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Showing content with the highest reputation on 11/04/19 in all areas

  1. 4 points
    First update from Jon. Body taking shape so to speak.
  2. 3 points
  3. 2 points
    For VAT and duty you need to allow an extra 25% on top of the DECLARED value of the item and postage. This will include the courier handling fee for sorting out the payment of VAT and import duty. The important point here is that the VAT and duty are calculated on what the sender has DECLARED on the customs form and there is a good chance that they will declare the initial value of £441.21 rather than the discount value of £378.18. They might even declare a higher value if they want to cover themselves in the event of needing make an insurance claim. Finally and most importantly there is CITES. That looks like a Rosewood board that will be subject to CITES regulations and requires licences at both export (to be paid by the seller who will most likely pass on the cost to you) and import (to be paid by the buyer - you). AFAICS the import licence cost £74 and I would expect to export licence to be much the same. You MUST have both licences, without them the instrument will be seized at customs and probably destroyed. For this reason alone I would be very reluctant to buy any wooden musical instrument from a country outside of the EU. So allowing a worst case scenario expect the import and VAT to be calculated on the original full price of £441.21 plus the shipping cost, and budget for having to pay for both CITES licences. A quick and dirty round up calculation makes that £850 all together. I would allow £1000 in total to cover any unexpected over-valuations by the seller when shipping and whatever the costs of the CITES export licence in Mexico is. That way you shouldn't have any nasty surprises, and with a bit of luck you'll end up paying closer to £850.
  4. 2 points
  5. 2 points
    A piece of art by Warwick Custom Shop, the bass is really new, buyed few months ago (payed 5000). This is the bass: https://shop.warwick.de/en/Instruments/Electric+Basses/Warwick+Custom+Shop/Streamer+Models/Streamer+Stage+I/Warwick+Custom+Shop+Streamer+Stage+I,+5-String+-+Natural+Transparent+High+Polish+-+17-3706 Specs Matched Headstock Swamp Ash with Natural Transparent High Polish Nut Just-A-Nut III Brass Mechineheads Warwick Machine Heads with wooden knobs Neck Wood Wenge neck with Purpleheart veneer stripes, 5 laminations Fretboard Tigerstripe Ebony fingerboard (Black and White) Led or Fluorescent Side Dots lluminated Side Dots Fingerboard Radius 26" Scale length 34" (long scale) Width Nut 45,0 mm / 1.8" Width 12th fret 60,8 mm / 2.4" Width 24th fret 69,11 mm / 2.7" Fret quanitiy material and size 24 Jumbo Bronze (extra hard) frets (width: 2.9 mm / height: 1.3 mm) Frets IFT - Invisible Fretwork Technology Body Shape Curved Body Shape Bodywood (Topwood / Backwood) Solid Swamp Ash Body Pickups Active MEC J/J Electronics Active Warwick 3-way electronics with rechargeable Lithium Battery Pot layout Volume P/P / Balance / Mid / Treble and Bass stacked Bridge system 2-piece solid Brass Warwick Bridge with 16,5 mm Normal spacing Strap system Warwick security locks Construction Neck-through Colour possibilities Natural Transparent High Polish Finish Hardware colour Black, Chrome or Gold hardware String label / String gaues Warwick EMP strings 045" - 135" (38301M) Weight 4.7 kg Included accessories Warwick User Kit including hex key tools and Cleaning cloth (RB PROD 50990 B COMP) Packing Handmade Genuine Leather Bag by RockBag ( RB 20205 B W) Certificate Individually issued certificate of authenticity 1 Matched Headestock 2 Alternate Fingerboard Wood 3 Alternate Body Wood 4 Alternate Neck Stripes ID Code 0265081004GWASH5WW Number --- Matched wooden electronics compartment
  6. 2 points
    I’m a font of knowledge mate. I just only set it loose when I’m asked 😉
  7. 2 points
    *does a quick homage to Dood's picture* 😀 It's JD's desert island bass. If he was washed up on a desert island, and a Westfield was all that was there - he'd have to play it. 👍
  8. 2 points
    Just picked up an extremely fine '87 MIJ BB3000A. These basses are really, really good!
  9. 1 point
    For sale my BC Rich Eagle bass from 1978. Neck Through, original DiMarzio double PUs, Badass bridge, Grover tuners, etc. This is the most seeked version, in Koa wood. No modifications or repairs, fully working Neil Moser electronics. Neck is straight, low action, and fully working truss rod. The bass has just been profesionally setup and plays like a dream. The amount of tones you get out of this bass is amazing. Also, a very rare feature for one of these basses from the era: very light weight, under 8,5 pounds. Original hardshell case included. I bought this bass on this forum a few months ago, it's a great bass. I put it on sale only to finance the purchase of another bass that I have that I spotted Price is 2400 EUR.
  10. 1 point
    This started out as New Amp Day thread for my Genzler Magellan 800 but has grown a bit more than I was originally anticipating…. DISCLAIMER - what is stated below is just my opinion based on my experience with my bass and my cab being played at smallish pub gig volumes. I thought I'd throw that in because there might be 1 or 2 comments below that some people might not agree with. This thread just relays my experience, thoughts and feelings at the time. Having been in the market for a new amp for a while, I'd managed to narrow down a shortlist of amps that, on paper at least, ticked all my requirements; lightweight, plenty of power for bigger/outdoor gigs, more voiced towards a vintage rather than a toppy hi-fi tone, and, sensibly priced (not cheap as such, but nothing ludicrously expensive either). In the end I'd managed narrowed it down to the Aguilar Tone Hammer (either the 350 or more likely the 500), the Darkglass Microtubes 900, the Mesa Boogie Subway D-800 and the Genzler Magellan 800. A recent trip to Bass Direct armed with my own cab, a Tecamp M212 and my trusty passive Sandberg TT4 jazz bass, I had the chance to try out and compare the Darkglass (DG), Mesa (MB) and the Genzler (GZ). My test driving session was in BD's store room which is nothing more than an industrial unit full of boxes, so possibly not the best acoustic environment to test gear out, but that's how it was. I started off running each amp with all the tone controls at 12 o'clock. Any adjustable preshape filters were set to their off/minimum settings and the GZ and DG were set to their clean channels. All 3 amps the were broadly similar tonally, but there were differences. The MB had noticeably more bottom end than the others. The GZ sounded flat with no obvious frequencies either cut or boosted. The DG, somewhat surprisingly, had what sounded like a bit of a roll off at the lower end. Not much, but it was noticeable compared to the others. However, the DG had something more pleasing in the mids to my ear. It probably all comes down to what each manufacturer perceives a 'flat' sound to be. Next came an hour or so of finding out what each amp had to offer by going through various eq settings and swapping the amps over to compare each one with similar tones dialled in. Each amp yielded some fantastic tones and each had their own distinctive voice too. In fact I wasn't able to coax a bad or unusable sound out of any of them. It was a tough call as each amp has its own strengths. Mesa Boogie Subway D-800 The MB was the least versatile of the 3. Tonally, it goes from shouty and aggressive to really shouty and aggressive. Not that it has a bad tone, far from it, but it is anything but subtle. With the 4 eq points set to 12 o'clock and the voicing control set flat there was more inherent low end than the GZ and the DG in particular. Using the bass control, voicing filter and deep switch, you had 3 options to dial in even more bass. Not that you need any of them. I found that I was having to wind the bass eq back to 11 or even 10 o'clock and keep the deep switch off to stop it getting overpowering. Not that the bottom end was dominating the other frequencies, but I'd imagine that it could get overbearing in a band situation if you're not careful. The voicing control on the MB, which is an adjustable mid-scoop, has a wide range and to my ear but anything over about 9 or 10 o'clock and you were getting into 'sounds great on its own but makes you disappear from the mix' territory. Less is definitely more with that one. The tone that really put a smile on my face was playing the Sandberg on the neck pickup, the voicing set at about 8 o'clock, deep switch off, the bass eq set about 10 o'clock, low mid at 12, upper mid at about 1 and the treble at about 11. It pretty much turned the TT4 jazz into a Precision! This tone very nearly sold the Mesa to me there and then. But much as I loved the core tone of the MB, it was hard to make it sound anything other than aggressive and bass heavy. It felt like it was constantly having to be kept in check. Darkglass Microtubes 900 There's no denying that there's a lot of hype about the DG, and rightly so, it's a cracking amp. On the clean channel with the EQ set flat, it was the least bassy sounding of the 3 but had something going on in the mids that I really liked but can't quite describe. It was in no way thin sounding, it just didn't have quite as much low end as the other 2 with all bass eq at noon. Upping the bass eq to about 1 o'clock bought the low end back up to a similar level as the GZ. Of the 3 amps, the DG has the most comprehensive eq section which was quick and easy to get a great sound out of. It was the only amp not to have a preshape or contour feature, just a 4 band eq with each mid band having a switch for 3 preset frequencies. A setting that sounded great to my ear was bass between 1 and 2 o'clock, low mids at 11 on the 500hz setting, hi mids at 1 on the 750 hz setting and the treble just backed off a touch. The big selling point of the DG is the Microtubes circuit which has both the Vintage Microtubes and B3K voice settings available. Tonally, like a lot of guys, I want a bit of warmth/hair/grit/additional harmonic content (insert your favourite adjective here) in my sound, not overdrive as such, but something that is neither squeaky clean nor yet dirty. A bit grubby I suppose. I was expecting to get some mild warmth using the VMT setting at lower gain, but even with the drive and blend controls down in the 8 to 9 o'clock regions there was still too much on tap for what I am looking for. Switching to the B3K mode changed the voicing and actually sounded less driven to me, somewhat surprisingly. It also introduced a slight mid-scoop too. At higher gain settings there are some great overdrive and distortion sounds to be found, but these are way over the top for anything that I play these days, everything from 70's disco to contemporary indie. Having said that, the hairy teenage rocker in me who first picked up the bass more than 30 years ago was screaming at me to buy it for the fun factor alone. Unfortunately, the podgy, balding, middle aged man in me (which is me these days) was urging something more sensible. The DG was still tempting for the tone and flexibility of the clean channel alone but why pay extra for the Microtubes engine that I'm not going to use other than for a bit of fun? Just to be clear, I'm not saying that the Microtubes engine is inherently bad sounding or unusable, it's just that even at minimum drive settings it was too full on for my requirements. I read recently someone describing the DG sound as like the bass being played through both a bass amp and a guitar amp at the same time (or words to that effect) and I think that sums it up perfectly. It's not your classic Ampeg saturated valve bass sound, it more like a bass being played through a Mesa Boogie dual rectifier. Genzler Magellan 800 Of the 3 amps being compared, the GZ was a last minute addition to the short list. I'd borrowed a friends Genz Benz amp a few years ago (can't remember what model it was, unfortunately) and found that it had a bump in the boxy sounding low mids that I struggled to eq out. I'd just assumed that this would likely also be the case with the GZ. The good news is that this assumption was misplaced. On the clean channel with the tone controls at noon and the contour control wound right back the tone was to my ear the flattest of the 3 on trial. The blurb online talks about a “weighted feel to the notes” which I'd just assumed was the usual marketing claims. However, the low end is definitely forceful, punchy and powerful but without feeling overbearing like the MB. The mids and treble are equally present without being boxy or brittle. The eq section is simple and flexible and contains bass, treble and a single semi-parametric mid plus the contour control that has 2 different voicings, A & B. Voice A is a variable mid-scoop which doesn't have the range of the one on the MB but is far more usable for it. It was only when I cranked it up to 2 or 3 o'clock that it started to get into the realms of potentially not cutting through in a band situation. The MB voicing filter hit that spot much sooner. Voice B is a more vintage sounding mid bump with a slight low end roll off. Voice B set to about 10 o'clock with the bass pushed up between 1 and 2 o'clock gave a great, useable retro tone. Like the DG, the GZ has a dedicated drive channel, but even when ragging it the range of drive available on the GZ still seemed less driven than the DG at minimum settings. That's no bad thing. The drive sections on the DG and the GZ are very different creatures. The GZ is on the more subtle but extremely usable side. I've been through many different amps and pedals trying to find the perfect warmth/hair/etc. tone and the only that came close was the Aguilar Tone Hammer. The GZ drive (more warmth and enhanced harmonic content than a pedal style overdrive) is rich and creamy with plenty of clarity left in the underlying bass tone. There's no fizz either, just smooth, dynamic warmth. Think along the lines of the Tone Hammer but with more definition or a SansAmp at lower gain but without the mid-scoop. This was what convinced me to go with the Magellan. It just sounded right, my favourite settings being with both A or B contours at about 10 o'clock and the eq section all at noon. Even though I was looking for exactly the warm/hairy tone that the GZ delivers, the clean channel has a real immediacy about it. With contour A at about 9 o'clock, bass and mids at noon and the treble back at about 11'o clock, the tone was powerful, punchy and clear. Even now having played through the GZ for several hours I can't decide whether I prefer the punchy clean channel or the warmth of the drive channel the best. Aguilar Tone Hammer 500 I didn't try the Tone Hammer (TH) directly against the other 3 at the time, but having already played through a TH 500 a couple of weeks before, I was leaning more towards the other 3 over the TH which is lower powered (although in reality would probably have easily covered every possible gigging situation that I'd ever need it for) and although it does the warm, vintage tone brilliantly, it didn't seem to be massively versatile. Summary Without sounding like a cop out, these are all truly great amps and I could happily live with either of them. I wouldn't say that any one is any better than the others as each one has something different to offer. Ultimately I ended up buying the Genzler as that was the one that suits my needs. But it was a tough decision. The GZ also happened to be £150+ cheaper than the others, but that was in no way a deciding factor in my choice. If you want a set-and-forget single tone amp, the TH and MB are great choices if their inherent sounds are to your liking. The TH is perfect for warmer vintage tones and the MB is the ideal choice if you want something more aggressive. But if you're looking for subtlety you definitely won't find it in the MB. If you find yourself asking "is it any good for metal?" on a regular basis, the DG is the obvious choice, although the MB is definitely worth considering too. Don't write off the DG purely as a metal amp, the clean channel is good. Really good. For my needs, I found that I was having to reign back both the MB and DG to keep them under control. But I'm sure there are plenty of guys who would just let them rip and sound a damn sight better than I ever could! The simply great tone and the versatility of the Genzler is what made me choose it over the others. It doesn't do the insane drive and distortion of the DG but instead it delivers a convincing smooth valve like saturated sound that could be used across many different genres. It's not dissimilar in that respect to the Tone Hammer, but the GZ has more clarity to its drive sound. The clean channel has a lot of power behind it, real weight, dare I say the H word? The drive channel and the different voices of the contour are usable through pretty much their entire ranges. The only thing I don't like about it is its daft name
  11. 1 point
    I have a pair of minty Aguilar SL112s (with covers) available. Photo below shows them with my old racked gear. £450 each. Collection preferred (unless you want to pick up the P&P fees). I bought these to give me the option of running a dual channel set up, but I've ditched all the rack gear and gone with a lone Darkglass head, so they're now effectively surplus. No silly offers please; I'm selling well under what I paid for them, you know this is a very sweet price. Happy to split. P
  12. 1 point
    Sorry, didn’t mean any offence. Just a genuine question. I get it, as you say you want a look that isn’t available off the shelf any more.
  13. 1 point
  14. 1 point
  15. 1 point
    If you're thinking about buying a second one gimme a shout and take a wee trip up to Edinburgh
  16. 1 point
    You will pay import duty and VAT not just on the cost of the bass but also on the courier fees. You might be unlucky and find that Parcelforce are the UK handler and they will add an extra £20 or so 'admin/handling' fee. I've looked at the bass, I'm not sure the board is original so you might be taking a risk. Given you'll pay well over £700 total, possibly more, I'd wait for one in the UK
  17. 1 point
    Well, that kind of scuppers the new search function. I tried 3 times to find the member, and drew a blank
  18. 1 point
    The pots are shot but a mate is fixing this. Will probably hold fire on changing the pups as this won’t be my regular gigging bass and i’ll See how the stock ones sound initially.
  19. 1 point
  20. 1 point
    How I love this thread. I'm going to use all of the transcriptions as sight-reading practice
  21. 1 point
    https://www.farfetch.com/uk/shopping/men/jc-de-castelbajac-vintage-mafalda-comic-strip-shirt-item-11256296.aspx something like this. Then get a pink and turquoise pen and highlight appropriately
  22. 1 point
    Raised ‘a’ polepieces are what you get on the 57/58 models - to do with old strings being crappy, and fender make them like they used to For reissues. it’s the same reason some strat pickups are “staggered” polepiece versions.
  23. 1 point
    +1 for Vintage! I had to borrow the studios Vintage Jazz when my Sandbergs electrics gave up the ghost and was impressed. The build quality and hardware was excellent, it sounded plenty bassy in the mix, but the neck was what really impressed me, very slim and fast. There's one on evilbay as we speak with bidding at just £30!! I'd be tempted to have a cheeky bid myself if I didn't "have enough basses already Stephan!" 🙄😁 https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.co.uk%2Fulk%2Fitm%2F293041733620
  24. 1 point
    That’s cool! Seems a good price too.
  25. 1 point
    The above post was brought to you today by the Basschat P.C. translator 😂
  26. 1 point
  27. 1 point
    I use a Soundcraft Notepad 5 for practice, small gigs and most of all as a PC interface. You'll need a Hi-Z input to take a bass guitar straight in, some mixers have one and some don't. The beauty of something like the soundcraft is that it connects to the PC via USB, which is two way so you can play along to youtube or whatever and also record if you ever want to. Bass into channel 1 PC into USB socket Headphones into headphone socket Bass and music come out of either headphones or pc speakers.
  28. 1 point
    I think there is the difference! Are you reinterpreting a song to add a new angle to it.... Or has the band gone "sod this, the solo is too hard will just bluff something much simpler"
  29. 1 point
    Better to play the wrong bass line right then play the right bass line wrong. This attitude that if you're not good enough to play the original note for note then you shouldn't be playing it is absolute b0ll0cks! Play something you can manage, that fits and sits well with the rest of the band and 99.9 percent of the audience wouldn't hear the difference. Play what you want. Enjoy playing it. If anyone tells you it's against the rules then tell them to go [email protected]#* themselves!
  30. 1 point
  31. 1 point
  32. 1 point
    H......I've got a JD wig that I'm not using in Glam Fever - It's seriously hideous.
  33. 1 point
    As the thunderbird has a logo on the pickguard I was thinking of doing the same, because this is going to be called the Exploder I was thinking maybe this might work??...........
  34. 1 point
    oh, and if you can find a Fender PB70-US ASH R/W model you will be laughing!!!!!! Stunning Japanese made basses! I would grab one in a heartbeat , funds allowing. I'd say that that's a great place to start for your John Deacon bass.
  35. 1 point
  36. 1 point
    Now... I’m no expert but my brain recalls. It started as a 1962/63 Sunburst was stripped to natural was refinished to black, had gold hardware fitted and a black pickguard thats how it finished its life I think there might have been 2 Sunburst ones and the one he preferred was the one which went through changes
  37. 1 point
    That's a steal for someone. £400 for an MIJ Jazz? Never mind the finish that's 2/3rds the price by my reckoning.
  38. 1 point
    You owe us a N(Lâkland)BD! Do the right thing Bub 😁
  39. 1 point
    Watch this space - @stevie has now got a CNC flatpack kit prototyped for the 12" cab (which debuted at the South West Bass Bash), so hopefully he will be giving more info soon!
  40. 1 point
  41. 1 point
    no longer trying to be the people pleaser delusional perhaps?
  42. 1 point
    Stunning bass these!.....had a tiger eye and it was superb!!!...build and sound, and having active pickups super quiet....if it wasn't for the narrow string spacing i would still have it GLWTS.
  43. 1 point
    Is that a different bass to what you started this topic with? There have been some sudden changes if it's the same one. Don't get me wrong, they're both lovely but I am missing the grey one, mainly because I liked the headstock a lot. I thought @Jimothey had secured the reputation for major mid-build design rethinkage.
  44. 1 point
    I'm surprised at the dislike of that bassline. I think it's sublime.
  45. 1 point
    I'm not a fan of either McCartney or The Beatles - probably because they have no direct influence on my musical DNA, I've always felt fairly indifferent. However, it really bugs me (or "triggers" me, if we're gonna be all 2019 ) when this term "overrated" gets thrown around in relation to artists who are indisputable originators - absolutely pivotal and seminal in the evolution of both music as a creative & cultural force, and in the development of the role of the bass. McCartney is one such - his influence, direct or indirect, is enormous, it's probably entirely reasonable to say that without him & his band, none of us would be playing the music we play now, wherever we sit on the musical spectrum, or however we personally feel about McCartney. Fair enough to say you don't like him/them, or you think so-and-so would have done it better - but "overrated"? Look it up.
  46. 1 point
    +1. Spot on.. And IMO, Macca was a master of striking the right balance between playing exactly what the song needed and making the bass line something of real interest that helped define the song. That to me, is so much more important than measuring a bass player's status/rank/greatness etc by qualities such as technical dexterity and virtuosity alone. Just my 2p worth of course and I know that there are many very strongly held and diverse views about this subject on this forum. Have a nice day folks.. 😊
  47. 1 point
    Hi guys, Just to let you know that if you own a Focusrite interface, they are giving 6 months of Sonarworks Headphone for free. So guys and gals, go to your Focusrite account and get your copy, it is only for a limited time.
  48. 1 point
    56 years between them but both incredible............
  49. 1 point
    I have a bit of a thing for white Basses so when this arrived before Christmas for my 40'th it was clear the good lady had been paying attention My brand new Lakland.
  50. 0 points
    Yep it's a beauty. Problem with getting sudden unwanted bills is having to sell the best of your instruments.

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