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Showing content with the highest reputation on 14/11/18 in all areas
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How aboot this? It's an 80's Fender Performer, not many made.6 points
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I'll actually say what this is, but i'm sure many will know this beast4 points
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Sorry mikel, but if it has "techniques, phrasing or style that I would never use in the music I like to play" then that's every reason to learn it - to open your mind up to different ways of looking at the bass as an instrument and its musical role in a band.4 points
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I would, but I'm on a world tour at the mo - supporting Jimi Hendrix, Janis Joplin & Davie Bowie4 points
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To be honest, I struggle with some of the standards...anyone have the tab for BS ISO 25577:2013 ?4 points
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Finally got round to building my Kurt Ballou Brutalist Jr, with an added Fuzzdog clean blend control (hence the slightly uneven pot spacing). Looks a bit of a rats nest top-down, but all the wiring is nicely layered, with moldable wire. I'll probably leave the top plain, maybe label the knobs with some old-school embossed labels. Sounds very cool! I also recently modded my Boss ODB-3 with the Monte Allums Try-Gain Plus mod. No guts shots because there's not much to see, replacement of about 10 components to smooth, thicken and tame the buzzy nature of the stock pedal into a nicer overdrive, including an IC replacement. The mod also adds the switch which let's you switch between 4002, LED & Diode lift clipping options. Also I added the sticker to make it even more ODB: Si4 points
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All this stuff about names is bunkum, I remember people somewhere writing in disbelief that DG amps didn’t actually have oompah loompah sized tubes in its pedals or amps, and how it’s misleading. Is a precision bass any more precise than a jazz, and can a jazz only be used for jazz. Do your research on the sound (not just looking at figures), evaluate no matter what the name it’s given, use your ears - it’s really simple. There are great people on here but their sound is their sound. I may hate their stuff, they may hate my stuff, wouldn’t make either of us change. So many good guitarists and bassists through time have used unfashionable stuff not many others would touch but sound mint. Very simple4 points
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I know I’ve questioned the watts in this thread a bit - but, your point really is the only important one - if it works and it sounds good then that’s all that matters.3 points
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I can't even begin to answer that...3 points
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Blah blah blah weight blah tone blah blah. Get a grip everyone. Matching black headstock trumps everything.3 points
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Just saw Stephen Chown on the local news re how Brexit (or not) affects him importing bass gear. I waved but he didn't wave back!!2 points
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Price drop from £1,500 to £1,400 plus FREE UK delivery elsewhere at buyers cost. Hi fellow Basschatters. I have pondered about this for a while, and now i've finally decided to sell this rather beautiful Gibson EB3L 1972 bass (long scale) in Walnut finish. I am only selling this bass due to the fact it's just not getting used and it seems such a waste. This bass is the rarer Walnut finish, with just 204 EB3L's shipped in Walnut in 1972. The bass is 100% original. It comes complete with it's original case too in great condition and fully working (no key). The handle was changed however as it was missing when I got it but its a great quality one). The bass also comes with the bridge cover. The bass was set up to perfection by Xperience Guitars here in Nottingham and its set low and plays like butter. I would say that although this bass was made 46 years ago, that it is in excellent condition for it's age. There is one small ding on the top (pic 10), a few marks and clouding as expected of a bass of this age, and a few scratches on the plastic cover on the back, some small wear on the belly cut, but no real major wear. It's a nice slim neck too. The case is also in excellent condition. The bass functions beautifully. It has a 4 way rotor switch, 2 volume and 2 tone controls, 2 Gibson stamped pick ups, and not muddy and boomy like the earlier ones. 1972 was the year when Gibson did away with the Mahogany neck, in favour of a 3 piece maple one with a volute making it much stronger and less prone to breaks. The neck pick up was moved further back from the neck which helps it tonally I think. Although all 4 positions are useful I tend to leave it in position 2 as I just think it sounds the biz. I think this bass is worth every penny of my asking price. I've seen these for way over £2000 and this one does not require any work and it is in lovely condition for it's age. It's currently set up with 105 - 45 Rotosound strings and it holds it's tuning really well too. The weight according to my digital scales is 10lb before anyone asks. The serial number is 730045. All the technical info you may need is here: http://www.flyguitars.com/gibson/bass/1972gibsonEB3L.php I am NOT looking for any trades as I already own 3 other vintage basses. I'd sooner any prospective buyer was to come and try the bass so you can see/play it and be happy with it. I live about 5 minutes from Junction 26 of the M1 motorway in Nottingham. However if this is not possible I will post it at the buyers cost as I have a box and packaging materials. I've shipped stuff all over the world before and it will be well packed. Buyer pays postage costs and import duty/tax etc... where applicable. If you are serious about buying this and wanting it posted, I will box it up and find out the exact cost to include insurance for you. I will post anywhere in the UK (for FREE), plus elsewhere at buyers cost to most European countries (except Italy) and i'll ship to the USA/Canada. I do not ship to Africa, Asia and Eastern block countries sorry. I'd prefer a cash sale please or bank transfer. I will only accept PayPal if you are willing to pay costs incurred. I will ship the bass only when the money is cleared or in my hand. Thanks everyone, check out the pictures. Any questions please fire away and i'll do my best to help. This is a fantastic bass, a usable investment and will make somebody very happy indeed. My Feedback here: https://www.basschat.co.uk/topic/153732-feedback-for-clarkpegasus4001/ Video added from Facebook below. It's not perfect but it gives you some idea. (Sorry about the shorts it was REALLY hot that day! ha ha). https://www.facebook.com/clarkpegasus/videos/1090156694406671/ Cheers Tony.2 points -
I have always been aware of Joe Walsh and known that he'd done some great music, but have never really listened to any of it. I just stumbled over this excerpt of him from "Live at Daryl's House" and it kept me listening. All that is great about some of the music made in the sixties and seventies. I hope you enjoy it too.2 points
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Best photo I have is the auction one. Peavey Resolite. Unusual for a Peavey bass it got a 2+2 headstock,also has a chambered body. These appeared in the catalogue but only 4 were actually built.2 points
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Lol - shame Rimmers didn’t read the manual you linked to 🤣2 points
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Yeah, I hate to name drop, but I will. Al Anderson guitarist from Bob Marley & The Wailers also went to Montclair High School. Known him for over 50 years. Blue2 points
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Going into the studio tomorrow to do some backing tracks with my son on drums and daughter behind the desk. Proud Dad moment!2 points
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2 points
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No acoustic bass that I have ever played (and that's a reasonable number & selection) has ever been capable of being heard properly against even a single 6-string. Against two guitars rather than one you're wasting your time, unless both guitarists are prepared to strum very gently. If you need something to play acoustically in live situations and you'd prefer not to (i) amplify or (ii) buy a DB, then I suggest a Guitarrón mexicano. https://en.wikipedia.org/wiki/Guitarrón_mexicano2 points
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I went to Montclair HS with Joe. He's " tops" in my book. Blue2 points
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Whilst, from a sound engineer standpoint, I might agree with this approach, I don't think it to be an an appropriate response to the problem evoked. Before getting into the need for amplifying a bass drum in the kind of venues envisaged, I'd recommend using the right tools for the sound required. Firstly, of course, a decent drum..! The batter and resonant head will play a part, as will its tuning, and eventual damping. The choice of beater comes into play, too. So, to resume, a hard beater (wood, or plastic...) will give the attack accentuated above. A resonant head and pre-EQed batter head will give as solid a 'thump' as anything (Evans do fine bass drum heads for this; a clear EMAD, for instance, for batter, and an EQ3 for reso..?). Little internal damping, and sympathetic tuning should make any decent shell responsive enough, and would, indeed, sound all the better for not being thrashed constantly..! Here's a review of beaters... 43 Bass Drum Beaters Reviewed ... Surely something in there to get the best from the kit before resorting to a separate PA, for pub gigs..?2 points
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Just a standard 40mm from black dog music. Cheap and it works fine!2 points
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On BBC 1 News this evening talking about the effects of Brexit on an import/export manufacturing business. Weird day!2 points
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Looking to move this on, its virtually brand new, been used for 2 shows and a few rehearsals. Great cab just not quite for me. This is the 2 Ohm version so ideal for some of the newer Class D's or an SVT user, it really is monstrously loud! I had this one made with a black cloth grill, looks killer with an SVT on top. I can ship this is needed. I might consider a trade but the only things im looking for just now are a 5 string Sandberg VM with an aged finish or maybe an Ampeg 410hlf (relatively new).2 points -
Folk...?2 points
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Yeah you're right. I hang my head in shame for expressing an opinion. I also take back my comments on Andie Macdowell, as I'm not an actor.2 points
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Only if you use picture frames as props onstage 😛2 points
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No it won't. It will filter out some of the "noise" elements in the supply and do its best to smooth out any fluctuations in voltage. However all the commonly sold power conditioners for musical equipment are designed to overcome problems in countries like the US where the overall standard of the mains supplies is rather poor compared with what we are are used to here in the UK. In fact in the UK if you are having mains supply problems they are nearly always more serious than a standard power conditioner can cope with, and in these instances only a well specified UPS will do. The UPS will completely isolate your equipment from the standard mains supply and uses batteries to compensate for fluctuations and blackouts in the supply. You specify them using the current draw of all your connected equipment and the length of time they need to provide power in the case of a complete mains supply failure. Because they contain both isolating transformers and batteries they are big and heavy. I suspect that following the electrical work at the venue the "stage" power is inadvertently sharing it's supply with something that requires a large startup current and when this comes on it is causing fluctuations in voltage and current to the rest of the devices on the same circuit. It might be possible to find another set of sockets in the venue to power your equipment off that are not on the same circuit as whatever is causing the problems.2 points
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Thank you everyone! I got a new nut and removed the old pencil one. Had to file down the slots a fair bit to bring the strings closer to the neck since it’s been defretted. Also had to lower the saddles almost as low as they can go but it’s sounding much better! The dead spots have almost gone, I just need to get a new set of strings then I think we’ll be reet! I’ve alwas struggled setting up fretless’s for some reason - I’m going to spend a bit of time on this one though2 points
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In music you never make mistakes. They're just accidentals.2 points
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If you've only just discovered Joe, then back-catalogue a bit further and check out The James Gang.2 points
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Earlier last year. I purchased a set of 745’s. These replaced a pair of 312’s and a rcf sub. We’ve haven’t looked back. We’re a team of players, performing in a variety of bands from classic rock, funk disco and folk. They handle everything with ease. No more subs, which is brilliant. Highly recommend making the jump2 points
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Relatively few people care about what paintbrushes Michelangelo used to paint the Sistine Chapel. And those 16th century brushes almost certainly won't have been as 'good' as stuff you can get now. But would they have made the results any better? I think he would have found a way to make a masterpiece regardless of what equipment he had. Give me the best brushes in the world, and you'll still get something an elephant could have done And we're not even in the realm of artistic masterpieces here, we're on about - for most of us - the sound of a bass guitar as heard by drunken people from across the room in a British pub. Of course a stinky poo hot band with cheap gear will blow away a bunch of guys with all the gear and no idea. As long as the stuff is fit for purpose. And especially nowadays when cnc assisted manufacturing can produce far better instruments for far less money than ever before. I think many blokes have something wired into them that makes them want to gather stuff. And to always be on the lookout for the next shiny thing. And the internet makes it possible to spend every free minute reading up on, watching videos of, discussing your next cool purchase. It's just blokes. I have no problem with it, unless talking about basses and looking at bass related stuff on the internet is something you do INSTEAD of playing them. The stuff I have now is probably the most expensive bass gear I've ever had, and I think it definitely sounds the best. But I doubt many audience members could distingush between any of the different setups I've had. The main reason for getting industry standard gear (i.e. stuff that professionals use), is that it's usually the most reliable, and (for amps and cabs, anyway) will sound great even when you turn it up LOUD2 points
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Indeed! I have noticed a few times people trying wireless systems and wandering off away from the stage, testing the range, and then commenting on the slight delay. When you're 30m away from the stage, any processing delay is going to be minimal compared to the delay due to the speed of sound. It'll still be delayed if using a 30m cable!2 points
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The resistance was pretty easy re: BBP35. The active/passive versatility of the 735a just filled me with more delight. And I much prefer the matte black of the 735a to both the sunburst and the midnight blue offerings of the P35. Tom @ Wunjos did do me a nice deal which convinced me to abandon all thoughts of buying via the Yamaha Music Store. I’m a happy bunny - It’s an incredibly classy looking instrument IMO!2 points
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There are a lot of these 'Real Book' 'standards' that, to those having studied them a bit, reveal their structures to be, in some respects, a bit like a collection of 'musical Lego bricks'. By this, I mean that they're comprise a series of relatively simple concepts, strung together, such that, once the structure recognised, what's coming up next becomes pretty evident. This is easily demonstrated by the well-known 'I-iv-v' stuff found in many pop songs, or the notion of three-chord 'cowboy' stuff. The 'Lego' used in Real Book tunes is a bit more complex, and richer, than those simple examples, but there are few 'standards' musicians who'll learn by heart each and every song, in each and every key. They'll absorb, over time and through much 'wood-shedding' and playing out, a whole repertoire of 'Lego', and assemble the bits with fluidity, whatever the 'standard' being called., in whatever key is required. It's not rocket surgery, really; just a specific 'mind-set'. I've a number of books which break down many of these tunes into their 'Lego' parts; it's quite revealing.2 points
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If you'll pardon me, this makes little sense. If the bass drum (or any other instrument...) needs to go through the PA to be heard, it should go through the PA, end of story. A band with a violin..? Maybe he'll bring his own local PA..? Then the harmonica player. Another local PA. Keys..? No, nt through FOH; bring your own PA... The list goes on. A spot of drums (bass drum, overhead...) are easily mixed into any decent-enough 'tops only' PA. How do I know this..? It's what our band does, and many other bands I've played with or done the sound for. Such a system won't work for a stadium, naturally, but lifting any instrument into the mix for the audience is what the PA is for, no..? Obviously, a heavy-metal 'head-banging' raucous rock band would be a different affair, but I doubt that the bass drum be weak in such a formation in the first place..! It's a separate issue as to why the drum is so low in the first place, of course, but that's a whole other kettle of worms.2 points
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One of my favourites is ..."You're The One That I Want"...from Grease.2 points
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The one that makes you happy2 points
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on the front under the strings seems to work for most builders.2 points
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I always think that if you like your gear you are inspired to play more and have more fun doing it, so yes I think it matters from that point of view. As mentioned elsewhere, I buy gear for me and my enjoyment, not for the audience, my band, or anyone else - though everyone benefits when I feel comfortable with what I'm playing. That said, it has little to do with how much that piece of equipment cost.2 points
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F plate or not that looks a very tasty bass. GLWTS!1 point -
The guy probably borrowed 50k off his old nana to "live the dream". Or maybe he used a redundancy payout - Like David Brent did to record his single? 👍 https://www.youtube.com/watch?v=JB0kKi5p8Ho1 point
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Happier than if you took all of them off ?1 point
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Please please please not Hermes, the biggest bunch of inept morons you will ever speak to in your life.1 point
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The simple answer is, yes. The longer and more complicated answer is. . . to my ear the sound from the SM added a nice bit of mid range and top end to my SC and I did prefer this to my SC + SC, but I'd say it's a small margin of preference. I can't afford the SM at the moment so I've recently been adding more top on the bass which I think has improved my sound. IMO this isn't comparing apples and pears, it's more Pink Lady's and Jazz apples. After 2 years I'm still happily gigging both SC's and, to throw a spanner in the works, I'm also happily gigging my 2 Two10's in a rather loud blues/rock band. If you are interested in hearing what an SM can do for your SC, give Alex a call and ask if you can borrow their demo SM and use it on a gig or 2. Maybe you'll hate it, or maybe you'll start saving.1 point
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I have one of these to mount the transmitter on my strap - very neat and works well (Edit: I searched for this link but just realised it’s only one page back on page 18 of this thread...)1 point
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Color sample time. Gold over pick guard material scrap, both black and white. I use Didspade pigments. Very economical and available in small quantities. Satin gold pearl powder in clear acrylic lacquer. Pearl gray primer/ surfacer is the way to go.Touch up gun for samples. Matching headstock on this one.1 point
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If you wear a glove to pluck, why not sew a pup into the palm - then you can learn to move up and down the neck to always be on the 'sweet spot', and subtle shifts in intensity will be possible too. Shouldn't be too difficult to master.1 point
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TC Active Power Management ios either compression, limiting or a mixture of both. Lots of amps have those and don't inflate the power ratings. However to be fair to TC and other manufacturers they just use our gullibility in their marketing. Sell an XYZ-250, XYZ-500, XYZ-450 and we will all think the numbers = watts. Of course much of that beloved Valve Sound is partly due to the natural compression that is inherent in many valve amp designs, so dialled in compression may not be a bad thing especially if you are trying to emulate a valve sound. The slight of hand is then claiming that you have gained power over a similar SS amp that does not have dialled in compression.1 point
