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Showing content with the highest reputation on 29/10/22 in all areas

  1. Hi gang Just part-way through Trevor Horn's new autobiog, and it's blummin' marvellous. He's a humble, likeable bloke, and his journey from the pit villages of County Durham to the global pinnacle of polished pop via dancehall bands and Yes is remarkable. There's a reasonable amount of bass content in there too. Well recommended.
    9 points
  2. My current 3. 1975 Rickenbacker 4001, a 1969 Fender Precision and a 1980 Musicman Sabre.
    9 points
  3. Selling my Alleva Coppolo KBP5 Classic in Oly White Specs: Olympic White Nitro Finish with Matching Headstock Indonesian Rosewood board Alleva Pickups, passive circuit Vintage Alleva bridge Tortoise Pickguard Dunlop Straplocks Lollipop Tuners 34" scale, 19 mm spacing at bridge Weight 3820g Build July 2009 Noname case Larger area of dents on the back from belts. Some dings around the body. Jimmys Nitro finishes are not really reliable… But the neck feels great and all playing wear is visible only with a closer look. Technically everything works perfect. The frets are even and have a lot of life left. The action is low and the bass plays exceptionally easy. Typical Fenderish PB sound in a 5er model. This is my last PB model from a huge amount of Allevas I own and owned. It is the best. I simply prefer my JBs. Asking 4200 EUR / 3600 GBP plus shipping from Duesseldorf/Germany
    6 points
  4. I can't recall if I've posted this before on this thread, but here is my original 1969 Precision with a B neck, c/w original case, both covers (one shown), thumb rest and even the original Fender strap.
    6 points
  5. Well, Friday wasn't the finest evening in our gigging career! We had a feeling it was going to be a bit iffy when we noticed on Thursday that the "Band Night" event posts on the FB page for the village hall we were playing at had all disappeared. After a quick message to the chairman of the committee, the event appeared again, but without anything much in the way of interest being shown. Anyway, after the usual rigmarole of tracing and eliminating various odd hums and buzzes (which invariably seem to emanate from Mr Singer's crappy acoustic amp and pedalboard... 🙄 ), we managed to get a decent sound, though unusually I had to ask to be turned up quite a lot in the mix - looks like our resident poultrygeist (don't ask... ) has been fiddling with the desk again. So, there we are, all set to kick off, when the hall folks announce they're going to start serving food now, so could we hang on? We do, and eventually launch into the first set half an hour later than planned, to a rather disinterested (but well-fed) audience of thirty or so people. On the plus side, that was more than the eight who turned up for the last band who played there, and the two new numbers we'd thrown together at rehearsal on Thursday went well, so we'll be treating them to a bit more polish before the next gig. Other than that, the first set felt a bit like hard work - they're all songs we (mostly) like individually, and they do usually seem to go down well, but there's a growing feeling that they just don't work as a set, so we're going to rip up the list and do a bit of set-bashing in the next couple of weeks. After a short break, the second set was, as ever, an absolute delight to bash through, though the delayed start meant we had to drop a couple of songs (in addition to the one I'd inadvertantly managed to leave off the list for the first set - oops!). The audience response remained muted, though at least they did applaud after each number rather than just carry on talking, and we got several compliments at the end so it would appear they were actually listening after all. Honourable mention goes to the two people who I noticed were actually watching us and tapping their feet all night! From a personal point of view, the onstage sound was great as was the FoH, and it was one of those nights where everything just seemed to flow without really thinking about it - in fact, the couple of times I did think about it was when the minor flubs occurred. We've another gig booked at the same hall in December for a birthday event, but after that I suspect we'll not be playing there again - apparently there have been several changes on the committee, and it looks like live music isn't particularly part of the scene there any longer. Oh well, plus ça change an' all that...
    5 points
  6. Earlier this year i got Jaydee to strip this bass and refinish it to show the natural wood. I didn't dislike the original colour it but preferred the natural quilt maple finish. I left the back of the headstock in the original colour.
    5 points
  7. Sort it out Ashdown n reissue the hyperdrive in a small package... Please 😁
    4 points
  8. I have one of the same - it’s my go-to bass, and nothing I’ve ever played is quite like it. I’ve a couple of vids on YouTube playing mine for anyone interested in how they sound. GLWTS!
    4 points
  9. TRB- 5P Groove 1.mp3 TRB-5P Groove 2.mp3 Up for sale is this fantastic example of the early made in Japan Yamaha TRB-5P with original hard case. The instrument sounds superb, plays wonderfully and is in excellent condition for its age. SPECS Figured Maple Body with Thru-neck Construction, the piezo pickups used on the TRB models use individual bi-morphous piezo elements for each string, all built into a specially designed bridge which is machined from solid brass. Because piezo pickups directly pick up the resonance of the instrument body, the body itself must be made from the finest woods and designed to deliver rich, deep tone. The neck-thru design of these basses affords the best possible foundation for this amazing sound. SERIAL NUMBER: 4Z08048 (1986-89) CONDITION: Excellent, light marks on the body lacquer, a small number of marks on the head stock and some minor damage to one corner of the hardcase. COLOR/FINISH: Turquoise/Gold WEIGHT: 10lb 5oz/4.5kg MATERIAL: NECK - Maple/Mahogany FINGERBOARD - Ebony BODY - Figured Maple/Rose/Maple NECK SIZE: Scale length - 33-7/8 (860mm) No. of Frets - 24 Construction - Neck-thru-Body 19mm string spacing at the bridge PARTS: Hardware - Gold Plated Bridge - BPZ5 (With Piezo) PICKUPS: Single Coil x2, Piezo pickup CONTROLS: Mixer Front P.U. & Rear P.U. Mixer Piezo P.U. & Magnetic P.U. Bass control Treble control Master Volume Piezo Low-Cut switch CASE: Original Hardshell Yamaha Case
    3 points
  10. Maruszczyk Frog 4a Purple 4 String Bass Guitar, Excellent Condition. A stunning bass in looks. playability and tones No noticeable dents or scratches on it. Never gigged 38mm Nut Width 34" Scale 24 fret Balanced 3.9kg Stunning Purple finish with the textured wood grain. Silver Hardware, Individual Monorail Bridge Pieces. 5 Piece Set Maple Neck and fretboard Complete with hardcase. From the Maruszczyk Build Configurator these are the pickups and electronics in the bass: Pickups - Set of Delano SBC 4 HE/S Electronics - Delano Sonar 2 - Volume(Active/Passive Push/Pull) Blend/Bass/Treble(Passive Tone) Current spec cost around €1900
    3 points
  11. 3 points
  12. Get a contract next time and they cant argue about it. We do that for any new gigs with the Glam covers band. To be asked to play something completely different or you dont get paid is a threat in my book. To be honest i wouldn't go back. I guess i wouldn't have got paid that night. It amazes me how some people think you have a set list for every eventuallity up your cuff is simply ridiculous. No pay, sore face i reckon. Dave
    3 points
  13. French Fishes in the USA - Debbie Harry
    3 points
  14. My Youtube lesson last week on the Noel Redding bass lines from Red House went down really well. Since then I've had some requests to compare these bass lines with the Billy Cox bass line from Red House live at Woodstock. If you're unaware of Billy Cox, he was Jimi Hendrix's long time friend who joined him in the band after Noel Redding left. The version of Red House at Woodstock is really iconic and it's interesting to see what Billy Cox played after I’ve looked at Noel Redding's bass lines. The two bass players are very different, not least because Noel Redding was first and foremost a guitarist. But personally, I see merits in both of their bass lines and enjoy all the contrasting versions of Red House. I’ve made a full transcription of Billy Cox’s bass line and you’ll find this under the video lesson. It’s in standard notation and Tab. Enjoy, and it would be interesting to hear which version of Red House you prefer. https://youtu.be/Et4vV7Vpnqo
    3 points
  15. So I used the combo at rehearsal last night (could have used the supplied Ampeg SVTIII through matching 6x10). All I can say is one is a happy boy this morning - two guitars playing through small valve combos plus acoustic drums and the Ashdown was hardly ticking over. Big fat authoritative tone, but the mids from my fretless were cutting through beautifully (unlike when using said Ampeg rig). Looking forward to gigging with the rig now.
    3 points
  16. Aston Familyman Barrett first then later Stanley Clarke.
    3 points
  17. Yesterday I picked up this Yamaha bb BP35 bass after wanting one for a long time in this colour. It really is a fabulous bass, and you can play pretty much any style on it. The slap tone is fantastic and it's passive. I'm not really a 5-string player, but love the B string power, so was using it a bit here, but this bass was local to me, so i got my hands on it. Please use headphones, the bass is removed from the track, you get them from karaoke version, great for this sort of thing. thanks
    3 points
  18. guitarbuild.co.uk Jazz bass body plus scratch plate. Body is 1960s spec 3PC Alder. - £100 Scratchplate is also from guitarbuild.co.uk, 3 ply tort. - £20 Both haven't left the original packaging except for the photos. I had intended on building a nice 1960s replica jazz bass however life got in the way! Can ship at buyers expense.
    2 points
  19. Ibanez SR 1205 Premium 2014 in good all round condition, a couple of minor marks but nothing major. Really underrated basses with the Nordstrand big singles which sound fantastic. Bought beginning of first lockdown off of a fellow Basschatter along with another very similar model with the intention of gigging them both together. They work fantastic as a pair but as I haven't done anything musically other than the odd band rehearsal since Covid struck I am reluctantly putting them both up for sale. Cash on collection preferred. -34" scale -Nordstrand Big Single pickups -24 fret rosewood fingerboard with mother of pearl inlays -16.5mm string spacing -45mm nut -305mm neck radius -Mahogany body with an Ovankol/Maple top -Bolt on 5 piece Wenge/Bubinga neck with KTS titanium rods -EQB-IIISC 3-band eq w/Eq bypass switch & Mid frequency switch -Volume, Blend, Bass, Mid, Treble with switchable mids between 250 or 600hz -Dunlop straplocks fitted -Comes with Ibanez Premium padded hardcase.
    2 points
  20. Fender Jazz 60s American Original bought brand new earlier this year. Colour is sonic blue but colour shade can vary depending on angle of photo. Never left the house since purchase and has no dings. There are 2 areas of paint wear on front part of body as shown in the pics. It is a nitrocellulose finish so paint wear is expected on these basses. Other than this the bass is in mint condition. All in original and great condition with a really comfortable neck and punchy sounds from the Pure Vintage '64 pickups. No issues. Comes with the hardshell case and all case candy as shown in pics.
    2 points
  21. Like new never gigged and comes with case. Lime green, roasted neck, Dimarzios, Luminous side markers. Great build quality and playability. Can post no problem or collection from Chorley,Lancs.
    2 points
  22. Mesa Boogie Road Ready 215. I Bought it from the Mission who in turn bought it from John Henry’s and according to them it was part of Fleas European touring stock. 800 watts, 4 ohms, mono and 2 x 8 ohms biamp inputs. Unbelievably loud, incredibly clean, room filling bass with plenty of full range too. Built into its own flightcase with removable front panel. When I bought it I had the input panel and handles blasted and powder coated. I love it and travelled to Wales to collect however, the project I bought it for is coming to an end and i really don’t need any more rigs 😞. £300 collected from Byker Or could meet halfway if it wasn’t a ridiculous journey.
    2 points
  23. Jean Jaques Burnel for me. I'd heard lots before him but would never had said they had a particular sound or 'tone' that was so different. His sound and style hooked me from the off
    2 points
  24. Will get that, thanks for the heads up. First month of my Electronic Music Technology course at ELP and we were marched round to Sarm East where we had the pleasure of seeing Trevor Horn recording ABC’s Lexicon of Love. At the time I was into Kraftwerk, King Crimson, Hawkwind, and Fischer-Z so wasn’t as impressed as I would be now 🤔
    2 points
  25. Here's my rig. Epifani Performance Series PS400 head and 2 x 2x10 Epifunky cabs. Also shown is my 1978 Electro Harmonix Deluxe Electric Mistress Flanger pedal. I've had this rig for a while now it's seen a lot of gigs.
    2 points
  26. Newcastle City Hall last night. Quite a big one for our singist, as he grew up in Morpeth, so he was pretty thrilled to be playing there. There's been enough of my rubbish pictures, so instead, here's a nice review. https://www.thenorthernecho.co.uk/news/23087116.review-kiefer-sutherland-impresses-newcastle-city-hall-2022-tour/
    2 points
  27. I have played in the following tributes in order: Phoenix Rising (Wishbone Ash), In For The Kill (Budgie), Hell Bent For Priest (Judas Priest), DIIO (Ronnie James Dio) and I've played dep gigs in Sack Sabbath (Black Sabbath) and Black Angus (AC/DC). So to answer the questions: Do you have to be a fan of the original artist, or maybe you become one? Not necessarily but I think it helps. I love all of the bands I've covered above. The Budgie tribute was my idea as Ive been a fan since I was at school. How important is it to be visually/musically identical? How much latitude are you allowed? Our guitarist thought it very important to dress up and try to look the part. Not really in Budgie and Wishbone. I guess if you play in something like Kiss then it's pretty essential. Musically I think you should try to be accurate where possible. Do you ‘get into character’ or is it just a gig? I tried to get into character. I always tried to put in 100% so it's more than just a gig. Does it feel musically limiting, or is it fulfilling your needs? (Maybe you have a side band?) No not necessarily limiting as I played in a covers band as well. It fulfilled my needs of wanting to play in larger venues with the tributes. I've played a ton of gigs since 2006 from postage stamp pubs to festivals and everything in between. Do you have any qualms about tributes ‘stifling original music’? Non whatsoever. There's a place for originals, tributes and covers. Tributes are basically covers anyway right?. A lot of people can't afford to watch some originals so the tributes are an option. If you play to a good standard then its all good. It also promotes the original band as maybe some people may not have heard of the original band. This happened a lot with Wishbone and Budgie so it got them more sales hopefully. Have you ever met or been seen by a member of the ‘originals’? What did they say? Yes. We had members of Martin Turners Wishbone Ash see us in the Wishbone tribute and they loved it and they came again to another gig. I also become friends with them. Ray Philips from Budgie saw our Dio tribute and enjoyed it. Pete Boot from Budgie saw our Budgie tribute and he enjoyed that. Simon Lees from Budgie even joined us for an encore jam in the Budgie tribute. Les Binks saw our Judas Priest tribute apparently but I don't know what he thought. Andy Sneap saw our warm up debut Priest gig and he enjoyed it according to a friend. What is the overriding thing being in a tribute act has taught you? I think just to play as accurately as possible and be as professional as you can. Having done it once, would you do it again? If so, would the musical angle be very different? Yeah I'd probably do it again but I've no idea to what tribute. I mean, I've played in all these bands so what's left? I'd still want the music to be accurate as possible.
    2 points
  28. This is my favourite UFO track. I love the guitar solo in this by Paul 'Tonka' Chapman and the bass intro.
    2 points
  29. Features a young (21 ish) Marcus
    2 points
  30. Everyday I Write The Book - Elvis C.
    2 points
  31. One Way or An Author - Blondie
    2 points
  32. I got the 54 in for reviewing for De Bassist (Dutch Bass magazine), very excited. It certainly looks the part.
    2 points
  33. Aha he does mention its not that light however, but he will weigh it for a future review.
    2 points
  34. Who made you King ? Not some watery tart I hope
    2 points
  35. Tweeters don't hiss, amps do. That said, the response of the BGH25-8 rolls off above 8kHz, where there's no useful electric bass content, but plenty of hiss.
    2 points
  36. Much of the anger has either dissolved into depression or is projected onto "others". Then you have the culture and normalisation of pathological narcissism, 'The Century of the Self', so that is obviously going to produce lean results. Just as the last of the native Indians were kept quiet on reservations with rough whiskey and baubles and bangles, we took to the comforters too... https://www.highexistence.com/amusing-ourselves-to-death-huxley-vs-orwell/ “Most human beings have an almost infinite capacity for taking things for granted.” Aldous Huxley - Brave New World.
    2 points
  37. You're better than me! I ended up enjoying to the track, rather than listening to your playing. And that, to me, means that your playing is good.
    2 points
  38. Nice one! I think a tort pick guard would really improve the low mids and help it sit in the mix just right.
    2 points
  39. I wanted to post a personal recommendation here for Tom Kenrick as bass teacher, a post to people (like me) who are looking for someone to help them improve their bass playing, technique and musical knowledge. I found Tom through recommendations on this forum and through his website whilst searching for bass transcriptions online. I have been taking Zoom lessons with Tom for about 10 months now, other than that I have no association with him at all and have never actually met him in person so I am writing this review entirely from the perspective of being one of his students on Zoom, I am biased though - because I think he is an excellent teacher! In addition to being a working professional musician in the UK, he also teaches, is an author of several books on bass and a Music Academy graduate. Tom is also the owner FreeBassTranscriptions website where he has published many articles and also runs a YouTube channel where you can read his bio or look at the uploads, teaching videos, reviews and lessons! Check out his playing on his Youtube channel, here is one of my favourites : Tom is a great guy and ultra-professional in his approach to his teaching, has a high quality video-audio setup which he uses to provide lessons, he is very disciplined about documenting our lessons, he always sends me a written plan and objectives following up on lessons and when I send him recordings he always comes to the lesson having listened to them and with comments. My initial reservations about learning over Zoom are gone completely, it works great! Tom is extremely patient (I am 56 years old and have been playing for just over year), he is very flexible and understanding of my other commitments (I have a rather demanding job which means I have a very unpredictable schedule). In lessons I can see he is very focused on making the best use of our time. One of the qualities I most value from him is that he is careful to point out my mistakes and give me the guidance I need but is always motivating and positive about it, I always leave the lessons feeling energised and encouraged, never demotivated. Oh, and he's good at bass, obviously ...... 😀 If you are looking for a teacher and want to talk to Tom about it - he does free consultations, have a chat with him - I can guarantee you will be impressed. If you are interested in more feedback from me on his lessons then feel free to send me a PM J
    1 point
  40. 1 point
  41. When 'the committee' get their hands on things, it's rarely good news. We were booked as an Eagles tribute act at one club by one member of 'the committee' but the chairman wasn't happy about it. First we knew was in the interval, when the boss came up and told us, nicely, to play a variety in the second half. When we explained we were booked as the tribute act, he said words to the effect that it was not him that booked us, but that him that would be paying us, and that he was going to have words with the booker. Fortunately, the same line-up played cabaret gigs too so we quicky drew up a new set, played it and got paid The original booker wasn't happy but we referred him to the chairman.
    1 point
  42. Just tell them you’ve had a fiddle with the knobs and absolutely nailed the Rumble tone. They’ll never know.
    1 point
  43. 1 point
  44. It won’t be a problem, I’m making the bass for Prince Andrew.
    1 point
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