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Showing content with the highest reputation on 01/09/18 in all areas

  1. 3 points
    I’m leaning toward AI chatbot. Actually scrap that, I’ve had conversations with a chat agent that made more sense than this thread 😆
  2. 2 points
    Spector Rebop 4MM (Blue Flame Maple) 5 months old (bought from Andertons) – completely unmarked and as new with tags New model with fully active EMG MM4 Pickup, Zinc/Bass Bridge and Spector Tone Pump Circuit. Complete with all tags, box and allen keys The playability of this bass is amazing in fact I am only selling to thin the herd. Sounds like a smoother stingray with tons of boost (treble or bass) on offer. I am only selling as I am wanting to thin the herd. No Trades please. Happy for collection. U.K. postage £20. Payment by BT, Paypal Gift or Cash. Anything else or questions, inbox me and I’ll give you my Mobile No. Check out feedback for Rhysyjob, cheers.
  3. 2 points
    TLDR Hello. Self taught, and been playing for 40+ years man and boy... started with punk in 76. then gave it all up 25 years later as pennyless and didn't want to die like Jaco. Back to it now after a 10 year hiatus of sorts, a slower, older more considered funky shredder. Still have the LesPaul but sold all the rest of me epic gear to pay for rent over the years 😞 currently learning a set for a band called Feast on Mars on the South coast PS. If any one sees my old Vigier Passion serial 0002 PM me instantly.
  4. 2 points
    I don't think I've ever seen the expression "Enjoy Huddersfield" before.
  5. 2 points
    Thanks all for the input. I'm going to use the MOP. I spent most of today routing out the channels for the blocks. More or less I used @Christine's method, ie: 1. Masking tape on the back of the blocks, and the fretboard. Use centrelines to line them up. Thin superglue them in place. Score round the edge with a blade. Then VERY carefully prise them off. Very carefully. I had the corner of one break off because I went at it too quickly. 2. I found it useful to use masking tape to make clearer where the edge of the block is. Being a bit ditzy, I can very happily rout away, completely forgetting that I'm supposed to be stopping at the line. So the pink masking tape is there as a reminder! I then routed with my palm router (not a dremel) and a 3mm mill bit. I thought this stage was going to be the most difficult. Actually it wasn't. The router rode on two stacked pieces of 18mm mdf, either side of the neck and it went very smoothly. My palm router (a Dewalt, the best designed tool I own) has a light underneath so I was able to see pretty clearly. I hand routed to within 0.5 - 1mm or so. 3. Chisels to then cut up to the line. This was....less easy. Other than for prising templates off😲, I've never used a chisel in my life. I'm not even sure quite how to use them. Am I supposed to be hitting them with a malet? Just pushing then to sort of slice wood off? I used a combination of both techniques. I found that the most important thing was that they were sharp...(I'm a slow learner!).....I sharpened them before I started and half way through. Actually I think I should have sharpened them 3 or even 4 times. This was the end result... Not perfect, (and this is the best one) but I'm pretty happy. I'm hoping that epoxy and sanding dust will make up for my sloppy work....
  6. 2 points
    Is Australia ten years behind the world when it comes to fuzz?
  7. 1 point
    Just a quick note for anyone thinking about attending any of the Bass Bashes listed in this section - go! The Bass Bashes are informal get togethers of all things bass with people of all abilities with all types of gear. Don't be put off going if you think that they will be dominated by exceptionally talented folk continually slapping on boutique basses as that isn't the case (there will be boutique basses and a bit of slapping but there is more to the bashes). Folk turn up will all sorts of gear and its a great opportunity to try different kit and put faces to the names seen on here. I've met some great folks of all abilities at these and picked up lots of useful info. I've tried lots of basses I wouldn't normally get the opportunity to try and discovered I dislike some I've previously drooled over and really liked others I've dismissed!! For info, I don't play in a band, I'm not a particularly good bassist, I can't read music, I can't slap but I have a pretty decent amp and I make my own basses. If you're thinking about it, try to come along to one if you can. It's great that someone organises these and attendance will reward their efforts and ensure these events keep going. Hope to see you there! And there's usually cake too.....
  8. 1 point
    Finished work early yesterday and drove a 330 mile round trip to pick up a Fender American Standard Jaguar Bass (I don't trust couriers, too many horror stories on here!). I've always wanted a Jaguar since the original Japanese model came out, so when I could finally afford to treat myself I started looking for one and found there was a US version, only available for a couple of years. I found a couple for sale and went for this one. Looks great, is pretty light, and plays really nicely. Looking forward to figuring out the controls this weekend!
  9. 1 point
    I had a black one of these from about 1991-1994 and loved it. I gigged it loads and recorded a demo on it with my band at the time and it was great for the sort of funk/rock we were doing (think Saigon Kick, Extreme etc). Its a bass I've often thought I'd like to have kept. Well done!
  10. 1 point
    I'll second that. You need to have some faith. Be a bass player. Walk in dem boots, and enjoy. I reckon nothing brings you on better than actual band, and gig experience. Sometimes practice at home is only like a flight simulator, you have to climb in the cockpit!!
  11. 1 point
    You probably are but don’t realise it Have a closer look at what you’re actually practicing and don’t try to cover too much at once it’s better to be able to play one thing really well than lots of things untidy it takes time but it will come 😀
  12. 1 point
    This is very low. My low action goes from 1,5 mm under the C string (on my 6 strings basses) to 2 mm under the B string at 12th fret. That said on a P-Bass, a higher action means better dynamics. I set my newly acquired Fender Precision Bass AVRI '57 at 2 mm under the G string to 3 mm under the E string at 12th fret. This is just terrific sounding with new Ernie Ball flatwounds cobalt. Thanks @HazBeen for the tip for these strings. The pickup is also far away from the strings which gives also better dynamics. I'm now in the process of raising the action on all my basses as that very P-Bass effect is something I really like.
  13. 1 point
    Nice to see a pointy headstock bass in 2018, damm I miss the 80's 😁
  14. 1 point
  15. 1 point
    I can see you have a sense of humour.... You'll fit right in...
  16. 1 point
    Yamaha Attitude II Ltd Se-Nr ONI029F Made in Japan FAQ Q: Why are you selling this great bass? A: I have to admit that a) I own too much bass guitars, b) I'm bound to 6-string bass guitars, c) I need some cash to buy even more 6-string bass guitars. Conclusion: all 4-string bass guitars have to go. Q: Why did you change the electrics? A: Soundwise I found this bass to be great, but limited, so I decided to enhance it to a PJ-configuration. Furthermore I noticed the original DiMarzio Pickup to be touch sensitive, which does not work when you're playing with lots of distortion. (I'm wondering why nobody ever mentions that) Q: Woods? Features? A: Please ask Google. This instrument is well documented. Q: Weight? A: 4,3kg = 9,5 lbs = 0,68 stone Q: What replacement pickups did you choose? A: https://www.lacemusic.eu/index.php/bass-pickups/aluma-p-bass-detail , https://www.lacemusic.eu/index.php/bass-pickups/aluma-j-bass-detail Q: Why these? A: I was attracted by the underlying concept of Lace Alumitones, they are really lightweight too, and I just wanted to check them out Q: How did the sound changed? A: Lace Alumitones differ from traditional Fender pcikup tone. They sound more dense und punchy, with significant powerful output. You might say they're not as "hairy" as a standard P. The middle position works very well, tight and focused. Q: Are there any soundsamples? A: yes, please: https://www.dropbox.com/s/3ucgrer0abyg9f5/attitude_alumitones.mp3?dl=0 Q: This bass is not in it's original shape etc pp blabla A: Well, Sheehan himself ist a passionate handicraftsman. The Attitude is the result of dozens of changes and experiments. Just keep this mindset going. Q: What about the changed electrics? A: P and J go into a 4-position-rotary-switch: 1 -> mute / 2 -> P / 3 -> both in parallel / 4 -> J The 2nd pot does volume to this, then into one of the jacks. The woofer goes directly into the other jack. Passive adding of the woofer does not work very well, IMHO. Go from the jacks into a Boss LS-2, and you can mix and switch much better. Q: There's a knop lacking! A: Just on some of the pictures. I like to remove knops to avoid accidential changes when playing live. Q: What comes with the bass? A: Original Yamaha case, original DiMarzio pickup, some pots and knobs Q: will you ship the bass? A: yes Q: overall costs? A: 1500€ / approx 1320 GBP, shipping costs inside Germnay included, outside Germany to be checked Q: Where may I test it or pick it up? A: in Germany/Aachen/Burtscheid
  17. 1 point
    I finished sticking frets into the other two fretboards first thing. Then I shaped the headstock veneers and drilled the holes for the tuners.. Lastly I finished off the dragon inlays as my order for more pearl arrived yesterday. Tomorrows job will be inlaying those. I'll be glad to see that job out of the way, it always seems a process prone to the likelihood of flamingoing up
  18. 1 point
  19. 1 point
  20. 1 point
    If it’s worth doing, then it’s worth overdoing.
  21. 1 point
  22. 1 point
    Deepest East Anglia according to the Wal facebook pages. Somebody just buy this please, it's getting hard to bear having it sitting there all available. Much as I'd like a 5 string to play with, I should not really be thinking of spending £4k on one ... but ... but.
  23. 1 point
    A couple of Yamaha DXR12s for sale in the “other musically related...” section of the classifieds
  24. 1 point
    Of course! “These tabs are iffy”.
  25. 1 point
    Haven't seen one of those in a while Nick. Nice one, enjoy
  26. 1 point
    I once fell in love with a lefty bass on here, a Zoot Boudicca. So much so, that I considered buying it and retraining!! 😆
  27. 1 point
    McCartney does use a double. I had a tutor at uni who was working with McCartney in a studio somewhere. She was shocked when she walked out of the room to go to the loo, leaving McCartney behind her, only to bump into him coming out of the gents. Apparently it’s for security since Lennon was shot. The real one goes out the back door, the double out through the front door.
  28. 1 point
    I think Hugh Cornwell said that the Stranglers had their roots in late '60's English psychedelia. Like Dr Feelgood and The Jam they'd started before Punk with inspiration directly from the '60's, but got fuelled by the energy and musical freedom of Punk like so many other bands at the time. I've a particular soft spot for the Stranglers, as it was a gig at Cambridge Corn Exchange in 1977 that switched this particular spotty 16-year old from violin to bass guitar - I was gigging within a month. And "Rattus...." has to be one of the best debut albums of all time; "Hanging around" still makes the hairs stand up..... (No longer dyed green, alas)
  29. 1 point
    Call that yellow? THIS is yellow!
  30. 1 point
  31. 1 point
    As Andy has sad, pretty much that, found a picture which clarifies that.
  32. 1 point
    One big one is volume Second big one should clunk or click in the middle...that’s a pickup pan. Towards the bridge is for bridge pickup, towards neck the P pickup. nearest the neck (I think) is bass, middle is mid frequency, and bridge end is treble/high frequency.
  33. 1 point
    Recently bought one of these myself. Very solid well built instruments. Made on the same line as the stingray classic. Using the same electrics, pu etc. Great way to get an authentic ray tone without as much outlay.
  34. 1 point
    How can you not love this P bass blue and maple heaven? 😊
  35. 1 point
    Something I want out there, so come on folks, cash in those savings plans, this is a steal for what it is! 😉
  36. 1 point
    I think he's probably playing the way he wants to.......
  37. 1 point
    I recommend it, and I've been a individual-pedals-on-a-board guy since forever. The Z-Tron envelope filter, B7K and Sansamp models are my favourites, I could easily gig with just this. Although I expect to move to a Line6 Helix HX once they add the Sansamp model they've been hinting at! Much easier to use and better sounding (in terms of amp sims and dirt at least) than the B3 / B1on.
  38. 1 point
    Completely understandable. Where are they going to find someone as good as you at short notice?
  39. 1 point
    Updates........... 1, The kit is in the UK took no time at all to come from Australia, probably take 3 times as long to get it 300 miles up north! 2, I have a painter!! Mate of mine who is also a bassist has his own vehicle detailing business and has agreed to paint it for beer 🙂 3, I have just bought pickups and a bridge for a ridiculously low price. 2x Kent Armstrong humbuckers for £10 and a Gotoh bridge also for a tenner, will be paying a visit to Howard for scratchplate and routing. If anyone has any info or a clue on how to wire the pickups can you drop me a pm, previous owner is trying to get a pdf off the schematics but info is always good. Pups are these bad boys and the bridge.
  40. 1 point
    I understand why people love them. My son, when I offered him up to $750 towards any bass in Nashville, went halves on a new MIA Fender P, and I appreciate that it's right for the music he plays. But not for me. My first bass, a GMR5, has what I now realise is exceptional sustain, so that's how I learned to play and how I naturally develop all my basslines. I can play staccato when it works in the band, or I can let a note ring clearly for a whole bar. But I find even on a really good P that the notes just die too soon. It's frustrating. Imho, ymmv 🙂 If it's history you want, my 1966 EB2 has decent sustain too 🙂
  41. 1 point
    You could buy 5-10 vintage v4 reissues for the price of a USA precision. I love my v4s to bits. BUT from what I can see, despite being called v4, the models are all slightly different. The blk standard is my main bass. Love it. Laqured neck. Very easy to play, loads of tone control and power. The v4 icon has an un laquered neck and different sounding pick ups. Definitely more vintage sounding. One thing I have done is put shielding tape all over the back of the scratchplate and cavities. Works a treat. Cost less than a tender for a huge roll. The blk was bought new for £230 (and I swapped for identical Wilkinson gold hardware). The icon was bought as new for £95. One weird thing I will mention is I have absolutely no idea how the pots are wired! I'm issued to one being volume, and one tone. These definitely are not that simple. The tone control definitely adds volume too the more you go to fully open. But it does add even more tone shaping possibilities. I've had an excellent USA p in the past, the finish was like a work of art. But I genuinely feel these v4s are more playable and have more character about them. And cost nearly 10 times less. If you had a range of them - with their different types of neck (laqured or unlaquered) and pick ups (modern or vintage), and you can buy straight replacement hardware in different colors, and scratchplates - you could create an awesome bitsa to your exact spec for next to nothing.
  42. 1 point
    Some wise sage once told me that the biggest obstacle when practicing bass or guitar, is opening the case
  43. 1 point
    Really? Yeah i can think of hardly anyone who uses a precision.... I'd list them here but there's probably so few.
  44. 1 point
    Just to add to Grangur's excellent advice, I've found electrical work so much easier since getting a decent soldering iron. I used to use a cheapy 30 or 40 watt stick type but bought a digital soldering station when Maplin had them half price. The extra power means the pots don't get overheated. With a low power iron the posts act like a heatsink and the solder took ages to flow nicely, with more power the solder flows almost instantly and the pots stay cool.
  45. 1 point
    Truth is, in the late 70s, the bass guitar was THE instrument to play in a band if you had any aspiration to be a 'good' player - there was quite a history of people wanting to be accepted dating back to the earliest days of 'progressive' (when everyone from Floyd to Fleetwood Mac to Blodwyn Pig were included in that 'genre') to the early 70s Yes and the like wanting acceptance as a 'serious' musician - unless you were a kid playing punk (and there weren't that many of them in spite of what one part of the music press would have you believe) you would be a serious rock or R and B player at that time (R and B including disco and jazz funk, Rock including prog). The most dynamic and exciting form of bass playing (for players and audiences) was slap bass. I heard players like Pops Popwell with the Crusaders long before I knew about Larry Graham's earlier stuff - GCS was an upcoming band in the UK on a par with Kokomo - they were not stars. Any bass player with any aspiration to play R and B or pop would be playing slap - in fact if you turned up at an audition and couldn't, for such a band you would likely not get the job - by the early 80s it was essential. Pino was even doing it on a Fretless at that time!! So I see no reason why MK wouldn't have been influenced by much of what was going on around him - that he was clearly looking for a Stanley Clarke sound and earlyish songs like Heathrow had bass parts bearing great resemblance to SC's lines (Lopsy Lu for example). However the first single (Love Meeting Love), a finger style part, has, I think been attributed to him playing a borrowed EB2 during his shop days - and his interest in a JD was sparked by seeing/hearing Gary Barnacle's brother's white JD - no doubt because of its ability to sound and vaguely look Alembic at a fraction of the cost. Also, at this time, although people may have been influenced by the likes of Jamerson, Babbitt etc - well at least their more famous parts (and remember in the 60s you couldn't hear the bass properly anyway), people were more likely to be influenced by this new wave of players like Bernard Edwards, Stanley Clarke, Pino Palladino and the disco players like Louis Johnson - and really any prominent bass part (Fatback Band, Ain't No Stopping Us Now, Earth Wind and Fire). Unfortunately we suffer from a gradual re-write of history - fuelled by BBC documentaries (which fail to mention such seminal programmes as The Tube by Channel 4 and overly rely on the NME as a source, when it wasn't generally representative), music school resources (Scotts Bass Lessons Included) seemingly focus on the excellent but at the time barely audible and certainly in the 70s, far less relevant early Motown stuff. The 70s/80s was a far more exciting time as a bass player in my view. I am personally doubtful MK would have failed to be influenced by everything music wise and bass wise going on around him - and particularly working in a shop - that he only focusses on snippets and major stuff in interviews is hardly surprising.
  46. 1 point
    Something else to look out for : If you look at the terminal on your volume pot, where the white cable comes from the pickup; there appears to be a length of cable that could come in contact with the pot-body. If this touches, all you signal will disappear. It's good practice to cut these ends short. To save you burning out more pots and capacitors; practice soldering. It's a useful skill to have. When you start, always touch some solder on the tip of the iron to make sure it will melt it quickly. When working with wires to connect up a pot, always "tin" the ends of the wires. To do this, bare the wires, twist them together and then coat the strands in solder. It'll make them easier to solder to the component - reducing the time you need to keep heat on the component. When working, keep a pair of pliars handy to hold the shaft of the pot with, or even better, clamp the pot shaft in a pair of mole-grips. The added chunk of metal acts as a good heat-sink; taking the heat away, so the components don't get wrecked. Good luck next time round.
  47. 1 point
    Possibly my favourite ever wording in a for sale ad. Oh joy.
  48. 1 point
  49. 0 points
    This has to be one of the strangest looking basses I've ever seen. More switches than Knight Rider. I wonder if it has turbo boost. https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F202378362822
  50. 0 points
    It's not. It's a full size standard mim gig bag, and therefore has a substantial amount of unused space at the headstock end.


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