guitar player was retuning his standard tuning for every song. W T H! He would chang chang on the new root chord and it would be ''out of tune'' so he would 'retune' sorta, to sorta suit the new chords. My poor ears. Of course his saddles were all over the place. At the break I made him borrow a screwdriver from the barman and we fixed it. He was very grateful! Side note, every used bass I have gotten has needed intonating. I deduce far less bass players than ideal are aware.

Interesting article on R4 earlier about streaming, trading of music as product and investment (see The Price of Song - BBC Sounds). Thoughtful, sensible comments from Abba's Björn Ulvaeus, and others including Paul McCartney. Björn: "I want my money to go to the people whose recordings I play; but at the moment most of it goes to the mega-artists who have billions of clicks". "But you're one of those mega-artists!". "Yes, but it's completely unfair". Agreed, Bjorn

I'd say one at a time and only a very little at a time. You always want to be able to get back to where you started. That's a lot easier with one variable.

I contoured the edges ( by hand!) . I wanted a chamfered look rather than rounding over. Here’s a pic.

The Acoustic 371 system was my dream rig in my teen years. I had a catalog pic of the on my wall like amp porn. I purchased the 301 cab new in 1973. I was 11th grade. All original. It has a single Cerwin Vega 18” rear facing speaker. 4 ohms. The head I got a few years ago. I refurbished the head case with Duratex. It’s a 1974. It can use two cabs and will do 365 watts at 2 ohms.