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Showing content with the highest reputation on 23/07/18 in all areas

  1. 6 points
    HB PB-50 - v3.0 Becomes v4.0... *AUDIO CLIP* You'll be pleased to know that this will be the final reincarnation of this HB PB-50 Precision Bass. Yes... I know I said that last time - but Shoreline Gold, though a very nice finish, isn't really my thing. My thing is basses that are white. Or cream. Or aged Oly White. Or yellow, basically... you know what I mean. I was particularly taken with the new Player Series 'Buttercream' P bass - hence this refinish and reworking - saving myself £649. This one has a custom handmade Herrick dual-coil pickup in it - and very nice it is too... warm, taut and punchy, with the mid-range push typical of a 57-type split-pickup, but in a 51-type four-pole format. It's a beast... check out the audio clip. https://www.herrickpickups.com/ The previous version 3.0 bass is here. Now read on. Body refin in TV Yellow nitro Pickguard in Acrylic White Fender American Deluxe Bridge, Top-Loading or Through-Body Herrick Dual-Coil Telebass '51' pickup overwound to 11k ohms CTS solid-shaft pots, Chiclet cap .047uF, Switchcraft Jack in cats-eye side plate Fender Chrome '51' Pickup Cover Fender Tug Bar Fender dome-top knurled control knobs with grub screws Wilkinson WJBL 200 tuners La Bella 760FS Steel Flatwounds 45-65-85-105, Through-Body Stringing Is this really the final version..? I hope so, because I just don't have the time (or disposable bass tokens) for any more finishing shenanigans... I thank you!
  2. 3 points
    One of our gigs last weekend was at a pub whose landlord, Phil, used to own a different pub. We used to play regularly for Phil at his previous pub but the new owners cancelled all the bookings when they took over. At last Saturdays gig two minibuses turned up full of locals from Phil's previous pub who'd come especially to see us, a thirty mile round trip. Money in Phil's till and two fingers up to the new landlord at his previous pub. We were delighted to see them
  3. 3 points
    It depends what kind of look you’re after. I originally planned to clear coat and polish mine but in the end I just applied the amber nitro and left it to age and wear naturally. I lightly sanded with very fine paper, 2000 grit I think, to smooth it. I’m happy with it.
  4. 2 points
    Most of what is happening now is what I call "smooth blues" which is main stream blues for the masses. Like Joe Bonamassa and Gary Clarke. Blue
  5. 2 points
    OK - slightly different answer to my earlier post. The single cut above, which is actual Camphor, wasn't actually very holey. As such I got away with just creating a slurry by sanding with wet and dry but using Tru-oil as the wet (basically a variation of the 'slurry and buff' approach). Also, the slurry is the sawdust of the predominant wood - and this camphor was similar hues all around so filling small voids with that lighter slurry didn't detract from the darker burl This one below, was Camphor Laurel (it is actually a type of laurel as far as I understand) which was holey like yours: And this one, yes - I mixed ebony sanding dust with epoxy and filled it with that. This gives a true black fill of the voids: This one below was the same Camphor Laurel, but this time I did a tru-oil slurry and buff. Bear in mind this is not full gloss finished, but you see how the lightness of the slurry tends to soften the burl effect: So, I would say for maximum effect, mix epoxy (Z-epoxy would be my choice) with a decent amount of a very dark sanding dust, for a lesser effect, you could slurry and wipe. Or - you could opt to leave unfilled, as I have for @Len_derby 's very recently finished burl poplar lightweight bass:
  6. 2 points
    An option would be or could be rather, mix epoxy with black powder paint and really bulk it up with brass or bronze dust to give it a polished metal effect. There was a furniture maker on the Scottish borders who did that on Elm burr table tops and it was sensational. Just found a video to give you an idea
  7. 2 points
  8. 2 points
    I've been working as a volunteer at my local Drug & Alcohol service delivering groups. I decided to run a group where the members would learn to play "The Chain" - easily recognisable, not too difficult to play. I took in two basses and an amp. A number of the group had a go - remember that recovery is about perseverance and obstacles as is learning to play bass. One of the group was left handed so I was given the challenge of playing left handed - you know what? - we take our normal dexterity and muscle memory for granted - I was making loads of mistakes...if I practised left handed I think I might get the hang of it but I got reminded how difficult it was when I started. Playing bass is a lot harder than you think...
  9. 2 points
    Withdrawn. It's just too good.
  10. 1 point
    SOLD Discreetely through this forum thanks for comments and bumps Vintage VJ74 Reissued Jazz Bass, gloss Black with Red tortoiseshell scratch plate and Rosewood fretboard. According to the Vintage website it's an Eastern Poplar body with hard maple neck and it has Wilkinson pickups, bridge and machine heads. I bought this from Ebay as temporary cover whilst I was rebuilding my MIM Fender, it was described as 'modified and road worn' 🙄 - basically it is a little tatty and hasn't been well looked after, but is a perfectly useable cheap Jazz bass (rrp £220-300 new), perfect for the shared rehearsal room or pub jam nights or leaving out somewhere the kids can play it or as a modding bass for experimenting with stuff before committing to modifying something more valuable. According to my scales it weighs 4.65Kg = 10.25Lbs so it's not lightweight, so balances as you would expect. The original Vintage logo (and serial number if it had one) has been removed and a 'Moon Bass' logo applied to the headstock, there's some scratches and dents to the body and a fair few dings in the neck (why do people stand up their instruments so they can fall over - of course some could be from getting too close to the drum kit). Cracks in the finish around the neck pocket as usual but it all seems solid enough, I haven't had the neck off. It has had a Fender type scratch plate on it in the past which had different holes so there are extra holes out of sight under the original scratch plate. Price includes UK shipping and PayPal fees. No case or gig bag, will be boxed in proper bass guitar transfer cardboard box with padding and outer box. If you want to come and collect or try it it's in Llanfyllin SY22, £55 cash on collection, £70 bank transfer. If no one wants it I will part it out thanks for looking
  11. 1 point
  12. 1 point
    Massive +1 for Matt Schofield. Eric Gales is pretty cool too. If you prefer something a bit more acoustic, Martin Harley is great :
  13. 1 point
    What fickle beings bassists are.... someone will have this ridiculously good deal soon.
  14. 1 point
    Joanne Shaw Taylor: Josh Smith & Matt Schofield:
  15. 1 point
    Thumbs up from me, 👍...some funky chops you have there sirrah!
  16. 1 point
    Absolutely, one of those rare signature basses that actually is pretty much built just like the one the guy plays! (Erm, or played).
  17. 1 point
    I was playing through a Nexus SL and matching cabs at a rehearsal studio recently. I have to say, I really like the tone and the headroom. I wouldn't have any issues going out gigging with such a setup. In fact, I've gigged with a lot worse that's cost a lot, lot more. I used to have a LC15R for guitar too. At the time, there was nothing to touch it as a small guitar valve combo that actually sounded decent. Things have moved on now - the market has opened up for low wattage guitar amps... but for me, the LC and VC combos were punching way above their perception.
  18. 1 point
    Those numbers (97/100dB) are sensitivity figures. Not output - max. SPL. They don't tell you how much juice you can feed it, before it runs out of excursion and farts out.
  19. 1 point
    Hot Chocolate! (Although I thought Gun did a great cover)
  20. 1 point
    My band were looking at a Liverpool/Manchester gig to get us in the right part of the world for heading over to Dublin on the ferry. We reached out to one promoter, who would have given us a spot if we had brought 25, or so, audience along with us. We're from Edinburgh. Should we have hired a coach?!?! Why have a dog and bark yourself? So many self-styled promoters just seem to be lazy drunks in disguise. They have a network of fellow skeevy drunks they can hang out with, and collectively the palm 90% of the work back on to the bands themselves.
  21. 1 point
    This guy was doin' summat similar back in the mid 80s wouldn't you agree?
  22. 1 point
    If you've never been to his shop, it's quite the experience. I went down there to try out a couple of basses. What did he plug me in to for amplification? A 1963 B15.... lol
  23. 1 point
    Both the bands I play in are 'on hiatus' for various reasons, giving me time to play around with effects - choices, signal path etc. As usual there are compromises - currently I can't switch the synth sounds in and out with one tap, but I've got maximum flexibility in terms of the drive part of the synth - Pork Loin/Gated Fuzz/Bitcrusher. The Manta is semi-benched, due to the size of the Moog. I can still run it off the board in the spare LS2 loop (i.e no rewiring required) and I need to get my head around all the options it offers first. It makes sense to exploit all the weirder filter options rather than try to beat the Moog at it's own game. MXR BCD is also off the the board since I add chorus directly to the Flashback via a tone-print and I don't tend to use chorus as a standalone effect. I still need to sort out the expression control to the bitcrusher but if I'm using the Manta, I still have the option to take the CV output from the Moog, so I can get control of three pedals from the SA Dual expression controller.
  24. 1 point
    Ouch. At least you came back with it. Get well soon.
  25. 1 point
    yes, Trace didn't make many duds but this was one, had the misfortune to use one on a multi band gig, "Trace Elliot combo supplied" oh goody methinks
  26. 1 point
    I doubt they'd be allowed left handed violins in orchestras, you'd be poking eyes out left and right!
  27. 1 point
    That Andy Baxter bass sounds sweet!
  28. 1 point
    That is true. The only problem now is that I suddenly want an Ibanez Artstar!
  29. 1 point
  30. 1 point
    Such a glamorous life owning a bass company. Here is how I spent my Sunday morning.
  31. 1 point
    I'm beginning to feel with pines like those you won't be allowed at next years Midlands Bash 😛
  32. 1 point
    Can't believe this awesome bass is still here GLWTS type bump Kevsy
  33. 1 point
  34. 1 point
    Well if you’re ever down in Herts, let me know Si
  35. 1 point
    Actually, you're both wrong. The timbre I used was poplar
  36. 1 point
    OK, having considered a no-guard look, I've decided to go completely the other way for a fully-dressed look. White guard, tug bar and 50s pickup cover. Thanks for the comments and opinions.
  37. 1 point
    Just finished the Proms show. Absolutely incredible, great pacing with amazing dynamics, harmonically and rhythmically complex whilst also being beautifully sparse in places. Normally i’d take unbridge at people saying he plays it safe.....far from it, as mentioned, the harmony and rhythms that weave their way through his songs and arrangements are definitely not ‘safe’.......that said, they are safe because he’s utterly in control, nothing is an accident, everything is constructed perfectly! Yet he still manages to create the magic that other artists only sometimes stumble on by being ‘on the edge’. If there were a couple of low-lights, it was Every Little Thing She Does and All Night Long, boring choices, but lots of amazing ideas within them to unpack and learn from! Yeah, amazing on the whole. Hideaway (song number 2) was a particular highlight! Wish I could have been there! Si
  38. 1 point
    No, the invisible bear does not count. That was not dancing. Blue
  39. 1 point
    There’s a clip somewhere on YouTube of the excellent Derek Forbes of Simple Minds playing I Travel, just to show us how it’s done... It looks as though cold drinks may have been taken prior to the recording of the clip!
  40. 1 point
    If I'm learning something new, While it's a bass cover not a tutorial this would be what I would use to learn the song, but add my personal style to it. Blue
  41. 1 point
    I am, and much respect back to you.
  42. 1 point
  43. 1 point
    I think part of the issue that is that some people find it difficult to see the subtle but important difference between 'P*ssy Power' & 'P*ssy Melter', therein lies an issue of a wider understanding of gender issues. It's worth highlighting that it's almost certainly not the word 'P*ssy' that is 'offensive' to people, it's the aggressive nature of the full name (backed up by the tone prints description). Now, of course, Steel Panther are a complete parody, they very much subscribe to the South Park/Team America ethos of 'as long as you take the pee out of everyone equally, you're fine', which actually I'm fine with.....they're fully aware that they come across as sad, washed up old rockers with outdated views on women....that's the point, it's a commentary on the 80's & 90's rock scene......just so happens they can shred too. Without knowing any numbers, I suspect SP have as many female fans as they do male fans, because everyone understands the parody, and they like the comedic music. If there is a lack of understanding as to what the band is exactly, again, that's a damning indictment of a wider lack of education around gender issues. Again, it's important to re-iterate that SP are characters, when Satchell responded about the TC thing, that was Satchell typing from his account, not Russ Parrish, the married 47yr old dad who plays the character. However, take Steel Panther's approach out of context, take it away from the show and the fans and the bands self-effacing ridiculousness, and it starts to hit a little bit close to home for a lot of women's everyday experiences. Parody is a fine line, and it requires a fair amount of set-up and context in order to work, which is why I suspect TC took it down......should someone at TC have figured this out before they posted it like 2 years ago? Probably, how many females are working in their marketing department I wonder, let alone their engineering team?! (Women in engineering is a whole other discussion). But as this, and the few other examples of mildly misogynistic names highlights, the gear industry has had some catching up to do. Fortunately, the prevalence of things like 'booth girls' at NAMM and other such shows being something that has (thankfully) decreased as manufacturers realise that they are simply alienating potential customers (Fender cite that 50% of their new customers are female: https://www.forbes.com/sites/petercarbonara/2018/03/28/for-fender-guitars-the-future-is-digital-and-female/#1f1f3d7e4a37). Names of products I feel are simply on the company, if they want to alienate and exclude certain potential customers, fine, if they wish to attract the wrong type of male customer who misunderstand the 'joke', let them, it's their livelihood. Again, I suspect that's why TC took it down, not because they felt the need to censor after a petition forced their hand, but because they feel they made a mistake about something and would prefer not to lose customers over it. As to why people have picked up on this as opposed to focussing on sexism in rap music? I suspect it's because for female guitarist who's onto rock music, this is in their back-yard and one that has been difficult enough to get accepted by as it is. If they have no interest in rap, they're probably not going to jump in on issues within a world they don't understand, especially if they're white. However, if something becomes important to them within the world that they reside (the guitar gear world), they're going to jump on it as something they're directly involved with. It's a massive discussion, and clearly goes much further than just women who play guitar, but with this forum being overwhelmingly made up of what I suspect is to be white men, it's worth us checking our understanding and approach before crying 'the worlds gone mad' (not aimed at anyone, just a general statement). Si
  44. 1 point
    I suspect it's all down to individual experience (if that's the right word). At one end of the spectrum you have people like guitarist Eric Johnson who can apparently hear minute differences in equipment and set up, to the extent that, according to some rig run downs, when recording he uses nickel plated jack plug guitar leads for ryhthym and gold plated for solo work. I'm guessing he could probably hear significant differences between bridge types. At the other end of the spectrum you have people like me. I have changed a couple of bridges out because I like rock solid units with no lateral movement in the saddles and no sharp edges. There may possibly have been a change in the feel of the bass but I've never noticed a change in the tonal character of the instrument .
  45. 1 point
    This thread is getting me thinking that there might be value in having a subforum of this site dedicated entirely to identifying which venues are good and which are bad. If there was one thread per venue, it would be a very useful resource when trying to decide whether to accept an offer or not. S.P.
  46. 1 point
    Don't wanna sound repetitive but No Parlez and Tin Drum for me. But a much less known little gem is Singing Sands, a collaboration between celtic acoustic guitar virtuoso Tony McManus and French fretless maestro Alain Gentry. I bought this album cos of TM, who is an outstanding acoustic guitarist but was more than pleasantly surprised by Alain Genty's tasteful basswork
  47. 1 point
    Grace and Danger from John Martyn. John Giblin plays so tasteful and so beautiful on that album.
  48. 1 point
    Yep, this! Ha! 😀 To the O/P, would you be willing to pop the chassis out and take a pic? It may be DFA control..
  49. 1 point
    Bel Assis by Mo Foster, his first solo album... sublime. Esp A Walk In The Country. Beautiful track.
  50. 1 point


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