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Showing content with the highest reputation on 07/09/25 in Posts

  1. Saturday night was a trip to London to play the legendary What's Cookin', for my friend Rich Davies and his band The Dissidents. I've been part of the band since 2016 and we have kept the same lineup throughout. They are all insanely good players and I like the fact that this keeps me on my toes. We had one rehearsal and I spent the week going through the set at home as we don't play live often and Rich had changed some keys of songs. I'd initally thought of bringing my Rickenbacker but midweek decided to change to my long scale Hofner Verythin bass. Rich wanted me to bring my Blackstar rig but I hate London load ins so when I found out there was a house rig, I was happy to use that. Having travelled up with the keyboard player, we arrived in good time, only to find out our drummer was not so fortunate. We wound up sound checking without him whilst a kit sharing support band quietly twitched! Thankfully he arrived and we got all set up. The nice thing was I had a bunch of old mates show up, including a singer I worked with for 10yrs, a roadie from a previous band and the guy who does the videos in my main band. We went on and just killed it. Due to the tube strike, the venue was quieter than usual but respectably half full and all eyes were on the band. Props to the support act who danced at the back throughout our set. The downside was that an accident on the M25 meant I got in at 3.15am but it was a superb evening.
    17 points
  2. Just back from Stourbridge town hall where I played with the Phil Collins tribute, lovely old place and the audience and atmosphere were brilliant, decided on the GB Spitfire tonight, put lighter gauge strings on as a bit of an experiment. Had to push the low mids on the Tecamp puma and dial off a bit of the bottom end as it was sounding a bit ‘flubby’ , not tight and punchy how i like it, but after a good sound check everything was fine and nicely cut through as the show went along. My LFSYS Monza was fab as usual. Not very rock’n roll but enjoying a nice cuppa and a couple of bits of toast after a long drive back to West Sussex.
    15 points
  3. Well, better than last night, very little of the same problems of yesterday, but god was it hot! Luckily the club had some fans, but even so it was like a sauna. Not as well attended as some have been there, but for some reason the setup was easier, and I think we seemed to play much better. There were a couple of songs, Learn to fly, the singer decided to do the end part before the end which caused us an issue, and a few other fluffs, but nothing as major as that. At half time we found the guitarist that we had last year came to see us which was good to see him. I played the ric tonight, as I did last night, I really do like that bass live, apart from seven nation army, that is a bit shit for. Everything else it is great. Certainly going to feel it tomorrow though. And black Solovair boots, the broken ones. Oh I took the <£10 laser too..
    15 points
  4. Not last night, but Friday night, played a rare live outing with The Inevitable Teaspoons at Krakatoa in Aberdeen. We played last ("headlining") and were treated to some fine acts first - Kaleidoscope and then Autohuman. No pics, it was a bit of a rushed changeover because as usual things ran on a bit. We played pretty well and went down favourably, heard someone describe us as "entertaining", and was speaking to the guitarist from Autohuman after and he was keen to do gigs with us again. It wasn't super busy, but there was an enthusiastic gathering of about 20 folk up front and probably 10-20 more skulking at the back, so eh, as long as it wasn't empty! Gear was the Greco LGB-700 three pickup bass into my pedalboard then out into Krakatoa's FOH, using a Markbass Little Mark Black Line 250W into an Ampeg fridge for monitoring. Because why not?
    12 points
  5. Forgot photos. Anyway not a bad night at a venue that is normally busy but slightly less so. Another band on the same circuit as us that generally seem to have a big pull were down the road a couple of miles, though apparently someone went and came back and said it was also quiet there so 🤷‍♂️ I had some major brain fade moments towards the end. Read the set. Saw the song. Thought it was a completely different song and was expecting something different to start which confused the 🤬out of everyone while they started and I caught up. As anticipated from the rehearsal thread putting a new song as the closer for its first outing whilst a bold move was not the best plan. It sort of worked but fell apart at the end and was a close run thing. IEMs worked well though the leads would not stay attached to the new moulds so I had to revert to the old set. Gear was: FrankenJazz Helix effects Darkglass Microtubes Barefaced BigBaby 2 shoes…comfy barefoot Took the Hardpuncher as a spare tonight as it had sounded nice at rehearsal but not so good against the Jazz so that needs some more thought.
    11 points
  6. Played a wedding at a stunning venue, first outing of my latest bass that was kindly built for me by a colleague who builds furniture in his spare time (any resemblance to other basses is purely coincidental or a result of a series of router slips)
    10 points
  7. Added a Cali76 bass comp and finalised my MIDI controls to my Anagram. quick soundclip
    8 points
  8. My gig tonight didn't involve me playing at all... However, I brought my PA and did sound and lights for a charity gig for our local LegClub (don't laugh, you might need 'em one day) by ex Jethro Tull keys Dee Palmer and Labour peer Stewart Wood, with support by a local Dobro and Beefheart Enthusiast... And due to rain and tiny gazebo (twas outside), didn't even get gear out of car till 1730, punters due to arrive at 1800. So no chance to set any levels, and all key sounds being completely different volumes meant lots of speculative fader-riding (had to put mixer behind the stage!). However, all sounded excellent, loads of Tull songs done and crowd happy, plus nearly £1000 raised.
    7 points
  9. Mad weekend with the live tribute show, but on Friday I met up with my webcast friends Mike Brooks and Jaymi (the Pink Bassman) who was over from the USA, and had a nice curry evening with Toby from JayDee in Birmingham. Saturday was a looong four hour trip to Gorleston Pavillion Theatre near Gt.Yarmouth for an Everlys & Friends Live Tribute Show gig. Absolutely packed house and a fantastic evening, followed by getting home at 2.30am. Crawled out of bed on Sunday morning after far too few hours of sleep and drove to Leeds to play an afternoon matinee show at Yeadon Town Hall Theatre. I was planning to meet up with Mike and Jaymi again this evening after the Nick Smith Memorial in Peterborough, but unfortunately didn't get out of Yeadon until nearly 5.30 and Mike got a short notice gig. I will sleep well tonight! Gig art: American Performer Mustang under the stage lights behind the side tab curtains.
    7 points
  10. Decided to put up my awesome (and unfortunately no longer made) Spector LT5 in Violet Fade for sale. This has been my main touring bass for the last two years and has seen some action at Glastonbury, Green Man and many more festivals that I can't even remember! Despite being my main bass I have really looked after the bass and it's in excellent condition. No dings or dents just light surface scratches that every guitar gets from being played! The bass has a 3 piece maple neck with alder body wings and a very nice flamed maple top, which is almost holographic and almost impossible to photo! 😂 The bass has a very nice ebony fingerboard, MOP Spector crown inlays, Gotoh lightweight tuners, brass nut, Dunlop straplocks, Custom wound to Spector spec Bartolini pickups and Darkglass preamp, and thr finish is so good it's ridiculously reflective and shiny.. again making it difficult to take good photos! The bass plays very nicely and sounds phenomenal. The bass is 35" scale and the low B is the best I've experienced on a high end bass. Currently strung with Dunlop Super Bright Steels. Sale includes the Spector gig bag. Looking for £1800 due to excellent condition and I think collection is needed. I have the boxes it came in but I don't feel comfortable shipping it without a hardcase. Price drop to £1650
    7 points
  11. Left it for a few days, then did a proper flatten and polish - 1500 > 2000 > 2500 grit wet sanding followed by Meguiars Ultimate Compound for the final polish. First time using Meguiars and wow, I'm sold. The compound plus a microfibre cloth and job's a good 'un! Not quite the "sheet of glass", but for a first go by an absolute beginner amateur who has never done anything like this before in his life, I'm pretty pleased with the outcome. It looks... intentional? Looks better than this IRL. The camera does lie! So, as you can gather, it's all back together again. Gave the fretboard a drink of lemon oil which it greedily accepted. I can happily proclaim the outcome of my first ever full fret level and crowning to be a success - no high frets, no buzzes, very happy with that! It's playing pretty damn well, took a setup like a champ. Truss rod on this super cheap neck is working great - obviously it was pretty slack from when I was doing the fret level, so when I put a fresh set of D'addario XLs on it it bent like a banana. No matter, a full turn on the truss rod and it was back to straight - actually too straight for my liking so I loosened it about an 1/8 of a turn and then there was a sliver of relief - just how I like it. Nut height feels OK to me - I'm no expert but I'm whizzing around the low frets no bother so I guess it's good. There are only some minor things to sort out now. The rotten bit at the bottom/back of the body. I'm not wedded to these amber speed knobs. I get quite a bit of touch buzz off the pole pieces of the Warman pickup and because it's fully epoxy potted, there's no way to earth them from the back, so unless I've done something wrong in the wiring, I'll have to do the old "lacquer/nail varnish on the pole pieces" trick. And because some of you care about these things, it weighs 3.7kg/8.15lbs on the bathroom scales. It's not a heavy bass by any means, but it has enough heft to keep me happy.
    7 points
  12. I ended up playing mine for over 3 hours last night. I have one issue that wouldn’t affect me live when playing along with a bt track and switching fx, the track kinda stutters and goes out of time and then catches backup. Outside of that I love it. There is very little in the way of crazy fx but the core tones (eq, gain/drive, amp and compression) are killer, the octavers are unreal and it’s just a joy to play with and programme. I’ve tried a few nams, Ivan’s 66 B15 is great, there are a bunch of Avalon (737) and Neve captures that do a great job of just polishing the tone. Its everything I wanted the QC to be with none of the downsides. I have no noise from usb c or its original power supply, it’s just great. Very very impressed, looking forward to capturing my more esoteric gear the next few weeks.
    6 points
  13. NOW £700 I've owned this from new, it's unmodified, pro set up by Crockett Guitars, TI Jazz flats fitted in excellent condition. The bass is unmarked as far as I can see and in mint condition, ready to gig. Complete with Gator hard case, original case candy and Gibson strap. Reluctant sale as it is a really lovely instrument but it isn't getting played so it can move to a new home. Cash and Collection only, from Faversham.
    5 points
  14. Just watching Radio 2 in the Park and the Anastasia bassist was playing a Ibanez Talman 5 String and also what looked like a Fender Vintera Mustang too … great to seeing a pro playing a £300 bass!
    5 points
  15. Here I go through my basses and my pedalboard…
    5 points
  16. Just had a run of three pretty decent gigs with the Zep tribute. First up was a trip to the excellent Cluny in Newcastle week last Friday. The evening started off with a bit of unwanted drama, as the police had cordoned off the surrounding streets due to some guy threatening to throw himself a bridge overhead (fortunately they managed to talk him down a bit later). The place was packed (243 tickets sold) and the band played as well as we ever have, inspired by a great crowd (we even got a big cheer walking from the dressing room to the stage). This isn’t the first time we’ve packed this place out and the management have agreed to increase our fee for next year! Fast forward to Thursday night, and a long drive down to southwest London to play an Arts Centre in Carshalton. Another good crowd, although not nearly a boisterous as Newcastle, and another good performance. We were staying a few miles away in Reigate, in a rather dodgy hotel that wasn’t as salubrious as you might hope, but it had the advantage of being pretty cheap! Me, the singer and the guitarist were sharing a room and stayed up chatting until 2:00am with a third of a bottle of whisky and a few cans between us! A drive across to Essex and a gig in Chelmsford on Friday. When we got to the venue, I checked my phone to see a text from a couple of hours ago, offering me a dep for a blues festival next Saturday. Unfortunately, by the time I replied, they had got someone else! I always like the Chelmsford gig, but to be honest, I felt a bit flat by the time we went onstage. Perhaps not as good a performance as the previous two gigs, but still more than OK to keep a decent crowd happy. Me and the singer (who were in the same car) stayed in a much nicer hotel a thirty minutes’ drive away, while the others made the long drive home, something that I didn’t fancy at all. PS. The night before we set off, I noticed that the underside of the rear wing of my car was hanging loose. I couldn’t get it fixed in time, so I popped into Lidl just before it closed to get a big roll of gaffa tape that they had on offer in the ‘middle of Lidl’. I fixed it up as best I could in the car park, before setting off the next morning (we did a better job when we got down to London). I did find it amusing that I’m in my sixties, driving hundreds of miles to do a gig in a car held together by gaffa tape, just like I used to do in my twenties!
    4 points
  17. I wanted to have a bash on a headless and this is my 'name bass' so I picked it up from @dodgnofskion here a couple of years ago. I got sidetracked working overseas and never got the chance to give it a really good go until a couple of months ago and I have to say it's been a blast. So easy to play, has some lovely tones available, very nice to slap even for a total numpty like me. it has also changed my opinion on painted necks basses. But I have to sacrifice a couple of basses so The Jack is getting Jacked. The good: It's got a bolt on neck (with the tilt adjust) and is passive which avoids two of the main issues these basses tend to have. For a passive VVT it's quite tonally versatile. Lots of variation from the tone pot even with what the old rounds it is strung with. For my money it gives a lovely slap tone as it is and I wouldn't want to change the strings. Overall the body and neck are in pretty good condition, no major scuffs or dings anywhere. Pots all clean moving and no crackles. The bad: The neck is slightly twisted right at the end - first fret and the nut. I didn't notice it for quite a while as it plays fine and the strings all sit at a good height and it was only when I happened to catch it from the right angle that I saw it. I can't feel it when I play even though I know it's there but maybe another player would. I have tried to capture it in the last photo. The pups have got a bit of damage to the plastic (not sure what would have done it -quite odd) and some of the poles are a little rusted. Not a surprise on a bass of this age, really. The G string doesn't align perfectly over the poles (and sits slightly further in from the edge of the fretboard) but with the bridge and spacing the way it is I don't see how it could ever align fully with pickups that size. No noticeable drop in volume from the G string but I haven't given it a full live level bashing. I also expect that with a bit of shifting the neck could fit better in the pocket and get the strings completely even if you like that kind of thing. I have avoided doing this as they are known for being a bit temperamental and I didn't want to get myself into something I couldn't get myself out of. All in all, a lovely player but as it was a relatively cheap bass at the time it has a few idiosyncrasies. Weight on the luggage scales is 3.8kg but obviously being headless it balances beautifully on strap or lap. I am putting to up at what I think is a good price (and taking a hit on what I paid) because I want to sell it quick but also willing to listen to offers. Sorry no trades. I have a tatty padded gig bag I could probably wrap in something to post it but would much prefer collection or London / North Kent meetup.
    4 points
  18. Oh, it has many fans! Me included 😅
    4 points
  19. I'm now 68, and although still in the music business, I retired from live playing a couple of years back. I was basically a freelance player all my working life since the age 17. Although I did the regular show/cabaret tours and static theatre runs (cruises in the early days), the rest of the time was filled out with depping. Even on shows I would dep out my show to go and do other dep work. Functions/sessions/pubs/weddings/corporate events and even other shows! It would break the boredom and often more/extra money. I was probably part of a scene with a few other Bassists (other musicians as well) who would share the work around and get calls from the same fixers or bandleaders. Most would be good sight readers, always good buskers/good listening ears and knew a lot of tunes. Quite often, on West End function gigs, the Rhythm section would do dinner music anywhere between one and two hours, so a knowledge of busking Jazz standards/show book tunes would be common as well. Although the fake book could be used if there were tunes you didn't know. Sometimes I would know days or weeks in advance all the relevant details, other times, like others have said, it could be very last minute and I wouldn't have a clue who I would be working with. All the same criteria were involved though. Good prompt timing, dress code, keep your mouth shut on gigs, keep up to date with popular tunes that most bands would do, including certain Basslines that tunes would be reliant on. Watching and listening on the gig for cues for endings, key changes, what key the tune might be in. Not overplaying or showing off. Band leaders would often hold up or down a certain number of fingers for the keys. Two up/three down etc... If reading was involved, always ask if there were any tricky parts that I should be aware of. It all became just second nature, with the occasional flying by the seat of your pants thrown in. Depping for me, was an important part of filling in the gaps in my diary, so it became a parallel way of life. As it was with many musicians from my generation. It was the normal, really, and all part of being a working musician. Some dep work/freelancing took me to all kinds of places in the World as well.
    4 points
  20. A few photos of the actual bass. This one weighs just 6.7lbs! My other one feels like it's made of lead in comparison weighing in at 8.2lbs 😂.
    4 points
  21. A rather big decision this one! Purchased in June 2023 in a private sale. I am not sure how long previous owner had the bass but there is a receipt from the owner before which shows they purchased it in 2000. That is as far as my ownership knowledge goes for the bass. It is all original apart from a refret which I had done earlier this year at the Vintage Instrument Workshop underneath No. Tom on Denmark Street. I believe the weight is somewhere around 3.8-3.9kg - I don't currently have a set of reliable scales, in any case it's a really nice lightweight bass. As you would hope and expect from a 60's P bass, it sounds great! I personally think the wear is exactly how you would want it, enough to show it's lived a life but nothing too detrimental to the overall look of the bass. I am selling because the playability is not as I would like it. The neck has a slight warp which has the effect of some of the higher frets buzzing excessively. Also, the truss rod screw is quite worn from over tightening. I have tried to be as helpful as possible in demonstrating this in the video attached - bear in mind it currently as a pretty fresh set of roundwound strings on - not sure what they are exactly, just an old set I had lying around - would put some Rotosounds on probably but had none lying around! It still functions excellently as a workhorse/groove/session bass as a jazz player primarily I am really looking to prioritise playability and I have found that I increasingly choose to play my Custom Shop jazz bass because the playability is so good. Thanks to 'Mr Fingers' for info on the case: "The case is legit Fender vintage, but not from 1969. It's a "no tail" logo with an R, and no "Made in USA" underneath the "Fe". That means 1972-1975. Also corresponds with the corner insert for the body." The photos of the bass where it has been taken apart were done by the person from who I brought the bass, who is a luthier. VIDEO LINK:
    3 points
  22. Rickenbacker 4003 Autumnglo Checker Binding, Satin finish on entire bass, Limited Edition. 2023, nice low action, superb tone, due to the satin finish on the rear of the neck it is a pleasure to play this bass, price is £2650, Rickenbacker basses are always a good investment, in the last 5 years the prices have just climbed. UK sale only. please check out my feedback. Hard Rock Maple body neck through Walnut skunk stripe through entire bass body and neck Caribbean Rosewood fret board flat D profile neck very easy to play, Dual action single truss rod Hi gain Rickenbacker pickups Rickenbacker v2 bridge/tailpiece Schaller Tuners Gold pick guard and truss rod cover complete with Rickenbacker hard case and candy original pickup cover included original box. New strings installed fresh set up to intonate the strings
    3 points
  23. Yesterday Electrik Soup played at The Hare & Hounds in Claygate, in a marquee in front of the pub (is it still a marquee if all the sides are open, or is it then a gazebo?). Gig was 4pm to 7pm on a lovely late summer day. It was the first gig that we've used all our own equipment (backline and PA). We had so much gear 😆 all used though. Great sound both on stage and FOH. All was going well until 4 songs before the break "something" happened to the guitarist's amp. Regular readers may remember my previous post in which his valve amp died. This time he had a SS back up so we took the break for him to sort things out. The first part of the second set was just acoustic guitar and vocals, then we did the remaining songs from the first set, and the remainder of the second set. The guitarist used his original amp and it was fine. He's still going to buy a new one. We had a few people come to see us, but the pub was busy all day so there was always an audience, albeit somewhat transitory. Lots of nice comments afterwards, someone even wanted to book us for a birthday party. Couldn't do the date though, unfortunately the drummer will be away. Shuker 3 -> Getaria wireless -> Hardwire polyphonic tuner -> Fender Rumble 500 combo. To the right of the bass combo is the offending guitar amp.
    3 points
  24. Playing in Newquay at Project 83 in a couple of weeks with our friends, Tüsk. Promises to be a fun night and free entry!
    3 points
  25. YouCut_20250907_210237914.mp4 Sorry, I seem to have turned this poster into a video without animation! Anyways, we're playing our first Southampton gig next Sunday for the Music In The City festival. Loads of artists playing across the city over 2 days including the Sunday when Saints play Pompey at St Mary's...luckily we're under St Michael's church when we play 👍🏻 Looking forward to this one, haven't played in Southampton for over 10 years, my old band used to play all those lovely venues around the city that liked original music...those were the days eh? 😄
    3 points
  26. We're gonna need a bigger venue reinforced floor!
    3 points
  27. Neck pocket cut, mixture of plunge router and chisel for the details. Headstock also shaped with a rasp
    3 points
  28. You’re better off getting a standard short scale bass because then you’ll have a better choice of strings etc. I’d say Squier Bronco is the way to go. I love mine.
    3 points
  29. I'm committed to Monaco cabs now. One is plenty, the second one is for when I'm running the big boxes of bottles without PA support. Rarely. Having run a Big Twin 2 for years, there's a big difference between BF and LFSys.
    3 points
  30. I've depped regularly and i used to be really good at remembering songs with no cheat sheets I learned 30 songs by The Jam for a dep many years ago, I had 2 weeks to do it but the shortest notice was for a band I'd done a few deps for but I got a call whilst eating my roast dinner abiut 6 pm. 'help, our bass player's car wont start and he's not coming. ' It was a 6.30 start, gig was 15 minutes away these days, i do use cheat sheets, especially when I dep with ska/mod/new wave/punk chaps, as they always ask me to learn something I haven't played before it's all usually great fun But as others have said, turn up in good time, make sure your gear works, look good, don't be a tw@t and you should be good to go
    3 points
  31. I’ve put the recently arrived OC-5 on this board I will be spending some time with this pedal.
    3 points
  32. Finally managed to get to Bowspeed. The shop is incredible and the staff wonderful. I was given the freedom to try as many bows as I liked from the cheapest to the £2000. I found this was a wonderful chance to trial them. I’m obviously rubbish (still) but even to my untutored and uncultured ears it was clear the difference in sounds and feel. After having my heart settled on a German made bow I tried a lighter pernambuco French bow by a maker called Ary which was (as you’d imagine) more expensive but after lots of backwards and forwards (literally) it was the one I chose after some guidance from the experts there. I had hoped to take it away on approval but this wasn’t a possibility so was given a substantial discount and purchased on the day. When I got home I didn’t want to play it and today I’ve been out playing jazz all afternoon (electric bass). But I’ve given it a 20 minute go and it really is wonderful. I know Bristol isn’t accessible for everyone but the opportunity and freedom to try so many bows is fantastic. My classical aspirations are to play for myself, not more than that, so I can’t ever see me needing an upgrade.
    3 points
  33. Just got in from a Knock Off gig, supporting Therapy? at 229 Club London. Journey up not too bad, and managed to get parking right outside the door - result. Great backstage area where we could chill before and after the gig. Signal chain was Fender US Precision, via BOSS WL20L into my Sansamp, with my RM500 as a power amp. Therapy? kindly allowed us to use their cabs so I went into an Eden 810, so with that and monitors no trouble hearing myself. Therapy?s monitor mix was perfect for us too so soundcheck was one song and sorted. On at 7:45, for a 45min set, venue holds 600, probably 500 watched us. Being a streetpunk/Oi band we’re not really on the same scene but we went down very well, many people coming up to us afterwards saying how much they liked us and how well we complimented Therapy?, being not just a clone but offering something different. Footwear was my Vans trainers.
    3 points
  34. Electrick Soup @ Ram Jam Records, Kingston. Ram Jam Records lives inside The Grey Horse pub in Kingston. A charming spot, if you enjoy one-way systems designed to punish mistakes. There’s no parking out front, so you sneak in through the side streets. Take a wrong turn and you’re sent on a sightseeing tour of Kingston. I took the wrong turn. 😖 We were last on, 9:25pm, so naturally soundcheck was scheduled for 5:30pm. Parking restrictions in Kingston run until 10:30pm, so I left the car a mile away. Halfway back to the pub, I realised my wireless bugs were still in the car charging. Back I went. By then it was 6:20pm, so I abandoned the rules and parked half a mile closer in a 6:30pm restricted zone. A calculated risk. When I finally got inside, the band were already soundchecking. I joined without pedals, without tuning, and straight into the house amp — a Hartke KB12. Perfectly serviceable. Loud enough, no complaints. I was the only one who used it. One of the bands had cancelled, so it was three in total. Two covers, one originals. The organisers were great, the onstage mix was fine, and the audience — small but enthusiastic — seemed happy. Mainly 90s covers, nine songs in, we attempted “Mama Told Me Not to Come.” The arrangement confused us, and the audience. The applause was replaced by silence. We clawed back some dignity with “Connection,” but “Mrs Robinson” had to be restarted because one guitarist couldn’t hear. Three more songs survived, then his amp gave up completely. Four songs left on the list, plus two for an encore. None played. The amp’s valves have since been replaced, so tomorrow’s gig should, in theory, last the full length. Shuker 3 -> Getaria wireless bugs -> Helicon polyphonic tuner -> Flattely Poison Ivy bass fuzz -> Hartke kickback kb12.
    3 points
  35. EBMM Musicman StingRay Special 2019 USA Lovely example in black and roasted maple. It has a black chrome control plate and knobs. Not sure if this is as original but this is what it came with when I bought it. It comes with EBMM case, tools, leaflets, inspection tags, etc. It plays beautifully and sounds as you would expect, classic StingRay punch and clarity with lots of tonal variations thanks to the three band EQ. As it is the Special model the hardware is updated and designed to reduce weight. The bass is nice and light at 3.9kgs. The lightest US StingRay I’ve played. I love this bass but quickly realised that the wider body is uncomfortable for me to play and so I’m looking to trade it for an EBMM Sterling (US version) preferably with a maple board or possibly a trade plus cash my way for a Sandberg California II VS4. No heavy weights please. Other interesting trade would be for a Shuker JJ Burnel or Shuker P Bass. I’m not interested in any other trades but would also welcome a straight sale. Great chance to buy a lightweight US made StingRay. UK only. Pickup preferred or I can post at buyer’s cost. Thanks.
    2 points
  36. 1974-76 Diplomat Jazz bass - Made in Japan and looks to be similar to the Cimar 1905 model - but branded Diplomat who I think were a Kiwi brand? I had one of these years back and it was amazing. A really fun playable bass, that was just enjoyable to play. A mate took it off me and still uses it regularly. I've kept my eyes open for one ever since... spotted this, did it up with new bridge and fixed the wiring with two new pots and got it all set up and... It is a really fun playable bass and enjoyable to play... but unlike years ago I've got 3 other basses that do that jazz bass thing, including my main one, and I can just see this gathering dust... so offering it up for sale or trade, just to get money back £180 posted Ono - or trades The Good Its a fun bass to play It's pretty light weight Solid Ash body Mostly original and it really good condition for the age Nice vintage style sound The original bridges on these are evil things with sharp screws - it was also missing two parts - I replaced it with a Gotoh Sets up and intonate well Looks cool really nice neck to play Save money compared to an original 70's fender Comes with old sadowsky blue rounds AND a set of flats that came with it. The look, sound and feel like TI jazz flats I've got on my other bass but I'm only 95% sure they are - I'll set it up for you with either. The Bad From the era just before Japanese basses became accurate - so note the square heel and I think it's 33.5inch scale. Pickups are normal size but with the classic curved ends. So if classic Japanese basses aren't your thing and you are looking for a mod platform - it will do that but not be drop-in for fender parts. With where the bridge pickup was tucked close to the bridge to fit under the original cover, and with the Gotoh bridge being a fair bit longer it looks like the bridge and pickup are closer than a 34in fender bass. The bridge probably could go back a bit if you wanted. The Ugly It could probably do with shielding to get it quieter So it's a fairly cheap, fun, old bass. Anyone have any love for it? Trades... try me, P basses, Telecaster copies, jazz master, Microkorg or similar simple synth... I also seem to like trying effects pedals... .
    2 points
  37. This one arrived today, wenge, was ordered on eBay on 29th August. It is very good. Ignore the slight imperfections on the fretboard, that was me experimenting with adding some light wear patina to it and now I am trying to get rid of it. Until I start making my own, I get all my necks from China for my builds
    2 points
  38. Not as dramatic but I'm happy with the contrast 👍
    2 points
  39. Thinking black and chrome will tie it all in nicely with the large pole piece pickups and the chrome hardware. Anyway, they're ordered, so we'll see if I was right later in the week!
    2 points
  40. I always worried about these things until the isolated tracks of famous tunes started to get released online. They're a bit of an eye opener and it made me rethink what's actually important about recording! Saying that, I'd never send a track to a studio if I'm doing a sesh if it's full of noise from my home setup, but if im on location doing recordings and theres some noise, I wouldn't go nuts about it.
    2 points
  41. It's good to hear from the 'other side of the fence' and there's much to learn from that point of view. I have only played in bands a few times where we used deps for temporary replacements. My overall experience was poor; it was usually drummers we used and with one exception they clearly had not done any specific preparation for our gig and they never took up our offer of a practice run through. Technically they were (mostly) competent but it was all very generic drumming and no specific fills. And the BL would always have to count them in for the tempo. The one exception was a drummer who filled in as a last minute dep when our regular drummer had a domestic emergency. It was a tradition rock n roll gig and he was very professional despite only having about 45 minutes notice. He knew it was a rock n roll gig and he came dressed in a decent jacket and black trousers, he knew the basics and more importantly, the style of drumming appropriate to the gig. He kept it simple where necessary, there was no showboating and had it not been fr the acknowledgement we gave him at the end of the gig, no one would have known he wasn't a regular band member.
    2 points
  42. Yes, of course, one can run that risk if not serious about what they do or deliver. But if one wants to be called up again, one makes sure they know all/most of the relevant, popular Bass lines to certain well-known songs, rather than just busking lines over changes and structures. Any regularly called up, depping musician, will have a vocabulary of 'learned' tunes stored in their brain that they need to know (or should do). That's why they get called back again, and again. Just busking over a set of chords might be okay if you get called at the last minute. In fact, some bands/MD's/leaders may well be thankful you helped out without any major disasters. However, you probably won't get the call again in favour of someone who knows the tunes/Bass lines. Or at least, you get asked to learn the tunes in advance. As 'Chris B' said further up thread, you want to do as good a job as the musician you are covering. Just busking the gig on its own, probably means you are just winging it. Successful, regular depping is an art. If you get called back regularly, it's probably because you are better than being 'just good enough'. You tend to do a lot of homework and become familiar with a lot of tunes. The only gigs I remember doing where just busking away was okay, were usually Jewish functions. A lot of the music was just solid one and five playing. Or on certain pub gigs, playing Jazz standards, or covers of soft rock/country tunes etc, but certainly still not to be taken lightly. Well, that's from my personal playing experience, along with working with excellent, reliable deps... And just as importantly, have enjoyed regularly working with them on a musical level. YMMV.
    2 points
  43. So an update for 2025 We visited studios and priced up recording an album… If we played everything live in a room and managed to complete 10 songs live in 2 days, we were looking at about £2000 just to record. So we bought a Mac and interface and did it ourselves… I’m getting better with video stuff and starting to push for a broader audience via social media. It’s taken a bit longer than I would’ve liked, but it’s sounding great - I’ve done some of the engineering but our guitarist Jim has done an amazing job of mixing, editing etc. so…Fiasco Jam phase 2… enjoy!
    2 points
  44. I’m putting my DB up for sale as another instrument has caught my eye. I bought this on here in 2021 when I made the jump from electric and in the opinion of my teacher and everyone who has played it I got lucky. It’s a large 3/4 (dimensions below) flat back and all carved. To quote the previous owner it’s been well gigged and likely to have been a school bass in a previous life. I play mostly gypsy jazz, so action is fairly low as it’s all pizz. The previous owner listed the bass’ pros as: new ebony fingerboard neck reset new end pin and tailpiece setup for jazz, low action and good strings looks lovely if you like the aged look nice sound He listed the cons as: Pins all around the top, but nothing to affect structural. Not worth taking out lots of scratches and marks Since I’ve owned the bass I’ve had a new adjustable bridge and Full Circle pup fitted by the Bristol Violin Shop. BVS (they’re excellent) also repaired one of the tuners which was loose and did a repair to the neck. The bass has just (as of 6/09/2025) returned from BVS who fixed a split in the back and reset the sound post. It’s ready to gig in other words. The strings are Spiro Lights which are circa 2 years old. It comes with a Westbury soft case which is in very good condition. Obviously I’d expect people to play the bass before they buy it and realise TA11 7DT isn’t viable for many. But I think the bottom line is this: she’s a wonderful war horse at an entry level price with a great sound, a newish Full Circle and nothing immediate to do in terms of set up. Please ask any questions. dimensions fingerboard width at widest point 9cm Nut to bridge length 106cm Bridge to tailpiece 19cm Body length 108cm depth 20cm Body width lower 76cm body width top 53cm Height from top to bottom of body 184cm endpin extends 29cm PS: the dots are ‘stick ons’ and are easily removed
    2 points
  45. A very specific one. The electric mountain bike club who yesterday passed me twice while I was riding my non electric bike up hill and then hold me up at walking pace on a downhill trail where I should have been enjoying the reward of the uphill slog by enjoying the high speed jumps, drops, twisties and rocks.
    2 points
  46. Went down to a local cricket club last night, we played it recently on a sunday afternoon, but this was an evening one. Couldn't start until 9 as they had some event ceremony. Its an odd layout as we can setup to face into the field or setup to face into the club - we compromised on a diagonal so we could do either as necessary, As it was we stayed doing the front - it was a nice night and people were ok outside. Sound sounded a bit weird but hard to get right in these places - the singer had to use a sax for his micophone as the transmitter was away being investigated for noise and he forgot tot pick it up. Played for the usual 1:15 first set, and then the drummer and guitarist decided to investigate what time their curfew was as we were effectively outside and there were houses around. Came back with 11, so no point having a big break, so we went back on. I was showing the guitarist the EQ as he was wondering about it, and realised I had put my vocal and bass in the wrong socket, so a few songs must have sounded weird! Really short second half and rushed through a few songs, all went down really well, it was getting crowded towards the end, as people were now half in and out. Kind of glad it stopped when it did. Unfortunately though it seems that for some reason in the last 2-3 months, our drummer has swung wildly right wing (where he never really seemed bothered about politics before), so just spent all the non playing time ranting about muslims. Hoping it is a phase, I can ignore so much, but this is so OTT, if it carries on then it would get rid of my interest in playing
    2 points
  47. They're the two at the back, on the left. Nice to play for sure.
    2 points
  48. Body all finished and waxed with Liberon Bison Wax.
    2 points
  49. The white twelve-string Thunderbird that I bullt 4 years ago.
    2 points
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