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Showing content with the highest reputation on 18/06/18 in Posts

  1. So many things in life are just designed to get in the way of what you want to do. The last two weekends we were away, this one i had 3 gigs! During the week I did get to do some sanding, all at 1200 after the colouring, and I found the joys of lintfull paper. If you rub it down with a paper towel, it only leaves lint where something catches it, so that is the bit that needs smoothing. I did all the final holes I needed for neck screws and jack socket. I messed up with the jack socket but luckily it didn't do any harm and didn't show. After having to go and get stuff I managed to put a coat of oil over everything. It looks a lot darker, I really like it, even the line down the back. Like this:
    5 points
  2. New rig finally sorted.
    4 points
  3. I put a teeny bead of titebond along the tang, then hammer in the fret and then clamp a radius block on until the titebond has gripped: Here's the board now with frets trimmed and chamfered:
    3 points
  4. Look like a whisker above 2mm at the 12th fret
    2 points
  5. Well, quite, but I came to this thread to watch/listen to a band I knew nothing about, and so gave it a go (otherwise why post these topics at all..?). It turns out that, like Lenny, I was, let's say,.. unimpressed, and chose to post in that vein. It's just my opinion, and for my part I have no wish to change the view of anyone at all, but it's comment on an open forum on a subject of interest to several. I'd have thought that all loyal views would be welcome, whether for or against. I'll post again in the same spirit on any similar subjects if I feel inspired to.
    2 points
  6. And we have frets! Ready to trim and bevel once the glue's fully dried. Then a demarcation veneer and then glue it on the neck
    2 points
  7. We also have a coffee machine now! Pop round any time @Quilly
    2 points
  8. Got a bit more done today, Headstock cut started to redo the taper and took some of the bulk off the back of the neck aswell
    2 points
  9. I had a rehearsal yesterday and our guitarist said he had bought the flagship Helix board to try instead of his pedal board and valve amp. He went straight to PA (we all go through FOH live) and it was incredibly good with none of the stress of mic’ing up amps and noisy pedal clicks etc. For me it is an excellent live solution and if you read /watch interviews with bands most of them will say the same about Fractal/positive grid/kemper. There isn’t enough difference live to warrant the pedal boards, and big expensive valve amps that need maintenance and care. I think there will always be the pureists, and I love a valve amp as much as the next guy, but in the gigging world I think the nuances of the analog kit is lost.
    2 points
  10. Little-known makes that deserve to be better known? (Speaking as a hard-core lover of GMR basses 🙂 - I wouldn't swap any of my three for a Maruszczyk any day.) Now that I've thought of it I'll start a thread in Bass Guitars.
    2 points
  11. 2 points
  12. Don't have enough space or time to contrast and compare my amps. Plenty of good reviews and youtube clips about but a quick summary. Edit: I have been using Markbass Cabs for over 10 years and more recently (last 5 years) Vanderkley or Barefaced with all the Class D amps mentioned below. Have used MARKBASS SA450 and Little Mark 500 for around 15 years, both excellent amps, the SA450 no longer in production. Little colouration so sound of bass very evident. Lots of tonal choice and VLE and VPF controls are great. Plenty punch and power. No mute Switch. Good DI out. Good value overall. GENZ BENZ ShuttleMax 9.2 and Streamliner 900. My preference is for the Shuttlemax which I have been using the most over last 5 years or so and I marginally favour over Markbass. Great sound, two channels, loud , punchy, excellent DI out feature laden but which I very rarely use. I find my Shutttlemax cuts through mix better than the Streamliner which is a great simple little amp particularly for warmer older school sounds, three valve preamp and far less features than the Max, Sadly Fender pulled the plug on the amazing Genz Benz range over 5 years ago. I have little doubt that the GENZLER MAGELLANs are excellent just waiting to try one out. GK 500MB, bought as a back-up, but excellent amp as first choice. More colouration than other amps here with a distinctive GK sound (which I really like), seems very loud for a 500W amp.great overdrive and boost. High end can be a but hissy and a little noisey Good DI. Great value for money. Phil Jones Bass D400 with C8 cab. I love the PJB stuff of which I use a variety and the D400 is most recent. Excellent clean HiFi sound, great for studio and practice. Nice low B for such small drivers, excellent for acoustic instruments. PJB gear does cut through the mix nicley, but to even begin to compete with other amps here and loud drummers here one would need to consider the D1000, which is close to a grand! SANSAMP RBI and CROWN XLS 1002 power amp. Great set-up, classic Sansamp grit for Ampeg-like tones, 1100W of power.but getting into rack gear here. QUILTER BASS BLOCK 800, Portability, great tone punch and power at a very competitive price, only Markbass and GK come close at this price point. The Depth and Contour controls provide all I ever need.( Siimilar idea as Markbass VLE AND VPF). I was very pleasantly surprised by this little beauty at under €500!! The QUILTER DI/line out is great and DOES vary with Gain and Master volume. Not overly impressed with T.C ELECTRONIC great fun TONE PRINT stuff but sound a bit synthetic and under powered to me. Had two combos, both with unusable humming DI outs!! Have gigged with HARTKE gear nice punchy sound, like the old HA3500, if it didn't weigh a ton. The new TX600 is nice but seems very quiet compared to GK, QUILTER, MARKBASS etc. Used an AGUILAR TONE HAMMER 500, very good indeed, nice gritty punch but cost quite a bit more than the QUILTER. I started out 45 years ago, with HIwatt 100, then Fender Bassman135, and then Acoustic Control Corp 220/406 which was my favourite. Have used HH, Peavey, Laney, Trace, Carlsbro (less said the better), but am now firmly in the Class D club, for portability as much as anything. In summary the QUILTER is a USA built unit that should be seriously considered by any player. BTW I have no connection, allegiance or affiliation to Quilter, but think I know a bargain when I see one. Hope my self-indulgent ramblings are helpful. Cheers
    2 points
  13. Very nice bass, but I'm to young for a precision style bass. Extra switch added : active-passive and series paralell. The EQ is 3 band.
    1 point
  14. For sale is a lovely fretless Precision, bought from Greg/Shaggy on this forum, a purveyor of fine basses and a man who has helped me part with a lot of cash over the years! Body is unknown but is Oly White over 3tsb and is a very very authentic looking relic., PUPs I think are Fender USA '62 RIs (I'll check), neck is Fender USA with original tuners. Very solid Precision tone, lovely playable neck with stunning rosewood lined board. IIRC I paid around £500, offers in that region welcome. As is always the case with my basses, you don;t like it, you can return it These are Greg's pictures, I'll upload some more tomorrow Chris EDIT: PUPs are Lollars not Fender
    1 point
  15. Had less luck here. Tried to buy an bass recently but after a couple of messages they didn't get back to me. On the plus side, it was a bit expensive and so I still have the money!
    1 point
  16. 1 point
  17. Cats and string Height, not a bad evening
    1 point
  18. For sale lefty handmade in Poland Mayones jabba custom 5 string Specs as follows: VERSION: - LEFTHAND (Leworęczna) CONSTRUCTION: - bolt-on NECK: - Maple FINGERBOARD: - MAPLE MARKERS: - Custom inlay 3-7 + black block inlays 9-12-15-17-19-21-24 BODY: - EMA / EBONY MACASSAR (top) - ASH PICKUPS: - Nordstrand / NP5 Precision style NP5-BLK (Neck) - Nordstrand / MM5.2 Music Man style MM5.2 (Bridge) PREAMP: - AGUILAR / OBP-3 CONTROL: - VOLUME (active/passive), BALANCE, MIDDLE, TEMBLE/BASS JACK: - SWITCHCRAFT C12B BRIDGE: - WSC / JB 74-CR TUNERS: - SCHALLER / Schaller BM 4+1-CR NUT: Plastic HARDWARE COLOR: - CR (Chrome) Carefully played, in full working condition, minor signs of wear. Set to very low action for fine tapping. Comes with Hard Case (Musicman) and a set of new Elixir strings. Bass is in London, cash on pickup preferred.
    1 point
  19. I’ll be the controversial one, then! As much as I love Fenders, sometimes I think the tuners look stupid. There; I said it! A full set of “T” (or are they called “Y”?) shaped ones would look fine, but if the rest of the hardware is that dark chrome I’d look for replacements in that colour.
    1 point
  20. Try the diagram below, just leave out the tone pot and cap. https://www.seymourduncan.com/wiring-diagrams?meta_params=bass-options,2-pickups,neck-pb,bridge-jb,1-volume The difference between leaving the pot and cap out or having them in with the pot wide open is impossible to detect with 'normal ears'. If you don't like it you can soon drop a cap in to tame the top end. Cheerz, John
    1 point
  21. Very true. If all you want is to ask others for TABs and know just enough to busk your way through a few covers and, then SBL isn't the place for you. TABs is something that simply doesn't get a mention on SBL.
    1 point
  22. Thanks for the advice everyone. I bought the Yamaha F310 yesterday. It was in definite used condition but played and sounded extremely good. Much better than my Fender acoustic! It was a bargain at £15 too.
    1 point
  23. See schematic below. These measurements were taken from my original '57 Precision (see pic). Spacing between ferrules is actually 20mm. I'm sure dimensions varied a bit on these early models but this should get you going.
    1 point
  24. Yeah i still want this!! Maybe i should try and sell my AE2x10 😁
    1 point
  25. Well, I usually come on here and boast if I have had a particularly good gig. So I suppose it's only fair that I should own up to a real stinker! Doing a set of country/rock covers and a couple of originals. First song went well , but then it all started to collapse from there. Singer/LG missed out the second bridge in the second song...the rest of us managed to go with him but it was a bit unsettling. It was my first time doing BVs with this band - I sounded very nervous and warbly. Horrible really. Then in the next song Singer/LG seemed to hit one of those awful mental blocks. Just dried up and stopped half way through. He definitely knows this song, we've been rehearsing it for ages. We started again and he dried up at the same point! We decided to move on to the next one, but by now were all a bit shaken and there were bum notes and hesitations all over the place, including from me! We staggered through to the end and slunk off somewhat embarassed. What made it worse was there were two other bands on who were really good!! Luckily this was in a nice quiet pub with a regular crowd who were very polite about it all. No abuse or rotten vegetables were thrown. I'm playing the same place again next week, but with a different band (and not doing BVs this time!!). So I may have the chance to redeem myself! 😥
    1 point
  26. The consensus is crap. Have a listen to John Giblin, Mick Karn, Percy Jones, Alain Caron, Pino's work with Paul Young, and tell me they're playing it like a fretted bass. Nah.
    1 point
  27. 1 point
  28. I'm sure I won't, which is why I'll get my tech to do it 🤣
    1 point
  29. I can't believe this is still up for sale, a very well engineered cab loaded with quality drivers.....i heard warwickhunt playing through one of these with his thunderfunk head and it sounded superb!!
    1 point
  30. We once played a bike rally where the generator tripped out every two or three songs, and it turned out it was whenever the burger van tried to use their microwave. On another occasion playing a rally for the National Chopper Club the sound man rushed to the stage near the end of our set to say there was enough diesel left in the generator for lights during the load out or an encore. Needless to say we loaded out in the dark!
    1 point
  31. Avoid the use of a chorus pedal unless you with to be permanently exiled to the 1980's.
    1 point
  32. Why are bass players usually the sensible/practical/organiser one in the band?
    1 point
  33. I'd be worried about dislocating my thumb if I played like that, but if he had done that at least he would have been able to listen to this track in the hospital's elevator.
    1 point
  34. I bought a set of Gotoh GB640 res-o-lite twiddlers for my thunderbird and got around to fitting them today. In my haste I think I could have fitted them a little straighter so I'll probably refit them at some point but I'm very happy with the classic vintage-cool 'long stem' look. The stock Wilkinsons were OK but in addition of look much better these are lighter and smoother. This GB640 set tunes the standard way, but there's also a GBR640 set which have reverse gearing like vintage Klusons and other modern versions that look like Klusons. Another difference common to the GB640 & GBR640 is that the baseplate fits flat without needing to drill dimples like you would for original vintage & vintage replica versions. They are made from something called duralumin alloy and weigh just 67g each.
    1 point
  35. Yup. The Gallery in Camden and Wunjo Guitars on Denmark Street cover a lot of ground as they both have quite a lot of stock and pretty broad selections. Something for everyone in these two shops! The guys in Wunjo in particular have bent over backwards to help me out on a few occasions. They’ll often do deals on things too. The Gallery probably leans more toward the “boutique” end of the spectrum. Also, the staff in both establishments are friendly and happy to let you try stuff out. Don’t be afraid to ask!
    1 point
  36. Looks good and I'm sure covers all the basics. A lot more sophisticated than my first one....
    1 point
  37. Great minds and all that! 😁
    1 point
  38. The question is slightly wrong. It should be have non-programmable effects had their day? There are some programmable analogue effects units - I own one the Roland GP8, which apart from the digital delay and chorus/flanger is all analogue but digitally controlled so it's programmable. For me non-programmable effects had their day in the early 90s when I bought my first programmable effects unit. Before that in the 80s I was mostly playing synths where affordable keyboards with programmable memories couldn't come quick enough for me. When I went back to playing the guitar and bass, I briefly had a complex multi pedal set up, but the amount of messing around between songs, even if it was just to set the correct delay time was too much, and the moment I could afford a second hand GP8 I bought it, and haven't looked back. Over the years I've had a few different programmable effects units for my guitar and bass rigs - Roland GP8, Peavey Bassfex, Line 6 BassPod XT and now the Line 6 Helix which along with an RCF745 FRFR cab has completely replaced all my old effects units and guitar and bass amps. I can see why people think they need a particular effects unit to get a particular sound, but in the context of a full band mix is it really that important? In the studio I'm happy to try anything if I think it will give me a better sound for the song, but live the fact that I can hit a footswitch and know that I will all the correct effects in the correct order with the correct settings is far more important than whether my distortion or octaver is absolutely the most perfect one for the song when the programmable one in my Helix will be 90% right.
    1 point
  39. I’m very much in this camp, however taking a closer look at the Helix family in particular has made me realise that Yamaha/Line 6 put a LOT of work into creating a user interface which is almost as simple to use as individual pedals. I’ve watched several demo videos where the “presenter” has just received the unit and is effectively working it out on the fly, yet they are able to set up patches quickly because it’s just so intuitively laid out. To be fair it’s never going to be as simple as a small board with a handful of analog pedals, or something like a Tech21 Fly Rig, but that isn’t an apples to apples comparison. To be able to match what the Helix (and similar systems like Headrush etc) can do in terms of number of available effects, routing options, inputs/outputs, you’d need a board the size of a dining room table for six. Example provided below
    1 point
  40. Good luck to both of you. Although i've been thru a few bands in past couple of years i've not gigged since early 2017 and current band is in rehearsals at moment. Only half way thru our set list of Glam Rock covers but that's because guys all have other commitments with other successful bands and are trying to slot this project in the gaps but hopefully will pick up once we start gigging. The talk within the band is that this band will take over as the main band for them all so that's nice.
    1 point
  41. Normally avoid ‘virtuoso’ bass players but Michael Manring blows my mind.
    1 point
  42. Ah OK, tbh I've never really got too hung up on neck profiles. I'm no good on any shape lol.
    1 point
  43. +1 I joined right at the start and when I came to renew, I'd had pretty much zero value out of it due to lack of time. So I didn't renew and wished Scott all the best with his venture. I also decided that I'm not the type of person that learns from watching videos. It's worth watching the videos on YouTube to find out if Scott's voice grates on you. Also, it's worth noting that you should download the videos etc as you won't have access to them if you cancel your membership.
    1 point
  44. 1 point
  45. Welcome to the Dark Side.
    1 point
  46. Have you come over from GuitarChat to insult us, or what..?
    1 point
  47. Get them sent to one of us then we will forward on to you
    1 point
  48. I watch Later. Actually, I record it and ff through the stuff I don't like. I sometimes see a band that I like. I've no idea why people like the stuff I don't, but they seem to, so why should I call their music crap and slag off one of the only music programs on TV? I'm in favour of the TV companies filling their schedules with live music. We need more. Later is a good program and TV would be the poorer if it was cancelled.
    1 point
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