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Showing content with the highest reputation on 22/11/18 in all areas

  1. 3 points
    I couldn't resist - I've just ordered one. I'm going to be in so much trouble when the missus notices it.
  2. 3 points
    Stanley Clarke (of all people) came out with an absolute diamond piece of advice once in an interview. He said "Learn all you can about theory and then forget about it". I didn't really get that until years later. It basically means learn as much theory as you possibly can, but just play what you think sounds best, regardless of what you think will impress.
  3. 3 points
    had no problems with the sale, buyer has confirmed he's received the Bass in good condition
  4. 2 points
    For sale Musicman Sterling 5 black maple in mint condition 2014 4,1kg MM hard case included. No trade Price: 1300€
  5. 2 points
    Very tempted to bid in & see what happens.
  6. 2 points
    Surely that'd be the G, not the B string.
  7. 2 points
    This is sarcastic, in fact, you are the one who didn't get it, sorry. And by the way, the correct sentence shoud have been : "I'm not sure you understand sarcasm : furthermore, I guess English isn't your mother tongue ?" And certainly not this approximation : I'm a bit fed up with this "not your mother tongue" remark as I do write a way far better English than most of the natives on this website. Period.
  8. 1 point
    Here is my really lovely excellent made in Ireland Freya PB 51. It's lovely in creamy Olympic white with a black scratch plate and Maple neck and finger board, the best colour combo in my opinion. The guitar has been upgraded with Bloodstone pickup and wiring loom which really makes it sound amazing, just what you would expect from a 51P. The bass has through body stringing, an excellent half thickness hand made Guy Lewis Rosewood thumb rest and really excellent La Bella flat wounds on it. To finish off the 50's vibe I added a cracking glamour stick on that I think looks really nice. The bass weighs in at about 3.9 kg on my bathroom scales and it's really comfortable and well balanced. It has an amazing slim fast Jazz profile maple neck and finger board.. It comes in a Fender Gig bag. I had sold this bass to a really solid and trusted member of the forum but I had to cancel the sale because I thought I would need it. Unfortunately the project that I had hoped for didn't work out and therefore it's for sale again. I would prefer collection but am happy to courier at the buyers expense. No trades thank you. I'm not really playing now and clearing out my bass gear. Thanks for looking. I live in Earls Barton near Northampton and you are more than welcome to come and try this out. I would like £200 please. It needs to go because l’m not playing anymore! Cheers Mike
  9. 1 point
    TRADED Updated with cash price. 1550€ or approx 1375£. I might regret this.. But sudden urges towards getting the right P or maybe a PJ bass have made me wanna try making it real. So, my beloved Fender Roscoe Beck .. VERY VERY good condition. One mark on the fretboard and 1 or 2 un-photographable tiny marks in the paint ( you can't really see them!) .. Only thing to mention is a ding in the fretboard - that's really all there is to note! (See pic). These are becoming rare! And in my view the 4 string is super rare. This one has that awesome Lake Placid Blue finish with matching headstock.. Whats not to like. It is a very powerful bass that has a really broad range of tones. Fits in about any musical setting I have thrown at it. Very resonant and lively bass with a super playable neck. Setup with DR Pure Blues. It weighs in at 4.160gr and its a super resonant and lively bass. Bass is located in Denmark. Trades: The right Fender P could do the trick.. Or maybe some other high end versions of the P or a PJ bass could also catch my eye. Also, special Stingrays or maybe a short scale like a Fender Mustang. TRADED
  10. 1 point
    Impeccable construction, fanned frets were no real problem, lightweight and well balanced, looked very nice, but couldn't get a sound out of my ABZ4 that I liked. Maybe that was down to it being the passive version. Also found the slanted pickups left me nowehere comfortable to play - but that's mostly muscle memory I guess, I maybe would have persevered if I'd liked the sound. Try one though - you may like it... or not
  11. 1 point
    I’ve got an ABY splitter pedal at the front of my effects chain that has both a fretted and fretless bass plugged into it simultaneously. Just a click on the pedal and the input switches from one instrument to the other. Rapid changeover when looping. You could do it that way. At the other end of my effects board is the looper. I use a Boss RC-300 multi-track looper, which itself has multiple inputs. So that too.
  12. 1 point
    I’ve still got the programme upstairs. Signed by Girlschool, who were the support. Great gig by both acts. Saw GS loads of times, only managed Heep once. I love me some Heep. It’s saying something that TB isn’t even my favourite Heep bassist; that’s the marvellous Gary Thain.
  13. 1 point
  14. 1 point
    Would agree with that. The amount of musos on there who can't drive, don't own an amp, have label 'connections' and are just plain deluded.
  15. 1 point
  16. 1 point
    When I asked this years ago on PSW a wise old owl told me to that you always spend 50% more than the big ticket items. In other words, if you've got £3k for this, don't spend any more than £2k on mixer, speakers, monitors. That way you've got £1000 left for accessories. I thought this was overly cautious, but several PA purchases later I've realised it's great advice. A good speaker stand is £30 minimum. Roqsolid or similar cases can be £75+ per speaker. That's £450 if you've got 2 mains, 2 subs and 2 wedges. If you're micing all of the drums and all of the instruments then that's 10 cables easy, the more for the mains and monitors (IEMs normally use more cables than wedges) so maybe that's 20 cables, 25 with spares. That's £300+. Don't get me wrong, £2-3k is a decent budget, it's all doable, but don't spend a grand each on two nice mains and one nice mixer, because there's a whole lot more to it than that! Everyone will have their favorite brands and specifics, but the general advice above is to go digital mixer and powered cabs and I 100% agree. We don't do too many weddings, maybe 2-3 a year, but we do a lot of other functions, birthday parties, biker rallies and such with the following. Behringer XR18 (£400 used for me, they've come WAY down in price now to less than that new) American Audio Media Operator (£100, backing music between sets) MikroTik hap Mini (£25, a must as EVERY digital mixer router is carp....) All of the above in a 4U Gator shallow rack (£60 or so) This rack is mine rather than the band's and I use it with other speakers in other projects. Mains: 2x Alto TS115A (£500 used) Subs: 2x Alto TS18A (£500 used) Mons/Fills/Etc: 2x Alto TS115A and 2x Alto TS112A (can't remember the prices and we don't often use all 4) We mix and match the 4x 15s and the 2x 12s, often use the 12s as tops for instance. If I'd have had my way we'd have gone for 2 nice tops (and no subs) like the RCFs mentioned above, but I was outvoted as the band balked at the price and "we need subs". I'd like IEMs in principle but I have an hearing problem in one ear and I find any headphones disorienting and really uncomfortable.
  17. 1 point
  18. 1 point
    You are right... Warwick can be a bit naughty shape-wise. I believe there's a similar tale with the Buzzard shape too.
  19. 1 point
    If you want power, get a set of Alan Entwistle JBXN. Very punchy, supremely articulate and at around £42, not ludicrously expensive. I love mine.
  20. 1 point
    > reminds me of a Warwick thumb in many ways No looks like a Streamer copy
  21. 1 point
    First time I've dealt with Kev and I wouldn't hesitate to do so again. Fantastic comms, bass well packed and in excellent condition as described. Great guy to deal with, totally painless transaction a pleasure to trade with
  22. 1 point
    I sold Stew a Bruce Thomas P bass - a very pleasant transaction! Stew was fast to communicate and pay, and let me the know the bass had arrived safely. Thanks again Stew, highly recommended Kev
  23. 1 point
    Oh man. I've been eyeing these up to replace my cheapo fretless. And I'm in Glasgow. Welp.
  24. 1 point
  25. 1 point
    I was thinking it would look fab with a pearloid scratchplate
  26. 1 point
  27. 1 point
    OK - still got to finish shaping the neck and the volute, but this is what the headstock is starting to look like. From a functional point of view, I'm MUCH happier with this: The final sanding will straighten up the right-hand walnut flash: Going to see if I can finish the neck carve this afternoon before the next stint of grandparenting!
  28. 1 point
  29. 1 point
    How does the BB615 work then?
  30. 1 point
    This is going to sound rather obvious, but when I make loops I just swap the same lead over between bass and guitar. Usually the guitar goes though a multi fx pedal first which I take out of the signal chain for the bass, but it's really not much faff at all. I can't really see a benefit in having two instrument inputs unless you want to record vocals at the same time you're playing, after all you can presumably only play one guitar at a time.
  31. 1 point
    Fantastic basses, I've owned two of these in the past and they were superb. Good luck with the sale.
  32. 1 point
    JMB is like 80% dreamers and time wasters. I sometimes reply to ads just to see what their angle is. Im pretty sure there’s a thread about dreamers on JMB somewhere on bc. The content in that thread is top notch quality.
  33. 1 point
    Can you get hold of an inflatable double bass and just mime on that?
  34. 1 point
    Sorry, I didn't make it clear - the Entwistles are in my Bitsa Jazz, this Squier retains its stock pickups, which are good, and I won't be replacing them.
  35. 1 point
    I've used tone rider pickups in a 75 jazz, which sounded great. Those are pretty cheap new (around 50 for a set).
  36. 1 point
    +1 for Fender Kingman. Lovely Jazz neck with a body large enough to produce a decent acoustic output to keep up with most mandolins. Great Fender branded preamp with on-board tuner, notch filters & quick change battery compartment.
  37. 1 point
    I've got the 17's and love them.....no more ringing ears. It might be worth persevering with the plugs for a little longer before changing the inserts. You say that at rehearsal you couldn't hear your bass at all....this is strange as the Pro17's are supposed to reduce ALL frequencies pretty evenly. If the band has a balanced sound, all you should experience with the plugs in is the same balance....only quieter!
  38. 1 point
    I actually find that anti virus progs on Macs cause more problems than they solve. There's definitely something causing it - let us know if it happens again and on what site.
  39. 1 point
    Always thought these were a prime candidate for a status graphite neck.
  40. 1 point
  41. 1 point
  42. 1 point
    That's all the confirmation I need. Thanks, Dave.
  43. 1 point
    I think if I was pretty sure I wouldnt be recognised and there was little chance of any muso's in the audience (as seems to be the case in the OP) I'd probably do it with xmas approaching.
  44. 1 point
    In order of capability (all things being equal) I would rate 10" and 12" loaded cabs from least to most thus: Single 10 (relatively low volume gig) Single 12 (low to medium duty) Two 10 (medium duty) Two 12 (Loud) 2 x Two 10 (Loudest of this bunch) I've never tried gigging a single 10 alongside a drummer without backline support and only use 4 strings. I doubt two small 10" cabs could go both loud and low especially with a 5 stringer if you're playing rock with drums.
  45. 1 point
    I’ve sold and bought about 450 things on eBay. Only have 201 feedback. Really Irks me when people don’t leave feedback.
  46. 1 point
    So, could I wait 36 hours? Could I b***ery Thing is, one of the remaining major co*k up potentials is fitting the machine screws. It has to be right because there's no wiggle room with machine screws. The inserts have to be absolutely in the right position and absolutely vertical. So rather than worry about it, it was better to just do it. First I dowelled the previous holes - they were originally drilled to 5mm and the machine screws are 4mm and they weren't quite in line with where the neck is now going to be: Then remeasured and drilled the holes for the stainless machined ferrules: Next, drilled the 4mm holes, using my mini press drill to keep it all vertical: Used the point of the wood drill to mark the exact centres on the assembled neck though the body, used some packers to make sure I was square to the mating face incorporating the neck angle, drilled a 6mm hole and fitted the machine screw inserts: Then moment of truth - would it all line up and would the machine screws fit (trust me, they usually don't!). Another 'knock me down with a feather' moment: And THAT means I can look to fit the fretboard very soon and start the neck and heel carve!
  47. 1 point
    You can dull the finish of tru oil with something like micro mesh (very fine grades) or lapping paper - but it won’t truly feel like bare wood. Even the impregnated acrylic finishes don’t. Untreated the wood is more likely to mark or discolour, so it’s always best to have a finish on of some description
  48. 1 point
    Last night's gig. Hmmm, going to sub title this post as "How to make an emergency snare drum" First two things you need are an idiot french drummer who's left his on the kitchen table and then driven 120 kms to a gig thus, removing the possibility of going back for it. Secondly, you need British resolve. Next, remove his 14" tom whilst he's sitting outside telling everyone we can't play tonight and tighten to nearly breaking point. Look in boot of your car for anything handy. Somehow find a bathroom plug on 2ft of chain. Secure on edge of floating drum rim, drape across top head and fix with Gaffa tape on other side. Voila, one not too clever sounding but very funky gig-able makeshift snare. We were still playing at 2.30 this morning. Went down a treat. We'll see what he forgets at tonight's gig😂
  49. 1 point
    I've owned 2 Barefaced One10's and no way are they as loud together as a typical 4x10. From what I gather the Two10 is much the same as 2xOne10's as you would expect. Something based around a Kappalite 3012LF would be the only real option such as a Fearless F112 or the TKS 1126 (I own 2 of these and they are loud given enough watts). I'd avoid the Orange given the fact that it's Isobaric. Not many real world advantages over a single speaker and plenty of disadvantages including weight.
  50. 1 point
    Tested Setup: Orange AD200b Mk3 Orange OBC 115 Orange OBC 410 (low volume) - borrowed an Ampeg 410E for the gig. MIJ Fender Precision Bass 60s reissue, roundwounds, OBBM Cables. After spending some time with this amplifier, and not to forget the matching cabinets, I feel it is now time to make a review of this equipment from a normal bassist’s point of view. I do not have any type of in depth knowledge of the capabilities and internal workings of these products, and to be quite honest I’m glad I don’t. I have researched a little into how to use a tube amp correctly, but that’s as far as I go. I will leave the rest to the manufacturers. You can quote all you like from the science/physics point of view, but if it sounds average, what’s the point?! Sometimes, it all comes down to sound. My career is busy enough, so I want to trust that everything is right for me. I wanted something that didn’t need any customisation, changes, upgrades, messing about, etc etc. I wanted a good amp straight from the manufacturers. No pedals, no tube change, no internal mods. My old setup lasted me for a long time. I used to own a Trace Elliot GP12 400 SMX Amp (damn good!) and awful Peavey cabs. I used the Trace a fair amount, and at the time it was bought, it was almost top of the range. The cabs did get some use, but I never took them to University, so I was often borrowing/using backline from other bands etc. I was lucky enough to test some very good cabinets, and again some very poor cabinets, (even worse than the Peaveys!). So, the Peaveys were sold (thankfully). When I started to take Bass seriously again, I wanted an amp that was TOTALLY different. The Trace was loud, and crisp, and very clear. Sometimes, I felt there was not enough actual bass, with too much emphasis on treble, but I’ve felt this with a fair amount of solid state amps. I do however really like the pre-Gibson textbook Trace sound. They have a great top end, but when it comes down to it the low end isn’t a punch like I want. I am surprised with the LM3 I now own as it is incredible, and does have nice warmth to it. So, the heavy old Trace went for the new lightweight MB Little Mark 3. I do miss it…as when I recorded with it cranked….wow….thunder! I nearly went all Ampeg. Nearly….. I ended up buying an Ampeg 810E (which is now going next weekend) and I haven’t used it. It is too big, and not really what I thought it would be.! I’m very glad I did not buy an Ampeg amp. The Ampeg ‘growl’ may be excellent from a cranked vintage Classic, but from the VR and indeed the newer CL, I just wasn’t impressed. The SVT-3 Pro could not keep up with my Trace, so that was a no. I even tested a 90s 3-Pro (I think it was Pro), and I was unimpressed. It had no volume at 8ohms at all. The guy changed the gain to add some grit…but it did very little. But…they have their fans. Their current prices are far too high. So, I cancelled my order for a new Ampeg CL, (a few days after I tested one – much to the annoyance of the LOUD reps in the UK who I was ordering from). Something just told me to wait it out. I then tested the very mighty Orange stack. This setup had been on the shop floor for about 5 days. It wasn’t there when I tested the Ampeg a week earlier. My drummer came with me, and immediately spotted it. ‘Test it, nowwww!’ he said. And so I did. This amp is the best tube amplifier I have EVER heard. I was sold within seconds. And that is exactly what an amp should do…make you want it. Not….’oh it sounds ok, it needs some tweaking’. If it needs tweaking, don’t buy it. I bought the amp and the 4x10. The shop had not looked after the 1x15, and had let it get scuffed/marked etc, so I went to my local shop to get a brand new one. AD200b Mk3 – So, the amp itself is incredibly simple. Orange state this is why is sounds so unique. 3 passive controls, treble, middle, bass. One master volume, one gain. That’s your lot. My old Trace had a massive 12 band eq, pre-shapes, etc etc. I don’t like lots of controls. It detracts from what your bass and amp should sound like. It’s probably why I also liked the Little Mark 3 enough to go straight ahead and buy one. The amp is 200W tube….Orange watts….so don’t be fooled. If you need more than 200W Tube, then you have hearing problems. This could easily compete with solid state 500-600W. The Trace was 400W, and this amp just beats it hands down. Weight wise, it is nowhere near the weight of an Ampeg CL…which is good. It’s probably the same as the Trace I used to own, but a little taller, not as much depth by far. This is now flightcased, which is a necessity! There are handles on the flightcase, but once in the case it weighs a lot! OBC 410 – The Orange cabs usually have 50:50 split. A lot of people have never tested them, and assume they aren’t for them. Then again some people love their tone. They are built for a vintage tube tone. They do a good job with a lightweight head too, I had a little test. They are great for rock/warm chunky P bass J Bass, but despite the solid states sounding good, tube is where they shine. The horn is set already, and it works well with the tube overdrive. It does not sound harsh, just adds a nice sparkle. The 410 pushes a LOT of air. It is constructed incredibly well, and feels very strong. Everything has been manufactured with a lot of attention to detail. The tone is perfect for me and it has a great vintage feel to it, chunky, warm, nice clarity, aggressive. The only drawback is the weight/bulk of the cab. It weighs roughly the same an Ampeg 410E…..but it sounds so much louder. I have yet to gig this, but even at low volume I love it. OBC115 – This cab surprised me. This contains an Eminence Kappalite 15 (the part number escape me) and is probably why the cab is so damn good. Side porting, quite compact for an Orange cab, not TOO heavy, but not light. The speaker throws out so much it blew me away. For the first time since I have owned the setup, I took the amp and this one cab to a loud gig. This cab pushes so much low end and grit it amazed me. My guitarists both use tube Marshall 60W heads (cranked FULL), with 4x12 cabs….so I have those two guys and a drummer to compete with. This head/1x15 cab was audible even when the amp was only on 2.5 notches out of 10 (id say about 9 o’clock). I have my gain on around 2/3rds (2 o’clock). So, the amp isn’t even getting warmed up! And we are talking no PA support apart from for the drums. Later, when we had a short break, my friend thought it would be fun to hook up his 8 ohm Ampeg 410E cab to the setup, so I effectively had a full stack. Jees….now this was loud. I had to turn down. My guitarist could feel the bass from 4 metres away. If I had used my OBC410 with the 115 it would have been overkill. So…hands down, this cabinet really performs well, and punches its way through the mix. It has a great low end, but the high freq are also very audible and sweet even though it has no horn. Thanks to Tom Bowlus and his 1x15 tests, as they swayed to buying this cab as well as the 4x10. So…that’s a real test. A few guys told me 200W tube is a bare minimum for bass amps. Let me just say I disagree! I don’t care for 1000W digital amps. I don’t see the point. How did loud bands back in the 60s/70s/80s play? They used 30/50w guitar amps and 100/200/300w bass amps (all tube)? Because with tube, that’s enough. There is clearly a HUGE difference between a real tube amp and modern solid state amps. I like them both, but every solid state I have tried just does not have the punch this Orange has. Everyone seems to say ‘oh well, my amp is much lighter, and yes it doesn’t sound as good but its less hassle’. If it doesn’t sound as good, do what I did, and own both ends of the spectrum, so you can have the lightweight for times when space/time is tight, and the tube for recording, for bigger gigs etc. A lot of people said I should have opted for the Mesa 400+, and Im glad I didn’t. Not only does it look damn boring, but I’d NEVER use 400W Tube. Im not in Metallica. Plus I would have wanted a new one. And I would have barely got a growl with that much volume on tap. I know plenty of bands that use the AD200b in big professional venues, and they have had no issues. The PA is there to support you and push the sound/vocals/etc…so if you are playing a large gig, it should be mic’d up anyway. And, if Im honest, if I did want 400W in one head, I would have got a Hiwatt. Probably the best part of testing it all was the drummers face when he heard the first few notes when I really cranked the gain, but kept the master fairly low (so it was gritty and dirty but not stupid volume). This is with stock tubes. The grit/overdrive/dirt from this amp is amazing. The whole band loved the natural dirty tone the amp was kicking out. We are talking Queens of the Stone Age/Converge/Weezer ‘Pinkerton’ bass tone but MORE….more clarity. Fuzzy, warm, gritty, punchy, but great clarity. So, as much as Matamp guys probably don’t like Orange gear, I love this amp/setup. If you want warmth/grit/tube tone, in an uber cool looking package and you are still fine with normal weight gear, then try one quick! Plus, and let me add, their customer service is second to none. You are buying from a UK manufacturer, thus supporting our industry, and also taking a weight off your mind if anything needs checking on it. I want a Matamp head as well now….but, that’s a few years away. I also want the Orange 8x10, but that’s just far too big/heavy. I have heard the Aguilar 8x10 with this amp….and the punch combined with the Aguilar DB warmth was amazing. Suitability?! Well, let me see. It does finger/pick excellently. It’s great for rock/punk/metal/warm funk/hardcore/blues and would also fit in well with modern/classic indie when you want the bass to take some limelight. With a pick…when you dig in and hit the e (or drop d in some parts of the set) it sounds awesome. Its aggressive and punchy. With your fingers, it is warm, fluid, syrupy (a strange word) and great for the P bass thud. This amp is not like the modern ‘quick response’ lightweight heads, so don’t expect it to be right for people who want to be crystal clear and precise. I tried some slap, and it sounds like slap should! The 15 sounded pretty damn good for slap. I haven’t tried slapping on the 4x10 yet. Overall, it is more for vintage players. I would imagine it suits classic basses like Stingray/P Bass/J Bass/Grabber/Thunderbird more than anything. Next weekend, I should own Aguilar 2 x DB212s and I am trading in the Ampeg 810E. I cannot wait to try the Orange and the LM3 with the Aguilars. I can easily imagine even just 1 2x12 can easily cut at a gig. Plus….how good will Chocolate Thunder look with the Orange amp?! Chocolate Orange anyone?! Lets face it, when you spend a lot, an instrument/amps aesthestics are very important. Maybe that’s just me, I’m vain. So…I feel very lucky to own all this nice gear. Ive worked my ass off saving for it, and ive sold everything that wasn’t right for me. Ive sacrificed holidays and cut down my nights out to get the money. HOPEFULLY, that is amp/cab gas over for at least a year. I MAY be tempted with a small Berg/Schroeder setup….but to be fair, I probably don’t need it. I might even try the new Orange SP212 and a 1000W Bass Terror early next yr Sorry for the essay, thanks for reading.
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