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Showing content with the highest reputation on 13/10/22 in Posts
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For sale an AVRI '62 jazz bass from 1992. I bought the bass from another player because I love this colour combination and this particular bass has some wonderful mojo. Not the artificial kind - the real, played a lot, lived a lot kind. There's an indent above the rear pickup where someone's thumbnail has sat for gig after gig. There's a belt rash patch on the rear and a fine selection of dings on the bottom edge. The bass itself feels and plays brilliantly. The pups are loud and expressive and the lovely, dark fingerboard feels effortless. The bass is wearing Thomastik Infeld flats and I'm including a lovely soft Italia strap. The hardcase is not a Fender case, but is sturdy and in good shape. This was the bass - to use the cliche - I thought I'd never sell, but I've discovered DB and don't want to play anything else (until I do and will have to buy another electric. Sigh). Serial number is V059014. The bass is in South Somerset, but I do come up to London fairly frequently so I could bring it to the big smoke. Obviously I'd prefer the buyer to try it before they collect it, but if that's impossible I'm open to the idea of getting a bass box and letting them organise a courier collection. This really is a lovely bass, hope someone gives her a good home.15 points -
Just seen the ad for their new range of Squiers. A 40 year anniversary tribute range to their entry level instruments that in their words, were introduced after calls to "make Fender designed products available at affordable prices" They're £500 I've contacted Fender to suggest they call it the "Irony" series😉9 points
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It's strange how we tend to spend a lot of time effort and money chasing that "perfect" tone, but if you listen to the many isolated bass guitar tracks from great recordings, you'll rarely hear it. What makes the bass sound good is not how brilliant it sounds on its own but how well the mix engineer has blended it with the other instruments, usually making the solo'd track sound very different to the original recorded sound.6 points
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It's offending me less than the £15,000 Phil Lynott precision. But it's still taking the fosters.6 points
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At the time when I left school, becoming a musician seemed a complete impossibility. I was a fairly average bass player who seriously lacked self confidence. My mother was pretty unpleasant and criticised me at pretty much every opportunity and that just made me less confident. After uni I took a rubbish job just to keep her off my back. After 2 years I was so sick of it that I jacked it in and followed my then girlfriend out to Greece where she had found a job with one of the big tour operators for the summer. She hated her job and we fell out so she left for home. I took her job, which i had been helping her with anyway and stayed for the rest of the summer. I loved it and at the end of the summer I was offered promotion and winter work in ski resorts which turned into full time year round work eventually working as a snowboard instructor in Europe and then the USA. I did it for 11 years and saw the world, meeting my wife along the way. By this point my confidence was sky high and, when we returned to the UK in 2008, I quickly picked up music again. I now earn half of my income from music and set up my own pest control business that allows me to make up the rest of my income whilst being flexible enough to gig multiple times a week. I couldn't care less whether anyone thinks music is a valid form of income. It works well for me and my family and I'm happy. I know plenty of people with "proper" jobs who can't honestly say they are happy.6 points
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Thumbs up! - 1990 NT 6 CS + 1995 NT 5 Can upload more & in color if you guys want;]5 points
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I think the bigger issue is how have Fender, who were started on the basis of producing instruments in a cheap and innovative way, managed to promote themselves as a high end maker while having innovated almost nothing since the 50s. They maintain a premium price by continually moving the lowest end product to a cheaper location, and rebranding the previous base model at a higher price. I am not anti Fender, but we should be honest about what they are actually producing. Fender is the Ford of musical instruments - and we shouldn't think about paying Ferrari money for them4 points
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Yes, I've installed an elevator in our house so as I can listen to it. But it's what I like.4 points
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Every bass amp has a baked-in sound. Otherwise there wouldn't be any point in having multiple makes of amp. You pick one with a baked-in sound that you find pleasing.4 points
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I am filled with loathing for the chancers you see on eBay and Facebook advertising HBs for more than the retail price of a new one. People try to blame the victims for not doing proper research before they buy, but blaming the victim is shameful.4 points
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IMO sterile. I don't know where you've read that stuff, but from day one the sound of the electric bass was defined not just by the instrument but also by the amp and speaker, and they were anything but clean.4 points
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With all the big makers, it's all so much about the RE; reinvention, reinterpretation, reissuement, rerendering, rebranding and renaming. If Fender were a car manufacturer, they'd be making eight ton vehicles based on 50s specs that returned ten miles a gallon, but they'd be called stuff like The Starliner Deluxe Tribute.4 points
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Had a few folk as about trades… I’m not against the idea so feel free to ask via DM - I’m still gigging after all in my main band 😀 Due to the untimely demise of my 80’s band this belter is up for grabs! I can meet a few hours drive from Edinburgh or East Lothian if someone were keen to meet halfway and while shipping is an option I don’t have packaging just now and I’d urge the buyer to arrange a suitable courier/insurance. I bought this from GuitarGuitar last year and it came with a generic case and no strap locks. I immediately sourced some locks but have kept it in the generic case as I normally use my Gator case to transport this to gigs. Right upfront the bass has some damage to the finish which I will capture once back at home but it’s not enough to spoil the simply fantastic paint job and is located on the back of the lower bout - this was preset when I bought the bass and didn’t deter me one bit due to it’s ‘hidden placement’. Actual pics to follow but for now mine is the same colour as the one pictured below. Being a D Bird the bass is from the original run and doesn’t feature the extended, re-designed lower cutaway as found on the D-Roc. For reference I’ve added the stock comparison picture- mine is the same as the top bass… As far as I’m aware the feature set remains identical - passive, 4 way pick up selector, passive tone, individual bridge saddles etc. The pick ups sound great and it’s configured as below. It’s worth adding this is the best sounding bridge only pick up sound I’ve played. It sounds just like the neck unit only in the bridge position rather than a weaker wound pick up like you might typically see on a Jazz bass for instance - I should say the three pick ups are all identical. It’s hard to quantify tone in words but in the bridge position it really retains the quality of the tone of the neck unit - it’s less ‘beefy’ but not weedy or too thin. It just sounds really good and I use it when I want that P bass sound but with a bit more bite - Sounds great on “Kids In America” played with a pick for instance! Just that bit more raw sounding to my ear. 1-bridge only… like a p bass but with not as much low end, a tad more bite to it!. 2-Bridge/middle in parallel… basically a Musicman sound and a very good one at that! 3-middle only… very Precision like, fuller than the bridge and responds really well with the tone control dialed back for vintage tones. 4-bridge/middle in parallel plus the neck pick up in series… very full range and usable tone. Great for slap and quite a focused tone - great when in a full mix sits especially well with synths The bass sounds as good as it looks and is sonically versatile - great for a covers band/function band. In my 80’s band I could get MM tones, P bass tones (as mentioned above both that edgier sound as well as more classic P bass sounds and when I wanted a slap sound position 4 really worked for my ear scooped yet defined and sat really nicely. A feature maybe not often discussed is the versatility the three pick up config offers in way of right hand placement. Very easy to play near the bridge or neck and retain a natural hand position and the ‘ramp like’ quality the large surface area affords might really suit some players. There’s plenty of space between the neck pick up and the neck for slapping too. Despite the body shape the bass hangs perfectly with no neck dive and is in the 3.7kg weight range- combined with a broad strap you’d barely know you’re wearing it! Genuinely sad to see it go but it’s a bit audacious for my root-5th plodding bass gig with my other band. I’ve previously owned a Dingwall PZ5 and the DBird’s build quality is on par with its Canadian cousin. This is a 35”scale but most of that is compensated for along the body with the bridge saddle placement rather than having a longer neck and it’s a very easy transition to fanned frets. Two minutes in and you’ll barely notice the difference. Oh and this takes regular strings so no hidden costs down the line having to source funny lengths from specific retailers.3 points -
Reality check time. Do I like this bass? Hell yes. Do I need this bass? Well, no. It's an excellent bass, I mentioned in a thread here that it's one of the finest Precisions I've owned and I really can't fault it. At 8Lbs 12oz it's lighter than my US bass and a joy to play. It sounds fab and for once, I had no desire to start looking at new pups. The fit and finish on these Mex P's is as good as I've seen on any of my US ones. The neck is the wide but shallow 50's type which I find very comfortable to play. The action was low when I got it, too low for me so I set it up to my clumsy liking so if low actions is your thing, this will happily accommodate. Condition is excellent for a used bass, absolutely no issues to report, only the slightest surface scratches here and there. Nothing to photograph. I fitted the white guard as in the pictures as I simply hate the feel of the gold anodized one. I like the look of them but that's all! The gold one will be included in the sale as will be the Fender gig bag it came with. So why am I selling? I use my Roscoe for the band as it covers everything. It's my main bass and quite superb in every way. I have a '95 US Precision which I cannot bring myself to part with and mostly, I need to sort my amplification requirements out which will be expensive. I don't have a box to ship it in so it's collection only from St Helens in the North West. I could possibly meet up if not too far for diesel costs or a Greggs veggie pastie. No trade offers please and the price is firm. I can take more pics if required but there's loads out there to view on line. Again, the condition is excellent so nothing really to show.3 points -
4'33 ～ John Cage3 points
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I’ve used loads of amps through the years - Ashdown, Eden, Hartke, GK, Trace, Glock… class A/B, D, valve… All have their own tonal tints and hues, the Glock being the most transparent/flat with everything at noon. I’ve found recently that the way I EQ that to my liking creates a tone very very similar to the Trace TE-1200 set “flat”. As @BigRedX says, find the one with the base sound that you like and use that. For me at the moment that seems to be the Trace, but I’m not making a rash decision yet because I’ve spent the last 15 years doing that 😅3 points
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So, it arrived today First up, many thanks to Mark at BD for getting it to me on the day I asked it to get to me, the hardest part of buying anything these days is the courier stress. Great comms and great service guys, thanks Second, wow, this is a very very well engineered instrument, the neck pocket is more what I associate with EBMM (in fact the neck itself is very EBMM in terms of profile and playability, both the fretwork and the lovely oiled finish on the back remind me of the lovely BFR 'Ray I had a whole back). The finish really is NOS with some very discrete checking and rubbing, and the bridge in the flesh is nothing like as noticeable as in the photos. It's pretty light and the action is absolutely spot on. So how does it sound? I don't have an amp at present so will have to run run it through my desk and monitors tomorrow to get a sense. But even unplugged I can tell it's very responsive and resonant, and I doubt the Fralins are going to make things worse somehow 👍3 points
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We've got a saying in the States about sphincters and opinions, I've got to assume you have a similar one on your side of the pond. That's especially true of Talk Bass. I had to leave there ten years ago lest I lose what was left of my sanity completely. 😳3 points
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Clever Trevor ～ if you have to ask...3 points
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This. I remember the first time I ran my bass direct into the board in a studio with proper monitors, not the little nearfield speakers everyone uses these days with their desktop studios (it was at the BBC studios in Maida Vale in case that's of interest). The sound was smooth, clean and even - all the notes spoke equally. It was also rather characterless and needed eq, etc to make it work in the mix. As others suggest, look for an amp that has a baked-in sound that suits you and go from there. Some are certainly more overtly baked-in sounding than others, but what you like and what suits the music you are playing is what counts, rather than how it measures on an oscilloscope.3 points
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To me, Yamaha is a prestige brand, just like Fender, Gibson,et al. From entry level to high end, they can give most other manufacturers a run for their money.3 points
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Don't Worry, Buy Nappies ～ Bobby McFerret3 points
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Does that mean that they're good for metal?3 points
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Some oversized radio style knobs on a Kay I've refinished/restored, inspired by the brass Westone Thunder knobs. Bought on AliExpress.3 points
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This is a design I drew up, a few years back, for a Zen Drive based pedal. My aim for this winter is to actually build it.3 points
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Here the clips : Precision and Jazz Basses3 points
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How could I have forgotten about the Queen of bassface? The marvellous Este Haim. She has great tone and groove and plainly really gets into her playing.3 points
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Go to a shop and play some. Buy the one you like the most.3 points
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For sale my Ernie Ball Music Man Stingray 20th Anniversary, made in the USA in the year 1996. The bass is the best Stingray i have had (also a Pre EB '78) but it is catching dust... It is a very unique model, more so because of the beatiful rosewood fretboad with flamed maple neck. Body has a nice quilted maple top. It comes with original hardcase. There are some marks on the body, the neck is clean. Normal signs of use for a bass already this old;) Please see the pictures. All is working, electronics are: bass, mid and treble (with volume of course). Price: €1650including shipping within EU (not UK, i am sorry). Thanks for looking. Don't hesitate to ask.2 points -
Fender 7250m 45-105 so I imagine the middle two are 65 and 852 points
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None of the ones you mentioned as being clean with the possible exception of some Glock models really are, IMO and IME. I've built a few that were closer but IMO very few people really actually dig that for bass guitar. Perfect for upright though, which was my primary goal at the time. OTOH, I absolutely love the sound of my BGs plugged straight into a mixing board without even a DI, but there's still always at least a bit of voicing in the onboard electronics I build myself.2 points
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Martyn Casey’s from the Bad Seeds 60s Precision is a thing of beauty IMHO. Non original white pickup, and beautifully beaten up.2 points
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HB JB75 Vintage series jazz bass 4 string. Bought for a project that I don’t have the time for right now. It’s new, a few tweaks to get it playing nicely when it came out of the box but otherwise it’s never been played so brand new. Save yourself £48 on new price. Collection only Lowestoft area. A great bass to get started playing. Stock photos but will add some of the bass at some point today. https://www.thomann.de/gb/harley_benton_hbb1975_na.htm It is a weighty beast but there is a lot of love for these on here...2 points -
In the late Sixties I bought a Leak TL50 Plus. A mono power amp with 50W output from a pair of Cathode biased KT88s. I paid five quid for it. I built a single tube pre-amp, basically the normal channel of a Fender Bassman, to plug into the pre-amp socket on the Leak. It worked really well.2 points
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Old thread resurrection. I’ve been offered a 70’s Bassman 50, no price agreed yet, but it’s a mate, and not advertised elsewhere. Some of you talked about the lack of headroom on these for bass. Yesterday I dropped a couple of other valve amps off with Martin Garton (Gartone) for service and got talking to him about the bassman. He used to play bass in a band called Cold Shot (SRV tribute), I used to go and see them 25 or 30 years ago and they were LOUD, and he told me he ran a Bassman 50 in that band with his 1960 Precision bass. However, he had modded/tweaked it for more headroom. He’s offered to do the mods on mine when I get it. So, watch this space! I’ll find out what the mods are too hopefully and mark up a schematic/layout with the details. Rob2 points
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About three years ago, I left a band I started about ten years before that. Had I not left I think it would have started affecting me mentally. A bit of advice? Lick your wounds, move along. It hurts now, but you'll forget that. I've probably been more productive since leaving. I don't miss the rehearsing, the time lost, the expenditure, the angst, the disagreements with the singer, the almost constant schlepping over southern England playing to five people 'because it's good for our CV', etc etc.2 points
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A transparent amp allows different basses to sound different , instead of running everything through a baked in sound. I went from a GenzBenz Streamliner 900 to a Bergantino Forte. The Benz has a three tube preamp , and does warm and tubey , or you can make it fairly clean however the Forte is a simple clean platform with some serious slam. With the Forte the individual character of different basses comes through much stronger. Two very different amps and I’ve gone for the Forte for gigs. I also have SWR , GK , and Darkglass amps. The SWR and GK have distinct personality , the Darkglass is a chameleon.2 points
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Up the Junction - Squeeze2 points
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That's the room modes that I mentioned. Parametric is about the only cure for those, and not without cost. They manifest as a product of the positions of the room boundaries, the cab placement and the listener position. Move any one of those three and the result changes, so using a parametric to kill boom where you're standing can kill useful frequencies in the audience. That's why I always adjust my tone from well out front, and whatever that happens to give me on stage I just live with.2 points
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Yup - I thought the same. Fully expected them to be hovering up near 2.5K.2 points
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I wouldn’t be without mine. I got the Boss offering: a bit more expensive than some but it’s still going strong 3 years on: it has great range and a charge lasts more than 6 hours. It automatically choses a channel based on what else is operating in the environment and to date, I have never had issues with radio interference (hope that wasn’t tempting fate). It doesn’t seem to alter tone and there is no lag that I can detect. Being able to walk around the room during soundcheck is a real bonus both for setting the mix and for getting your bass tone right. I don’t know whether this is unique to Barefaced cabs but what you hear on stage is very different to what the audience are hearing in the middle of the room.2 points
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I like the G&L headstock. Bloody moaners complaining about a wee pointy bit. You're wrong. Fight me2 points
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I hear you and agree; the CLF Series has acceptable head stock but no 'P' Models Bad time to be buying anything; Used sellers are just tacking on recent heavy price jumps on new product to their used gear for sale. MusicMan Cutlass would be my choice for 'non' Fender P but will bust your budget by a few hundred; Should be able to find a nice 2012-2016 Fender American Standard in your range2 points
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You forgot Kathy valentine of the gogos and also Michael Steele of the bangles plus also tal wilkenfeld kate Davis plays double bass whilst also singing2 points
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I repost a picture of my Fender Jazz Bass JB 65 Japan Limited. To keep a memory as I plan to let it go. In an original 1966-7 7ender case and covers, « she » looks great 🙂2 points
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I love both of those tracks - good job! You really capture an authentic feel. Good luck with the vinyl release.2 points
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Este was made for the slug-in-place-of-guitar photoshop2 points
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I apologise because I forgot about this, but for @Reggaebass and @Nail Soup and anyone who might have been interested, the finished record sounds like this: and the B-side is like this: It got released as a limited edition 5” lathe cut which plays at 45rpm. Not compatible with all turntables (particularly automatic ones) but it sounds fine on mine. I know people tend to moan about lathe cuts not being super hi-fi, or how mastering in mono is a waste of time in this day and age, or whatever, but they can laugh at how basic it sounds or cry into their half-speed mastered Steely Dan reissues for all I care. 😂 DJs have already played it in clubs, it made a profit on the first day of release and as long as it makes folks do monkey dancing when it comes out of a big sound system I’m happy. A label in the UK has already sent off the masters for a vinyl follow up, so... job done 👍 If anyone has doubts or second thoughts about whether or not what they’ve recorded is good enough to release, don’t sweat it just do it. Go with your instincts and crack on. Don’t fret about whether or not your music sounds ‘pro’ enough. It probably is. Just put it out there. And keep doing it. Anyhow. Hope everyone’s doing alright and looking after themselves. All the best to yers!2 points
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Whilst I disagree with a man of your stature with some degree of trepidation @walshy, I'm going to. Saying the Precision does only trick is like saying a Ferrari only does one trick, going very fast. But.....: 2. Looks damn fine 3. Says something profound about the taste of the owner 4. Makes the world a better place by simply existing I make that four tricks. There are no doubt more 👍2 points
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I think @Phil Starr answered that question. Even if he were to receive a commission, it wouldn't make him rich. This is a labour of love rather than a get-rich-quick venture. It will remain a small business - with an exclusive clientele. 😊 @Chienmortbb was indeed involved in the development of these speakers, acting as a beta tester for the various versions and providing valuable feedback on what he liked and didn't like. Phil also gigged different versions of the Silverstone and made suggestions for improvements that I was happy to incorporate. The three of us have chatted and swapped ideas about speaker design for a good few years now, and because we live relatively close to each other, occasionally get together to audition (and measure) the designs we've developed. There are other Basschatters who have encouraged me and helped me get this far, and I'd like to take this opportunity to thank them here. @LukeFRCcontributed his graphics expertise to the project. He's responsible for the cool logo and the colour and text stylings of the website. He also designed the stickers and badges for the cabs, which I'd never have been able to do myself. @RichardH helped greatly by providing technical drawings and getting my crossovers into the CAD program for the PCB manufacturer. @Chimike saved the day back in the BCIII days by sorting out the CAD drawings for the kit-cab build and generously worked on the drawings for my new 10" cab - including building me a prototype! @EBS_freakprovided some great marketing advice along the way and helped with the copy for the website. @funklebuilt the very first kit cab and was generous enough to test-drive and critique an early version of the 10" LFSys cab. Thank you all - and thanks for the good wishes.😊2 points
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