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Showing content with the highest reputation on 20/06/24 in Posts
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So I've been with the current band for almost three years now. In that time our set has evolved but there's a distinctive style to how we play (all covers but rocked up versions of pop songs etc). Well, we have a gig that the lead guitarist can't make it to. So last night we rehearsed as a three piece to try and work out what from our existing bank of songs would be both appropriate and workable. And then it happened. We were throwing ideas around for songs we either haven't played in years, have never played together... Some I had never heard at all! We ended up busking through nine new songs, but because we've played together and learned lots of songs together some felt like finished products, some others just need a little tightening up. Overall it was just really fun to throw ideas out and then "have a go" but it turns out really well. Abba, Dancing Queen...? I've never even tried to play it, gave it a go, loved it, sounded great. We would never do that in the full band, ever. "I'd always wanted to do the Baywatch theme tune..." I thought out loud, expecting to be shot down. Guitarist "did it years ago in solo acoustic stuff..." We start to play it and it sounds and feels excellent. No lead guitar? No problem. Fretless bass and some more fills than usual and we are away. Had an absolute blast.9 points
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Precision (bitsa) Bass in off-white with a lovely maple neck and board. It has an F logo but it is not a Fender bass. It is a lovely bass that is now not getting any play at all. I'm looking to sell or trade for a lighter bass (this is just over 3kgs). There are a few marks but nothing detrimental. Parts: Solid alder body. Off-white finish aged to pale cream. Vintage-spec celluloid tort pickguard. One piece highly flamed maple neck with skunk stripe. Slim Jazz bass profile; amber tint poly finish with '70's Fender logo. Seymour Duncan Basslines SPB-2 pickup 10 position Stellartone Tonestyler Varitone. CTS pots and Switchcraft jack. Lacquered solid brass high-mass bridge imported from US. Through body stringing, Lacquered solid brass neck plate, Gold control knobs. Gold Schaller tuners .7 points -
Well I am a Rick convert, I have two 4003s/5’s a 4003s in Walnut and a recently acquired 4003BT. Loving them!7 points
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I sold a few other basses on this thread which you’ll see reference to below. I still have the lovely RIKS P bass for sale , pics below, which is lovely turquoise colour, was actually blue but has faded to a really nice colour. Really nice cheap P bass overall with good tone, low action and punches well above its price....light too at around 8lbs - £60 I could upgrade the pickup to a Sadowsky P (German one) for an extra £50. I've also got a range of cases, bag, options i.e. SKB hard case £40, Gator Softcase deluxe £80 or the odd cheap nasty gig bag for free if i have one. Add £10 courier within the UK or collect from Plymouth Devon.6 points -
I'm not really a 'seasoned player' but I love learning new songs and have been doing this pretty constantly since the end of the first lockdown. I am a covers band player and, as such, I don't need to play a particular bass line exactly as the original was played but what I play does have to fit, particularly with what the other musicians in my band are doing. I start out looking for a video with a bass tab or a chart of the guitar chords, which I follow when listening to the song. From either of these I will get a basic framework. Then, as @ahpook above does, I get out my notebook and listen to the song through several times, noting down the Intro, verse, chorus, bridge, outro etc in bar sections e.g. outro: -Dm|F|Dm|A|Dm|F|Dm|A|Dm|etc to fade. (The Man who sold the world, down tuned to suit our singer's vocal range) These are my own (written) notes so I don't need to go into too much detail. I'll work out the (music) notes from the arpeggios which fit when moving along the 4 bar sections, then play and repeat until I've memorised it. I then put the song into a playlist of our set on my iPad and play along. When I've nailed a song I play it once, then move on but If I haven't, I'll play it twice and sometimes stop and practise a certain section that I haven't mastered. Then when we meet at the rehearsal, we play through and sort out our ending (-fade, doesn't work live). This works for me. You will, no doubt, work out a system of your own in due course.6 points
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When I visited @dub_junkie to check out a Bogart that I ended up not having, I had a play on a Klos 4-string that he had. I was rather impressed by it, but I play 5s and Klos weren't doing a 5. However, the website did say that one was coming at some point, so I put my name down as interested and a couple of days ago they sent me an email saying that their first 5 string sample will be out soon, in about a month. Could be interesting (OTOH, could spell the end of my life if I try and buy another bass). Here's a link: https://klosguitars.com/products/apollo-pro-5-string-bass5 points
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For Sale: 1972- 1974 Vintage Yamaha SB55 Natural Bass Guitar Price - £689 (open to swaps or offers!) Serial no: I I 419 Lovely natural early 70s' Vintage Yamaha SB (Super Bass, formerly Solid Bass) in very good condition. There a few minor scuffs/dings commensurate with age, expected on a bass over 50 years old - But per photos, this adds to the “mojo”. No structural issues whatsoever, and bass has a straight neck, working truss, tuners and electrics. Specifications and stats can be found on official Yamaha sites. The Bass will be sturdily boxed and bubble wrapped if it has to be posted. Any questions, please do not hesitate to get in touch. Thank you for looking. 1972 Yamaha SB55 - Natural .tif5 points -
Just arrived today, totally looking forward to using it and trying it with my Cranborne Camden EC1!4 points
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If I'm learning a song, out comes the A4 pad and a pencil. Firstly I'll identify all the sections (intro, verse, chorus, etc. - or whatever seem distinct sections) then five bar gate how many times they turn up, so I have a structure. I usually write that out a bit more neatly - which helps me learn the structure - and then I'll start learning the actual bassline, annotating the structure I've written down with technical names like 'Fiddly bit in C', 'Flamenco !!', 'Goth Reggae', etc. After all that's done it's practice time to get all the parts sounding right. I don't usually explicitly work out the musical 'meaning' of the song - chords, key, etc. but I will occasionally as an exercise. HTH4 points
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3 points
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I needed a simple lightweight and compact tilt back stand for my 1 x 10" Combo so that I could hear myself better. After a bit of thought, I made the stand shown in the photos from a piece of scrap 10mm MDF. The "v" is offset to provide 2 different tilt back angles to suit the stage layout - which is usually very cramped in a 20 piece big band or the corner of the bar for a jazz gig so my amp is usually tucked quite close to my side. It fits easily into my cable bag when dismantled and is stable when in use. The finish is furniture wax applied with fine wire wool.3 points
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I’m slowly getting a Louis Johnson early 70s lookalike P-Bass together. It is a swamp ash body from Dave Dyke and I made the template from a P-Bass I already have from 6mm mdf. so far so good although there have be a couple of issues.3 points
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3 points
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Let’s get a few I’m still in love with you boy and no no no riddims , I like the Sean Paul version , had to put black Uhuru on the end, feel free to add, . . .3 points
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3 points
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Know your patterns. Most songs follow one pattern or another; 12 bars, 16 bars, Pachelbel, middle 8's often go to the 4, sequences of 1, 4, 5 and 2,5,1 and circles of 4ths are very common. Recognise which pattern the song is using and you can anticipate where it is going.3 points
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I saw Gong in 1973, just after they released Flying Teapot. Amazing gig - real eccentrics, brilliant musicians (mostly)! GLWTC(learout)3 points
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Most of the time I'll work out the bass line from repeated listens to the version we are working from (often a different tuning for the singer). I'll aim to get the basics right so that I can play through the song quite quickly but without trying to add the fiddly bits. I'll learn the song properly with repeated play-alongs, and this is where I'll start developing the fills and working out the key bass parts (the hooks and riff that have to be played) .The Hulla band has a habit of changing arrangements so initially I'll stick with the 'no frills' version for rehearsals, bringing in the hooks and fills as I nail them and as the arrangement requires. It takes me a while to learn a part so early on I'm using notes and charts as necessary but as the rehearsals go on these become smaller and smaller pieces of paper. For example, during the month of so of rehearsals leading up to our gig on Saturday I've had to learn 6 new songs, four songs re-arranged to include a choir and to familiarise myself with the rest of the set. My notes went from 3 sides of A4 down to the current 3/4 of a side as I picked up the parts and arrangements. Now I have what is effectively a setlist with keys, prompts for starts, tuning down/up, and the odd middle 8. There are two songs with key changes that always throw me, so they are in. Where I'm singing, I'll also have prompts for the first word/phrase of the line if necessary.3 points
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After work I took a few bits off to have a poke around. The fretboard looked a little dry so a light rub with some lemon oil was in order. The electrics are not of the highest quality but do work well are are not simply "on/off" switches. The cavity was unshielded (unsurprisingly) and a bit dusty as others have noticed, but again easily sorted. It is also wide enough to comfortably take a 9v battery... The strings felt a little dead but I'm leaving them on until after band practice next week. The bass plays really nicely out of the box and has clearly had a very good set up by R&T. The roasted neck is amazing and so nice to move around on with the lovely satin finish. A great bass, certainly excellent VFM and as good as many Fenders. Can't wait to try it with the band. A couple more pics for you.3 points
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I always come to your for sale threads just to see that awesome Gong picture in the background and this one certainly hasn't disappointed on that score! Some good looking basses for sensible money, too. GLWTS/T3 points
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One more QC here 😆 It’s been fun with this setup. I connected the QC and H9 with a MIDI cable. Now I can change presets on the H9 with the QC.3 points
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This was a unicorn bass for me, had a go on one when I was 16, fell in love and it took me more than 30 years to track one down! Having lived with it for a few years I've decided to move it on as it's just a little too big and heavy for me. All original as far as I'm aware and great condition for the age - a few scuffs here and there which I've highlighted in the pics, but no major dings and importantly the neck and fingerboard are basically unmarked. I had some work done on it to get it in excellent playing condition. Upper half of the fingerboard was re-profiled and refretted by Matt at Kersey Guitars, and the original pre-amp was serviced by Martin at the Gallery. Weight is 4.9 kg. It doesn't have a case but I have an old flight case I can ship it in if required. Sofa not included but you can sit on it when you come to try the Jaydee 😀2 points -
(One cab has already gone, one remaining, priced at £350) My Barefaced One10 cabinet is up for sale. It has never been gigged. It was used at a rehearsal once but since then has been used, or rather left to gather dust, at home. The cab comes with a Roqsolid cover. As you can see from the photos,It is in excellent condition, with no Tolex peel. It was bought at the Bass Gallery in 2020 or 21, I think, which was after Alex had worked out how to stop the Tolex peeling off his cabs. I live in Barnet, very close to the A1 and the M25, so an easy drive for many in the South east. I could meet someone as long as its not too far from Barnet but I would rather you came here and played through them before buying. I'm not keen on delivering this via a courier but the first cabinet has been sold that way and I do have enough packaging and bubble wrap to post the remaining cab, if the buyer pays for the delivery and understands the risk will be theirs.2 points -
Hi all Up for sale is a beautiful handmade Everson Caiman T4. This very bass was reviewed by Bass magazine, I'll include the magazine in the sale It's handbuild in the UK by Paul Everson, The body is Honduran mahogany with macassar ebony top, 3 piece walnut/maple neck, ebony fretboard, 24 frets (plus zero fret), Tesla single coil & humbucker with custom ebony covers, EMG 3EQ, Hipshot USA bridge and tuners. The condition is like new 9.5 /10, set is low action, it sounds and plays fantastic This is the lightest bass I've ever played at only 3.0kg / 6.6lbs ! I bought this bass some years ago when I was looking for a light bass after regular gigging left me with a painful left shoulder. Bandmates were often surprised to find my bass was lighter than their guitars... It comes with a padded case, as pictured I'm asking £1100.00, which is what I paid for it Thanks for reading2 points -
F/s CORT GB75JJ 5 string £300 £340 inc case Putting this up for a friend of this parish who is not that familiar with selling on here. This is great bass in lovely condition that punches well above its price point,very light , even sound across the strings,good action , active passive . Very easy to play , no fret or neck issues …(I’m just not a five player) so she needs a good home. May be willing to split £300 for bass £50 for case Collection is from Stoke on Trent.Postage May be possible at buyers expense please pm me for further details.Also checkout my feedback for peace of mind. Specs Cort GB75JJ 5-String Bass - Amber SWAMP ASH BODY Swamp Ash is one of the most popular and widely-used woods for solid-body electric guitars and basses. It is light weight but has a surprisingly strong, tight and punchy sound with emphasis on the high-midrange. This character makes Swamp Ash a beloved tonewood of discriminating bassists who want a strong fundamental tone that will cut through and be heard clearly in the mix. The natural beauty of Swamp Ash with its distinctive grain patterns make it ideal for transparent and natural finishes. CANADIAN HARD MAPLE NECK The Canadian hard Maple neck provides power and stability as well as contributing a warm, beefy and punchy tone with a strong upper midrange. Dense and rigid yet with just the right amount of tactile flexibility, it responds sensitively to your picking attack and slapping techniques with plenty of articulation and power. VOICED TONE PICKUPS The new Voiced Tone J-style single-coil pickups perfectly complement the big robust acoustic sound of the bass with modern clarity, transparency and vintage warmth. Painstakingly developed by Cort's engineers by drawing on decades of pickup winding experience, the Voiced Tone pickups feature the highest-grade components and winding techniques to allow the natural character of the guitar to be faithfully delivered to the amp. OMEGA BRIDGE The bridge on a bass is a big deal. This is where the energy of the big vibrating strings is transferred into the body, playing a critical role in shaping the overall sound of the instrument. The Omega bridge is constructed of solid steel and machined with the highest level of precision for the utmost in functionality as well as sonic integrity. HIPSHOT ULTRALITE TUNERS The Hipshot Ultralite tuners address one major issue on many classic and modern electric basses: the weight which causes the instrument to be neck-heavy and not balance properly whether the player is playing sitting down or standing up with a strap. These tuners greatly reduce the weight while offering the superb level of tuning precision and stability. ERGONOMIC NECK JOINT Designed and implemented to facilitate easy access to the upper register of the fingerboard, the new Ergonomic Neck Joint increases playing comfort while reducing tendon stress and awkward wrist and finger positions. Now you can solo away and reach the highest notes with confidence as well as greatly improved playability. SPECIFICATIONS CONSTRUCTION Bolt-On CUTAWAY Double Cutaway BODY Swamp Ash NUT WIDTH 47.5mm NECK Canadian Hard-Maple FRETBOARD Maple (305mm Radius) FRETS 21 Frets SCALE 35" INLAY Dot TUNERS Hipshot Ultralite Tuners BRIDGE Omega Bridge PICKUPS Voiced Tone VTB-ST pickups ELECTRONICS 2-band EQ w/Passive-Active Push-Pull HARDWARE Chrome SPECIAL Clear Pickguard more info https://www.cortguitars.com/product/item.php?it_id=11782 points -
Gotta be a delay with tap tempo?2 points
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Up for sale is my Squier 40th Anniversary P Bass, gold edition in Lake Placid blue. It is in excellent condition. The only marks I can see are a little damage to the varnish where the truss rod is adjusted on the headstock and a tiny ding about 1mm across on the headstock (it's too small to show up in the photo). Currently there are Schaller strap locks on this but I will take them off and put the original (gold) strap buttons back on if it sells. Collection from Barnet is preferred, I live close to the M25 and A1. I have never posted a bass and would only do so at the buyers expense and risk.2 points -
2 points
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Forgot about the mighty diamonds2 points
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I've lost count of the amount of times I've listed stuff on gumtree, Facebook, forums, etc that hasn't gone anywhere only for it to sell almost instantly the second I list it on ebay - and usually at a higher price too. I've also encountered far more chancers and nutters via Facebook and Gumtree, if I'm being honest. Ebay isnt perfect but I still think it's the best way to actually shift stuff.2 points
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If you get stuck on a section, use a DAW like Audacity to loop it and play along on headphones until you get it. Most important, get agreement with all band members on what key you're all going to use before starting to learn anything with special ref to guitards who will often slip on a capo...2 points
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This is why a big collection with multiple different styles is a necessity. Whatever whim/taste/vibe you want will be catered for 😎2 points
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I usually learn by listening and playing along. Good headphones and a mixer with separate tone controls for each channel are very helpful. When I really got stuck, slowing down, using Audacity, comes to the rescue.2 points
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Def a Fender man there. Dave2 points
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The Chequered Flag, Wembley, circa summer 1985 😁 The Waggon & Horses, Addlestone, summer 2023 😁2 points
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As a teacher myself (and I say this with a huge respect to those I regard as my friends who do online lessons and courses only) I'd strongly suggest getting 1-2-1 lessons in the first instance with a really good, vibrant and well respected tutor ( if you can find one locally, that is!) Nothing beats being in front of an experienced teacher with proven knowledge, who loves what they do and is enthusiastic about making sure their students have the skills that they need and the bad habits they don't. And, that includes teaching a student skills in self-motivaton and how to learn learn for themselves. (I am sure I could have made more money if I left that out of my syllabus, but that's not who I am). I have had a student who came to me in the same position, wanting to get the solid foundations down with a view to moving to an online course later to suit their future budget and work hours. I have no issue with that and, it worked very well. He's pretty busy gigging these days!2 points
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Thanks! To give you a bit more insight into my thinking - It was made specifically for my own build combo as shown in the photo, which itself was designed to be a compact as possible. I use it for jazz and big band rehearsals and gigs. I also wanted the stand to fit inside my cable or music bag so decided when dismantled it should fit within an A4 page footprint. The dimensions are: 28cm L by 21cm W by 16cm H, 10mm thick MDF. I have not had any problems with stability, most of the weight in the cab is the driver (Faital pro 10PR320 at 3.2Kg) and the amp is a very compact class D 300W amp which weighs about 2Kg, overall cab weight is about 13Kg. This design could easily be scaled to a bigger size to suit a different or bigger combo or cab and the angle of tilt changed also. I have found the two different angle options to be very useful for different situations. My initial thought was to fit some Fender cab tilt back arms to the cab, until I saw the price of them! This stand cost me nothing but about an hour of time as I already had scrap MDF sheet and some furniture wax polish. One other point worth noting is that the slots need to be quite accurate otherwise it can come apart a bit too easily! The fit did become slightly loose after a few weeks of use so I added some clear gorilla tape to shim the slots and it adds some grip to the assembled fit which is helpful. Overall I am very pleased with the functionality of such a simple and inexpensive bit of kit.2 points
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White/cream pickups eh? 2001 Owen knew they were the very lamest of the lame. I now look at them and think "tasty".2 points
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My way of learning put it up on Youtube then try and play along. In general I also look for tabs/playalongs so that any runs or fiddly bits are there in front of me. From there I juts play along repeatedly over a period of days/weeks until I`ve got it. I find that especially when it`s a song that I`m not familiar with I have to do this as I`ve got to learn the song itself, not just how to play the bassline.2 points
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Normally, if I analyse the bass line (which I do not always do), I rely on external sources to learn the chords - unless they are absolutely obvious. Then just check what the bass line is doing in relation to chord tones. Among the benefits of doing that are the fact that it makes it much easier to remember songs, and that it makes it much easier to wing it if I forget some bits of the bass line. I had to learn Crossroads, Cream version, a few months ago. For me, it would have been a nightmare to learn. Almost impossible to learn note for note without reference to chords. I resolved to just do it the other way around and just follow the chords, incorporating Jack Bruce parts when feasible, and wing it to a very large extent. It would not work in a Cream tribute for sure, but I suppose it would be ok in a generic rock-blues context. After all, even Bruce did not always play the same lines note for note. A few months ago, as I was playing guitar quite a bit, I went through a couple of simple songs learning both rythmic guitar and bass line, looking at how the two instruments together outlined chords, instead of relying in external sources. If I had the time, energy and skills, I would learn every song that way because it is fascinating and I am sure would pay huge dividends over time. I suppose the guitar parts could be figured out on bass but I find it more difficult2 points
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With whatever approach he uses to start with: videos, lessons etc...I would advise to focus on technique at the beginning and resist the urge to learn favourite songs. Technique practice/exercises can be a bit boring but it will prevent bad habits being ingrained, which can be more difficult to unlearn later on.2 points
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Deep in the Woods - Birthday Party2 points
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Half the weight of an svt at double the sound quality. Worth it.2 points
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This was more or less my experience. I decided I wanted to play bass, and spent a week plunking out simple pop punk basslines on my Dad's old EB-3. At the weekend my dad – who was in hindsight probably a little surprised that his morose teenage son had suddenly shown a burst of enthusiasm for something – went up to the guitar store and got some fresh strings. He gave the truss rod a tweak (it hadn't been played in about a decade), showed me how to restring and tune the bass, and then mostly left me to my own devices. I had access to tab and forums, but online video wasn't really a thing. I figured stuff out. Occasionally he'd check in to provide some tips, show how to play a particular line, or just listen to me rambling about what I was learning.2 points
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I’m with you on this. Before picking up bass I played keyboard and guitar (and failed). My dad said “you pick something you want to do and you pay for it” - so I did. Played for hours and hours every day to get it right, and since then he’s been a hugely supportive fan.2 points
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I just downloaded a few presets. It was great to find all the captures and presets I'd found while waiting for it to be delivered waiting for me. I've had an hour on it: I absolutely love their Hiwatt 103 bass amp model, it sounds excellent. The interface is super intuitive, haven't read the manual yet and haven't hit any issues. After a quick play with the drives, they seem pretty decent so far and even enjoy the DG drives. Cab simulations seem solid. Compressors seem passable, better than HX but not as good as GT1000 IMO. I'll be keeping the Cali76. Set up Cortex Control on my Mac. I managed to do a few captures of my Science Mother preamp pedal. It's so easy, and I'd say they're about 98% there but the real test will be how they handle being pushed. All in all, a pretty impressive amount was achieved within a short space of time! Excited to really get stuck in!2 points
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Gonna have some fun with this 👌2 points
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Selling the Small Bumble Bee, ‘cos I bought the lager one This it; Later2 points
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"unexpected stool content" ... Yes, I am a ten year old trapped in a middle aged body.2 points
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So, first impressions are everything right? Well in that case I’m in love 😍 Plugged the Finally in tonight between my bass and my EBS Stanley Clarke preamp. Instant warmth, bounce, girth whatever you call playing through a tube. This thing can be super clean, with that natural sounding valve compression thing going on, or as dirty as I think I’d ever need (in fact way dirtier than I’d ever need). Run with the gain at about 9 o’clock and the level at about 2 o’clock and it just sings. Harmonics ring out loud and clear, dig in a there is a little bit of overdrive, play normally and its just your bass but ‘more’. Being able to switch between dry and wet makes comparisons easy, and for some reason the Stanley Clarke seems to like having this in front as the eq just seems so much warmer. Now bearing in mind that I have had a Micro Thumpinator on my board for years in the last position in my chain before my amp, I’m also surprised by how much the hpf contributes (bear in mind I am testing this at bedroom levels via my TC BG250 208 combo). Construction is rock solid, the aluminium housing is beautifully finished in a metal flake silver finish and the valve is glowing with a nice purple glow. Switches feel reassuringly solid, and it’s obvious that the unit is built with quality components as the gain and level controls have a lovely expensive feeling of stiffness about them. Also, Nathan obviously realises that we’re all going to stick Velcro on the bottom so he hasn’t bothered with the little stick-on rubber feet. I will have a bit more play about with this before I settle on a position on my board but given that I double on EUB and fretless with one of my bands, this is most likely going to end up at the front of my electric bass signal chain, after my wireless receiver and before the Stanley Clarke. This might mean relegating the Micro Thumpinator (always on with no adjustable controls) to the underside of my Pedaltrain Metro board (something I’ve been contemplating for sometime). Conclusion: After years of searching, I think I might have finally discovered my ‘secret sauce’ pedal 😎2 points
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