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Showing content with the highest reputation on 09/12/18 in all areas

  1. Only time I've ever depped it was by accident. Nearly 40 years ago I'm back from college for the summer, been playing guitar for about a year and I've put it around I'm looking for a punk band. I get a call from this bass player says he's looking to put something together, do I want to hook up and try some stuff, he's got a room booked upstairs in a pub Tuesday evening. Sure says I. Tip up at this pub, hump my gear upstairs to find about 20 people sitting around at tables, drum kit in the corner and a stand-up bass. Little old bloke scurries over to me, put your amp over there next to the kit, we'll start with some standards. Standards? WTF is going on? Little bloke gets out his fake book and calls some jazz standard in something like Db (a key with which I am entirely unacquainted) and off they go. I noodle some single note stuff in the wrong key and what seems like five years later it ends. Little old bloke's giving me murderous looks. He calls another song I've never heard of. Same thing happens, ghastly row, punters are looking bewildered, the drummer's looking nervous. I suddenly realise that I am a total novice playing guitar at a jazz gig and I've never listened to jazz in my life let alone played it. We make it to half-time and little old bloke storms over and gives me a complete bollocking, says his mate George told him I was a great player, what's going on? 'Who's George?' says I. 'I don't know any George'. 'George the Dixieland trumpet player' says he. 'Never heard of him,' says I. 'Well, there must be some mistake' says little old bloke. 'Clearly,' says I. He decides he doesn't need my services for the second set, they'll play it as a duo so I off I trudge, feeling a bit disheartened. To this day I have no idea what happened to bring about this bizarre disaster and I've never played Jazz again.
    7 points
  2. Been after an 8x10 for a while to complete the SVT rig. Went today to pick up one I got on eBay. Sounds good, except I can't really crank it at home right now to gig volume to really hear what it sounds like in anger. Pretty angry, I'd imagine. After hearing horror stories about carting them about, I have to say it's actually easier (provided you've got wide enough doors etc) to move than a couple of 4x10s, just because you wheel it about like a trolley. The head is more of a pain in the backside tbh Anyway, i'm delighted & wanted to share in the delight with you
    4 points
  3. Hey gang! Here's a rare bird... I've been on the lookout for another backup head as I've got a fair bit coming up... some of you might have heard me mention previously(!) that I'm not a fan of Class D's, but I am a fan of the Hand Box R-400. By fortunate stoke of serendipity, a Maruszczyk Bass Tank popped up on the pages of BC for a very reasonable price. As it's a Hand Box Fortec 400 in disguise, I pushed the buy button. The power section of these heads are similar to the R-400, i,e, 400w solid-state but without the tube front end. They're dual channel, so very hand for doublers (which I'm not). The EQ section is a bit more tweakable than the R-400 - TBH this is largely lost on my as I usually run everything flat, but it's there for when I need it. And on top of that, I reckon it looks pretty darn funky. It sounds great in the house - as ever, the proof is in the pudding, but I've got lots of rehearsals and gigs coming up to put it to the test. I'll report back.
    3 points
  4. On hold, subject to completion of transaction. ****************************************** A very clean, all original version of these highly collectable basses. The Mustang bass is popular because its 30" scale, and distinctive sound. Notable users include Tina Weymouth and Bill Wyman. It was the last production bass designed by Leo Fender before he left the company. Probably the finest playing, and best looking basses I have had the pleasure of owning, and a very reluctant sale due to financial reasons. As the pictures indicate, the bass is in fine condition, with just the occasional ding and scrape as you would expect from a 50 year old instrument. The matching headstock is rare, and to purchase this bass would be a sound investment, as value will only increase over time. Comes with hight quality non-original hardcase, and is strung with flat wounds - it plays like butter! Full set of pictures can be found here: http://imgur.com/gallery/NpFo1bU I am happy to ship the bass to UK mainland or Europe at buyer's expense.
    3 points
  5. Actually when I feel most like an impostor is when I'm sitting at home alone trying to work out a bassline for a new song and it just doesn't make sense, nothing I play sounds right. Especially when it's a song that should be easy. That's when I look at my beautiful bass guitars and think I should stop kidding myself and give them all away to *real* musicians.
    3 points
  6. It could be the audience that are the imposters ! Just some people out for a beer and a chat when a band breaks out, they are not necessarily an audience we just think they are
    3 points
  7. Well I like mine, so poo to you with knobs on
    3 points
  8. I did think I was sorted for bass stuff for the immediate future, but I've recently experienced an almost undeniable impulse to get a P bass just so I can have one bass permanently fitted with flats. Seems like a perfectly sensible and rational idea when I read that back.
    3 points
  9. The topic title did say "confused", so I ran with it ! 🤣
    3 points
  10. Haha, but that was a couple of months ago! My gear larder is now fully stocked and my effects cup runneth over. The undiminished zeal to the cause I now display is that of a true Sibob convert.
    3 points
  11. Blue Nile, A Walk Across the Rooftops
    3 points
  12. I think weight does affect the sound, but it’s merely one of a whole range of things that affect how a bass sounds and feels and by no means the most important. And even then, the weight could be beneficial or detrimental to the sound when mixed with different factors like electronics, neck type, hardware, strings, even the finish. As such it’s impossible to say, and the only way to judge an instrument is as a sum of its parts.
    3 points
  13. Jazz Bass wiring looms for sale. All new components, individually hand assembled, wired and tested, by me, with screw terminals for solderless installation. Very High Quality Bourns Mini Pots. 250K Audio, 6mm split/splined shafts. Switchcraft Jack Sockets, .047uF PolyDrop caps. Standard kits mounted on card, ready to mount on your control plate. Jazz Bass VVT + S/P £37.50 Series/Parallel Push/Pull on Tone Pot 2. Jazz Bass VBT £37.50 Blend 100% Both at Centre Indent For above, if required; New Bell plate £12.50, Knobs Black/White Line £6 a set. 3. Jazz Bass Stacked £97.50 Complete Drop In kit, CTS 250/500K pots, 3 hole plate & Chrome/Black knobs. EDIT: 4. Standard Jazz Bass VVT CTS 250K pots, £32 Postage: Most EU; Royal Mail International Signed for £9.60 or Courier at cost. USA £10.15, anywhere at cost - please ask. Payment with order please to: [email protected] PayPal friends/family/gift/fees paid accepted. Fitting Notes: All Pots have 3/8" Mounting threads needing a 9.5mm hole, Nuts need a 1/2" AF spanner. Full Size Pots approx 25mm, Minis approx 16mm Diameter, please check your control cavity for space and your control plate hole size. Screwdriver supplied and connection note for pick up and ground wires, no soldering required. EDIT: 25/06/19 Precision Bass Looms added and cheaper postal option: For these P-bass looms and Jazz VVT, with either Bourns or Alpha Mini pots only, I can now offer a alternative delivery to save you money! Royal Mail Signed For, Insured, will fit through letter box Precision bass loom, Bourns 250K Log. Audio Mini pots. 6mm splined shafts for push on knobs. Switchcraft Jack socket, PolyDrop .047uF Cap. 2 way screw terminal connector. Fits any P-bass including Squiers and others with narrow control cavity routing, 20mm minimum required. Complete with hardware to suit pick guard / control plate mounting or through body up to 6mm. The Bourns pots are top quality and have a lovely smooth but firm feel to use. A great replacement / upgrade for cheap and nasty pots in many basses. Complete with wiring instructions and screwdriver. £23.50 PayPal Friends/Family please to [email protected], includes signed for, insured, Royal Mail delivery UK. EU £7.50 extra, other at cost. Cheerz, John Any variations - please ask, all kits custom made - for Guitars also! Free advice and full after sales backup provided, please see my feedback: https://www.basschat.co.uk/topic/67544-feedback-for-kiogon/?page=17 Cheerz, John I don't know where the pictures have gone - please ask if you want a photo of any kit. Cheerz, John
    2 points
  14. Rare Fender HMT Bass. Was made in Japan in the late ‘80s, early ‘90s. Semi hollow body with f-hole gloss black body, with triangular sharks tooth inlays in the fretboard. It has a P-bass pick up, together with an unbuffered piezo bridge pick up. This is an active Bass, new 9v battery fitted.( under back plate) Controls are, master volume, tone, and pick up blend, which gives a range of different tones. It is very light, and well balanced. There are some small scratches to the body and neck, and some light buffing on the front. The neck is fairly straight, and It plays very well. Comes with a Fender gig bag. Collection from the Chichester area. £400.00 ono
    2 points
  15. It’s the old double edged sword that compression can be used as a tool or as an effect and can often be misunderstood in these contexts. As many of you already know compression can be set to tame peaks, to help ‘manage’ your sound or it can be used to create a particular sound. Using a compressor is not an indication of a player having poor technique nor will it ‘fix’ poor technique - bum notes and poor timing won’t be fixed by a comp and sensitive musicianship can be ‘lost’ by over use of compression. A good player not only knows how to play their instrument but how to use any effects they employ. Having command of your gear (effects etc) is necessary if one wishes to get the most out of them. Common sense! Some compressors can add a little bit of ‘colour’ which one may or may not like or they can remove some frequencies which again some do or don’t like. Some folk like what compression does, some don’t. If you can get something out of a compressor then it’s right for you, if you don’t need it or hear it being useful then that’s the right call for you.
    2 points
  16. Bill's right. It's pixie dust, really. Even RMS wattage claims are pretty meaningless. They may tell you how much an amp will heat an 8 ohm resistor for a few milliseconds, but into a reactive load like a speaker and across a full range of frequencies, that all goes out of the window. And that's before you start factoring in speaker efficiency, etc. Best to ignore all claims and audition stuff in real-world situations.
    2 points
  17. Thomann say: Length adjustable from 1020 - 1250 mm Seems about right, think my preferred length is about 100cm depending on thickness.
    2 points
  18. Very cool, then I have at least 10 gigging years left. I started gigging at age 12. Blue
    2 points
  19. One of the differences between @Len_derby 's build and this new one is that @Len_derby opted to leave the poplar burl voids as voids (by preference if I built one myself I would also opt for this) as it leaves the top looking very natural. On the other hand, coast-line Hawaii, which is where this build is headed, is quite different in terms of salt (really!) dust and major humidity swings. As such, the client - who has run a successful carpentry business for many years (no pressure there, then) - is understanderbly a bit wary of ANY voids, whether they have had a finish applied or not and has opted for the voids to be filled on his own. The voids in this wood are generally in the centre of darkening wood and so I am filling them with z-epoxy mixed with a generous amount of dark sandings. I collect sanding dust of all of the main timbers I use and the one that I judged to be the most appropriate is some cocobolo dust from the infamous 'Tom's African Build' build. When wettened with epoxy, it has a very dark reddish brown hue which is pretty close in tone to the dark areas of the burl. I've done this before and at first it always looks shockingly bad - but trust me, it will look fine in the end Here's the first application: An hour later it was set enough to sand back down to the wood and I then applied epoxy, overfilled, to the areas where the original application had sunk into the void and below the top surface level. Here it is with those overfills: I will sand these down later this afternoon and see where it leaves us - hopefully at a stage where I can start doing the final rough sanding for the body and neck. So yes - it looks a bit stark at this stage but don't worry...it's going to look great, honest
    2 points
  20. Well, I got it! First impressions are a feeling of quality...
    2 points
  21. Well it is, but bear in mind she can usually be bribed with cake.
    2 points
  22. Well at least some good has come of it!
    2 points
  23. When the pints start talking back, it's time to go home!
    2 points
  24. Much better to take both basses into Earth orbit and A/B them in freefall. Weight disappears but mass remains. If the bass with greater mass still sounds 'better' (for a given definition of 'better') then you have the opportunity to start a whole new argument!
    2 points
  25. Selling my Ken Smith BSR5EG Elite Specs: Ebony Top, Walnut Back, Mahogany Core, 5-pc Ebony Fingerboard, 5-pc neck 34 scale Gold hardware, Original Hard Shell Case. Great Sound (ebony top clear and focus) Asking 4000 EUR
    2 points
  26. then there's the opposite - times where you kick donkey. You know it's all sounding great in the room. Everyone in the band is singing and playing at the top of their game, and you're all locked into a really tight feel. You think to yourself 'this is ace! If I was in the audience, even I'd be impressed (and I'm not easily impressed)', but you get next to NOTHING back from the audience. That's far more demoralising than feeling a bit guilty about getting a reaction you didn't think you earned
    2 points
  27. Just moved it (well re routed it) it’s now first in chain, just after the wireless. Only plugged in in just to test it and noticed the lights on the compressor are a lot less. Looking forward to getting it wound up now. (Be about right that my next gig is an acoustic gig and don’t need my board for that....)
    2 points
  28. I didn't realize that this site was licensed premises ! Mine's a shandy ( I'm driving)
    2 points
  29. The late great Jimmy Smith played all the bass parts with his feet on his Hammond. Very tasty bass parts they were, too.
    2 points
  30. Converts - yee beware of the rath which shall be put upon you should you chose to defy the cause and pledge allegiance to the ways of the GAS. Winter is coming.
    2 points
  31. You may want to put it first if you have a high output bass and find it hitting the other pedals too hard. I find that some of my basses slam my compressor and overdrive/fuzz pedals just that bit too hard and the Thumpinator helps with that. The downside to that is that with my jazz bass, my Zvex Concert Bass doesn't actually drive the low gain channel hard enough anymore! Having the Thumpinator first also means that I'll get maximum booty out of my octaver when I switch it on. Odd thing though, sometimes I've seen a notable "pop" when switching on other pedals with the Thumpinator is first. I've experimented with it last and it was fine but prefer it first for the reasons mentioned above.
    2 points
  32. Amp'll time for that, surely..?
    2 points
  33. Mate of mine is into gypsy jazz (he's a guitarist, obvs). He went over to the big festival they have every year in Holland and joined in with some of the workshops. He realises during said workshops he is sitting in with some of the very best gypsy jazz musicians in the world - 1 being Django Reinhardt's grandson! Later he was due to be on stage for a group performance - playing rhythm guitar (which in gypsy jazz is no calkwalk), but ends up sitting at the front! Ok he thinks, I'll keep my head down and just concentrate on my rhythm work. During the performance all the top guys (remember, these are the best in the world) take turns to solo. He is sat next to Django's grandson who, after finishing ripping out a blinding solo (and if you now anything about gypsy jazz you'll know that everything is played at at least 90 mph) he turns to my mate Andy, (for that is his name) and indicates it's his turn...to take a solo! My mate did his best and 'got through it' as he said. The next day, he's sitting playing in another workshop when the aforementioned Django's grandson turns up with some of the other top performers, joins in with the music and everyone takes a turn soloing, my mate included, not quite so nervous this time and felt he made a better account of himself compared to the previous evenings performance. When the workshop finishes my mate then recounts how nervous he was at the previous evenings show and how he felt like an imposter. The reply of Django's grandson and all the other top players was to tell him that it matters not what you play, but the fact that you do and that everyone has to start somewhere. They were so encouraging and supporting he's booked to go again this year.
    2 points
  34. Unless you have a Mark King complex, you'll probably find that 4kHz isn't much of a limitation at all.
    2 points
  35. As AGEDHORSE points out in a later post, I got my maths wrong as both peak voltage and current are 1.414 times greater than their RMS values. Thersfore PEAK Power is almost twice "RMS". I have left the rest of the post intact but in the table below, Peak power should be 1414W and peak to peak 2827W all rounded to the nearest whole number. Peak of a sine wave is 1.414 x RMS and Peak to Peak is 2 x Peak. So can we believe that the Veyron is 707 Watts. Are Uli's boys playing tricks on us? Well yes to both and it is the slight of hand that causes the problem. However as has been said already, it is a loud amp and is really good value. I have read most of the guff online about power and Rod Elliott has, as usual summed it up well on his site http://sound.whsites.net/power.htm Incidently you will see a term Average power used on some HiFi sites and although not wrong, it is as wrong as RMS watts or RMS power. It should be just power but many, me included, like to say RMS to ensure that people know I am talking about the RMS voltage X the RMS Current. Of course then you have the issue of distortion. If you quote a 10% figure it will still be inflated. I am happy for 1% figure to be quoted on a bass amp although I would like better than 0.1% for HiFi
    2 points
  36. *SOLD* Hughes & Kettner BK200 Bass Combo £125 From H&K's BassKick series. This particular example is in near-mint condition and has seen very little use. The pics show how clean it is. The 15" Eminence driver hasn't even been played-in yet. The input stage features H&K's 'Tube Touch' circuit and also their 'Dyna Clip' power stage, which go some way towards emulating the warmth of a valve amp. Most manufacturer's attempts to do this involve fitting a 12AX7 valve at the input stage - which usually achieves little except to create a marketing opportunity - but in this case the technology does indeed result in some harmonically-rich and articulate tones, but without the token valve. The EQ is wired parallel, which is unusual. This has the effect of separating the frequencies somewhat and results in a much cleaner, more lucid sound. The 'Punch' button is in essence a very mild mid-scoop, but it doesn't result in loss of audibility in the mix like some 'contour' -type buttons, and is actually useful. There is also a really sweet-sounding Leson HF horn (switchable) which adds air and a nice glassy presence, but is never harsh or strident. The single-knob compressor is a real beauty - you can get a tight, controlled bottom end and smooth, even levels across the strings without any squashy artefacts or pumping. It sounds natural and very transparent. The controls have a nice weight to them, are positive in use and the Compressor and Master controls are reassuringly large, with a pleasing retro look. The combo is built to a high standard (made in Germany) and would easily handle a punishing tour... or twenty tours, come to that. You get a full 200W into 4ohms, but this doesn't mean you can't add an extension cab (or cabs), as another unusual feature is how the amp deals with impedance - on a 'normal' 500W amp you'd get around 300W at 8ohms, add another 8ohm cab and get 500W at 4ohms. But with this amp the impedance is additive - so if you plug in an 8ohm cab the amp runs at 12ohms, if you add a 4ohm cab it will run at 8ohms. Brilliant if you think about it, as this feature protects the amp - it will never run at an impedance lower than it can comfortably handle, yet you get all the power of the amp into the 4ohm driver when it's used as a stand-alone combo. Very clever. It may be 'only' 200 watts but it's a loud combo and can provide good heft and authority without distortion. It will easily keep up with drums and guitar and is very suitable for use in small to medium rooms - and stages of any size with PA support. It's a really good thing, has some truly innovative features and is offered at a price which wouldn't even buy you a 15" Eminence driver. So get in and get yourself a high-quality, great sounding combo at a bargain price. Cash on collection only please. I'm in SE London close to the A205 South Circular. Will consider delivery for fuel costs if you're within striking distance. 200 Watts RMS 15" Custom Eminence Driver USA Tube Touch & Dyna Clip Circuits Leson HF Horn (Switchable) 4-Band Parallel EQ Variable Compressor Additive Impedance Cab System Dimensions: 552 X 604 X 385mm Weight: 24kg Made in Germany My feedback is here. I'm open to (sensible) offers. No trades, thanks.
    1 point
  37. *Live music is entertainment...unless it's jazz
    1 point
  38. One of my all time favourite records, sincerely.
    1 point
  39. Yep, I did exactly the same thing. I think for some the transparency just doesn't work. Even though loudness wasn't an issue, something was just missing. What I would describe as umph!
    1 point
  40. That’s about the top and bottom of it. I’ve got more on the shelf than in use and the ones in used don’t get that much use. Got a couple that are very important and if I could just leave it at that that would be great. Or would it ?!?!? 😜
    1 point
  41. I think that’s the point. It’s a syndrome. People at the top of their game forget all those hours of work that have got them where they are and are suddenly left with that feeling of “How the hell did I end up here? Someone is bound to find me out.” With no reason whatsoever to feel like that. Although I suspect no singer ever felt like that.
    1 point
  42. Multiple OC’s lol bet that’s interesting. Its just come to mind I remember years ago, the guitarist from Skunk Anansie (check spelling) did some sort of world record by linking as many random effects as he could lay his hands on (over 100) on Brighton sea front. Inaudible mush, but fun nonetheless
    1 point
  43. This mirrors my experience. Over the years ive brought effects but hardly ever gigged them because i was too lazy to hook stuff up etc. This all changed when i got a small pedal board for Christmas though. Having it all pre wired meant i started taking the pedals out with me, and then of course all hell broke loose and i started buying loads of the blo**dy things. Im already on the second board as the first got filled instantly. Saying that, i have 9 new (this year) pedals in a draw, and only 3 (also new this year) on my board. I guess it takes time and a bit of money to find what really works. The one thing that kicked all this off is i have always used a wireless system, so i always have at least one more thing to plug in. if i didnt use that i doubt id use pedals at all.
    1 point
  44. Keep us all posted, that looks like a great gig, chuffed for you, major opportunity playing the O2!
    1 point
  45. 1 point
  46. A singer friend of mine and myself were starting a new project, writing songs together. We would meet at mine to write and record a bit of guitar and bass. I was playing guitar but I wanted to stick to bass, so we auditioned guitarists. This guy comes in, and within seconds we realise he can't even play. He was having trouble shaping chords with is fingers... and you could see he was feeling very nervous and embarrased. Singer is giving me this look like "we're done here"... but I felt sorry for him, so I took one of my guitars and showed him something simple to play, and I played another guitar and singer sang a bit... then moved to bass... and over all I taught him 3-4 little things and we played for another 30 minutes or so. Then he left, apologising for his lack of preparation and he laughed at how silly he was for thinking he could do it. Then he says he had only been learning guitar for 2 weeks... I emailed him a couple of days later to see how he was. We laughed. He was a cool guy, he just jumps into things with lots of enthusiasm and not enough preparation sometimes We became friends, I encouraged him and eventually he went on to form his own band. I played a couple of gigs with him as a dep, recorded a bit, I went to his wedding... so yeah, cool audition ha! stinky poo guitarist at the time, but I ended up with one of the coolest friends I've got.
    1 point
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