Leaderboard

It's a...BB3000MA with org. hardcase and org. strap, tool and keys for the hardcase. I would love to have a green one but could not let this go by... When played it with the old strings (prob. org too) I thought it was DEAD. With new D'addario steel strings it sings and growls wonderful. How and why can anyone do this to an instrument ??? It had a thumb rest glued on that had to go. Silly thing! A wonderfull bass indeed!!! 🙂 Happy!

I'm not sure whether anyone is interested, but I've just finished a guitar with a brushed nitrocellulose lacquer finish. I always swore that I'd never use nitro - too poisenous both for me and the planet. However, a friend asked me to make them a Tele using a beautiful piece of flamed spalted maple, and nitro was the only finish that worked. Polyurethane, oil and CA glue turned the test pieces into a dull splodgy brown mess, not exactly the look I was going for. Nitro though brought out all the beautiful colours and let the flame really sing. Here's the piece of wood before I started.... Although I do spray waterbased polyurethane, there's no way I can spray nitro so I thought I'd try brushing it on. The internet though had almost no information about whether it was possible to brush it on, how to do it, or what the results would look like. So, hopefully this thread will help you decide if you want to do it. It is definitely not an easy option, but.....let me get up some finished pics, and you could decide whether it was worth it. This is what I used: This is Rothko & Frost's standard gloss nitro that they sell neat, ie not in aerosol. This was a 250ml bottle and I used the whole thing plus a bit more on the body. I brushed it on with an artist's brush, a trick I stole from @Andyjr1515. You need to make sure that it's a brush for oil paints, with natural bristles, otherwise the solvents can melt them. I used a Daler Rowney Bristlewhite hog hair fan brush, size 4 (though a size 6 might have made life a bit easier). They are comically long so I cut mine to a more manageable length. Schedule was something like this: 1. Sand to 220 2. Grain fill with Aqua Coat 3. Ignore the fact that the grain fill was pretty poor and crack on with finishing (john, john, john, will you never learn?🙄) 4. Brush on R&K Nitro, thinned with 30% R&K cellulose thinners, probaly about 10 coats. 5. Curse myself repeatedly for failing to grain fill properly. I've made enough guitars to know that preparation is everything, and if you want a smooth finish grain fill is critical. Impatience though sometimes clouds my already pretty poor judgement 5. Wet sand with Wet/Dry paper (water with a drop of Murphy's oil soap) with 600 grit. 6. Another unknown number of coats. It felt like hundreds, but was probably another 5 or so. 7. Wet sand 1000 grit 8. 'wet' sand with Gerlitz Carnauba wax on a piece of Mirka Abralon 1000 grit. This left exactly the satin sheen I was after. I found the key was to brush the nitro on in one stroke, never go back over somewhere you've just painted. Because the nitro dissolves the layer before, I found the brush would start 'sticking' as it got caught in the previous layer. My approach was to do lots and lots of layers, knowing that I would have to go back and wet sand quite a lot of it off to get it completely flat. In reality, because my grain fill was....well, shite.....I had to do many many more layers than I otherwise would have had to have done. If I ever do this again, I'm hoping that 10 layers in total would be enough, assuming a flat surface to begin with. I lay the guitar flat on a 'lazy susan' turntable, did the top and the sides at the start of the day then turned it over and did the back and sides. Would I do it again? Ummm....yes, and no. Yes, if the wood was crying out for nitro, as this piece was. I'd be a bit reluctant to do it again on an entire guitar body though. Even though it was brushed rather than sprayed, the fumes were still pretty bad, and I wore a proper mask with organic filters at all times. On a guitar with a binding like this one, next time I'd probably brush the top with nitro, as above, but do the rest of the body with something else, tru oil probably. The binding would provide a natural break between the two finishes, so the two finishes wouldn't ever touch. And on a flat surface like a guitar top (rather than the fiddly curved inner horns) you could whizz through the process in no time. It's worth mentioning that the Rothko & Frost nitro specifically says it is not suitable for brushing, though I'm not quite sure why, as far as I could tell it went on perfectly nicely. The process also used much less nitro than you would get through if spraying (I think). With a proper grain fill I'm pretty sure I could do a whole body with one 250ml bottle. An aerosol contains about 150ml of nitro, so I used probably the equivalent of two aerosols worth. I've never finished a guitar with rattlecans, but I'm pretty sure it would be many more than that. So all in all I'm pleased with the result (but the next one is going to be Danish Oil, which I can do on the kitchen table😂😁). And some photos.....

Hello! Im a teenager who has picked up the bass guitar. My bass and amp are the Yamaha TRBX605 4-string, and the Fender Rumble 40. I've been playing for about 9 months now.

I'm thinking the spalted beech one would look nice with an ebony board and a maple neck. Nice, plain colour combination. This is the kind of thing (longer neck from another bass but this is how long the bass will be).

The World Is Not Enough- with the blatant caveat of shoe horning a name drop in. My band were doing a day at studio 1 at AIR in 99, and whilst there was a break in proceedings as the singer and drummer went to get some food. I was chatting to the producer when David Arnold walks in, says hi to the producer and asks if we wanted to hear the new bond theme as ‘nobody else has.' We didn't take much encouragement and sat there listening to the song on the enormous monitoring system grinning from ear to ear. Red letter day and then some.

OK - so why another Dreadnought Acoustic? Couple of reasons. A pro-player I know has been borrowing a number of my bass and guitar builds over the past 5-6 weeks to use in some videos he is recording. I'll post the links when they are done but he is planning to acknowledge me as the maker for...nothing at all! Based on that he has done a number of the demo videos for both Laney amps and Faith acoustic guitars, I class that as a bit of an honour! Secondly, and flattery gets folks everywhere with me , my dreadnought acoustic has caused a bit of a sensation: The tone had been remarked on before, but since then I changed to a mixed set of strings - 1st two are from a 10 gauge set and the other four are from an 11 gauge set. And WOW! Honestly, it sounds stunning. And he thinks so too! And so do his pupils! And he keeps on going on about how good it sounds. So...is it luck? Well, the original one I built for our band's vocalist is still going strong and sounds pretty close. So...hmmm...try for a hat-trick? And then I had a (admittedly) rare bright idea. A bottle of wine doesn't seem to do justice to half a dozen professional videos of my instruments being played. And he is primarily an acoustic player... So if I make this new one to his preferred spec (I know he prefers a slightly narrower neck)? And if it's as good mine, it's his. And if it's not quite, then mine above is his (I can reshape the neck easily enough) and the new one is mine. And "played by pro-players" wouldn't be a bad strap-line Sounds like a plan to me. What could possibly go wrong?

So? Still interesting, isn't it? Does playing bass matter? We're here to have fun, right?!

What kind of music do you want to play? That should lead your choice. These Chorus - thickens up your sound and adds a 'shimmer' to the top end. Good for melodic lines, subtle, especially if you use a guitar flanger with bass (which can work well as it keeps the bottom end clear and spices up the higher tones). Flanger - deeper more in-your-face version of chorus, used slow can give a swooshing rather artificial sound. I tend to use it when I want an obvious effect. Phaser - gentler version of phase and chorus as it affects a broader range of sounds. I find this very lovely but less popular these days. [Use chorus+flanger at very different rates for really wild sounds as they intermodulate, good for 'psychedelic effects'.] EQ pedal - can be useful if used with care. Essential if you have to use other people's amps with lots of confusing dials as you can set up a 'neutral tone' and use the pedal to get the sound you like. Use to get two different sounds if you have a 1-pickup bass or to get a different sound for special effect. I prefer to use it with subtle bass boost if I need some welly when using the bridge pickup. Distortion - very personal. I have a HM2 for completely wrecked sounds, but most people want a much subtler effect. The higher harmonics ina distorted sound often make chorus/flange etc. more noticeable. Delay - Thickens your sound but can get rid of definition I find what sounds good to me sounds awful when played back as it ovewhelms other instruments, best used in small doses. Tremelo - very cheap effect that adds a wobble or even a stutter (depending on depth) without affecting the note pitch. Useful for some genres like surf music. Usually best used in a subtle way as too much and it can 'overlays' a rhythm on your playing (OK if you want this!). Compressor - vary from simple on/off effects on some amps to flight-deck complexity. I use mine with attack and sustain near middle values and adjust level so it matches me playing normally. My aim is to use fairly subtly to even out levels when playing varied lines. Slap players generally more compression to balance out the extreme differences between hard slaps and pops and gentler muted notes. Turn off when you want to emphasise dynamics (i.e. play soft and then loud). Tuner - really useful and most can also act as a mute pedal. Next to add for me? Octaver - I really like the sound. Main thing with effects is don't over-use them. Make sure you have a good sound without any effects (except perhaps EQ and compression) and rely on pickup switching/tone know for most changes of sound. Bring in effects only when needed, over-effected instruments can be tiring to listen to. That said, they can be great fun if you find an excuse for stomping on several at once!

I decided to give it a go on the body to see how it looks??................. 😀

@Shmeo welcome to Basschat and more importantly to the world of bass! There are a lot of bass players who don't use any pedals at all and simply go bass to amp. If you're not sure where to start a multi-fx is a great introduction to the typical sounds and tones that a pedal can provide (and they usually have a built in tuner as well). Very happy to recommend getting any of the Zoom pedals as they are really good value e.g. the newly released Zoom B1-4 or B1X-4.

I've just got back from my first gig since 1995, the 'Abbey Road Army' one. We were the 'Grizzly Beers' and on second. The sound was spot on as you might expect from a venue with a proper stage and a list of past bands like this: Were were hoping not to make fools of our selves but in the end we had a great reception and everyone was saying how good we were, especially how we fitted all the instruments together. We started with Going Back Home as easy to play and a crowd pleaser. The Saturday Night's Alright for Fighting which is a tad more challenging! Our secret weapon was Boulevard of Broken dreams where we got all those stops spot on, including the end - our effort to practice endings really paid off. We did 40 minutes and finished with My My, Hey Hey. I started it with my HM2 pedal dialled and a plaintive howl of feedback, calmed down a bit for most of the song, and finished with HM2, tremelo, flanger, EQ and chorus on and the compressor off! The plan was to go out with a bang and it turned out we managed to make a picture fall off the wall at the far end of the building in the next room 🙂 We ended witha group hug! A few moments of sheer terror, but in the end we all had a brilliant time and the other bands were great too! We are meeting up in a couple of weeks top discuss a plan for world domination!

With the retirement of Michael Pedulla, the shift in production of Ken Smith basses and the transition to the use of new apprentices by Vinnie Fodera etc I think we’ll see basses ‘made by the original’ becoming sought after, regardless of whether the instruments are any different. It’s happened before; isn’t there a ‘Dan Smith’ era fender from the 80s or something that for some reason is worth more? A lot of the innovators from the 70s/80s are retiring or dying and I don’t know if we’ll ever have that same era of ‘new’ ideas like that, on the same scale (although I’m all for innovation, collectors don’t think like that). So the basses will be worth more and newer ones take inspiration from them. So for a bass to be considered valuable in the future I’d say it would have to be made ‘in house’ by one of the original ‘masters’. Do you think a Sadowsky made by someone after Roger retires will be worth as much as one he made? Folks on TB are already saying that Smith basses from the ‘Ken era’ will be sought after, even though production has always been outsourced to some extent. Any plastic components will be valuable when we run out of oil

Went to see my old Guitarist in his band on Saturday night and our Bassist was there as well (I was Frontman/Vocalist) we all got chatting and all agreed we'd like to get together again for a jam and see were it goes...unfortunately we parted company in 2011 because our Drummer was in so many bands it was causing friction, we tried to find a replacement but to no avail and we all went our separate ways, we have all toyed with re-forming in the past but nothing came of it, but now myself and the Bassist have been bandless for quite sometime the Guitarist is with his band but in my opinion wasted in them, so fingers crossed we'll get together and see how things go and hopefully re-form.

After playing in various bands for the past 35 years my current band have recorded a decent video of a Black Sabbath cover."Lord of this World" Please have a watch & feel free to comment. Ta

I acquired most of the bits for this before moving. My music room is all set up now so it seemed rude not to put it together 🙂 It's a no-name P neck on a Kit Built Guitars Jazz body. Everything black except the SD bridge pickup. Delano neck pickup, Gotoh bridge, Schaller tuners. Klogon loom and silver screws for a bit of rock and roll contrast. I've strung it with Roto black nylons to continue the black theme so it's got a lovely mellow tone. I'm letting it settle for a couple of days before the final setup tweaks. Need to find some black strap buttons too...

Not only is The Man with the Golden Gun by far the funkiest Bond song, I believe it's also the only one that includes key plot elements in the lyrics. If you listen to the opening song, you pretty much know all you need to know about the villainous Scaramanga's backstory before the film even properly starts.

Vigier, Kubicki, Overwater, tune, Parker, Peavey, Status, De Gier, Schack... Every builder today is interesting after +50 years. Or if some player "finds" certain brand, the prices will rise. Remember Nirvana and the sky-high prices of those lousy Fenders? But, this is hard to digest: the instrument is not the one that produces that sound. It is the player. Sorry, secret revealed. If I wanted to sound like Geddy Lee, I should learn his playing style. The work in finding a similar instrument just does not help, but only consumes time - while I should play and learn.

I've been getting on with some shaping and other bits and bobs on this neck. First the neck was marked up to give the rough shape (and so I don't get carried away and remove wood from the wrong place....it has happened...got carried away once and cut the channel for a truss rod on the wrong side of a blank so ended up having to make an upside down neck!) I've also fitted the side dots. Firstly need to find the middle point between the two frets then draw a line. I then use a drilling template to ensure that all holes are in the same line on the fretboard: Once these are done, the plastic dot rods are inserted: Then cut flush: I've started the neck shaping and working out where the logo will go so this can then be routed out with a Dremel and inlayed.

I put the mobile on the floor in front of a 25 watts Hartke combo. I think it sounds great! 🙂 Q1111.m4a

Tough choice between the majesty of Barry's OHMSS, and Chris Cornell's epic vocal contribution to Casino Royale. The oldie won a toss of the coin.

I really like the theme tune to Casino Royale and Chris Cornell’s vocals on it are brilliant. However, the orchestration doesn’t make the hairs on the back of my neck stand up the way Barry’s strings on OHMS does.

Hi Al. I was going to order it from Handbox , but was intercepted by Dan ( member DeeDee of this parish) who had just received his brand new r400 but due to personal circumstances was unable to play it....... So he offered it me ( it's brand new). So i can't answer questions about ordering etc ( sure wateroftyne could help there?). I really don't want to gush too much about this amp( hard not to, trust me) ,as I have with previous amps on here in the past, only to discover niggles with them. In the mix this is AMAZING,I can hear every note fantastically...most amps I've had I've always had some sort of preamp pedal ( VT bass,tone hammer etc) as a safety net valve esq sound......but my VT seriously adds no improvements to this amp whatsoever ( much nicer o natural)its a proper plug in and play head. Compared to the tte 800 amp they have a similar valve like thump feel but the r400 has super clarity and is mighty nice in the upper mid's.....the main thing that let the markbass down was the lack of good mid's. If I can get hold of a decent video recorder I'll try and do a snippet of rehearsals to show how it cuts in a fairly heavy band. If anyone has the chance to try this head do it! I am right in love with it 🙂

For E's and wizz?

The speaker impedance ratings for valves is the maximum, that for SS is the minimum. Use the tap on a valve head that's equal to or more than the speaker impedance, use a total speaker load on an SS amp that's equal to or greater than the amp rating.

If the Almighty had intended basses to have more than 5 strings surely he / she would have given us more fingers? 😂

The correct answer to the question is no-one cares what colour it is. All that people care about is how does it sound played in drop E through loads of Darkglass pedals by Nolly Getgood. Does it djent? Does it sound "sick?" We'll never know the answer to these questions if we stop to think what colour it actually is depending on what angle the light strikes it at.

I liked the look of them too - but that money for a passive P bass? Nah.

Nice work :). Never tried brushing it! In case you haven’t already figured out what went wrong with the grain filling, it’s not you...it’s aquacoat. I’m surprised they get away with selling it, it’s really ineffective at filling grain and worst of all it shrinks like crazy. Which is a shame as I loved the idea and how easy it should be to use, but I’ve given it a fair trial on a number of builds and every time it’s disappointed. Get some z poxy instead, not as easy to work with but is totally stable. The RF thixotropic grain fillers work well also, not quite as effective as the z poxy, but a bit quicker.

Good tuner pedal. Worth it’s weight

Being fairly new to the site and not that familiar with how it works, I felt that although the repair and tech forum was the right place for it I wasn't sure it might reach more people in general discussion so I did both.

I liked the look of them but it was silly money for passive P and PJ basses. There's no shortage of well made basses out there that do the same thing for half of what Music Man were charging for these two models.

Sellers can be freaks as well, I had a right one on a Facebook selling page. I wanted to buy a VCR to convert some old videos of the kids to DVD. I work in Plymouth and saw one for sale in Plymouth, ideal I'll swing by one the way home from work. "Is it still for sale?" "Yes." 'I'll have it, I'll pick it this evening at half five." "Yes." “Can I have you address please?“ “Yes." After about an hour, " Can I have your address please so I can pick it up this evening?“ “Yes." Another half an hour goes by, “Address?“ “I'm not giving out my address over Facebook, here's my mobile number, if you text when you're five minutes away, I'll give it to you then". "How the feck will I know when I'm five minutes away, five minutes away from where? This is too difficult, you can keep it!“

OHMSS. The main title theme. Just sublime. Great bass too!

Zoom B1 multi FX. Will cost less than most stand alone pedals. As well as a shedload of built it in effects it has a tuner, drum samples and a 30 second looper and also works as a headphone amp for silent practice. Edit:should have read the thread, Al Krow beat me to it. It really is a great piece of kit though. If I ran a music shop I'd be bundling up the beginner basses with a B1 instead of the inevitably crappy practice amp.

I'd be a little cautious about this and think about exactly what you want before jumping. Your problem with the sax players can only be solved if you put the things they couldn't hear through the monitors. If you put anything else through the vocal monitors the singers will struggle to pick themselves out. Your problem with the guitarist will only work if you turn him/her down and put some guitar through the PA. the guitarist will be the biggest problem but to get on-stage volumes down should you look at some bass and keys through the PA too? Is your one PA speaker enough to do that job? None of this is difficult to solve but I suppose the warning is about mission creep; adding layers of extras until the complexity weighs you down. The second problem is matching your gear to the outcome you want without spending a fortune. The advantage of an acoustic band with a little reinforcement for the singers is twofold. Simplicity and familiarity, most players in a big band are used to playing acoustically, it may not be ideal but they are used to hearing the instruments closest to them and learn to pick out the rest of what they need to hear by practice and experience. Most big bands have a conductor so extra clues and guidance are provided that way. The disadvantage of beefing up the monitors and running separate monitor mixes is that the monitors need to be similar volumes to the acoustic volumes or they won't be heard, so if everyone is covered by monitors you have doubled the sound energy on stage. That's not wrong but it could be a mixed blessing. It sounds like the guitar was the real problem. Without that the sax players could hear as well as they have in the past. Guitar amps are like torchlights, they throw a very narrow beam of sound which is very loud if you are in line. you could mike up the guitar amp and put it through the PA or simply move it to the front or side of the stage and provide a second quieter guitar monitor for the guitarist to hear themselves if needed. That will buy you time to think through exactly what you want without spending anything up front.

You couldn't replace a drummer?!?! Good luck with the plans. My school band had 30 and 35 year reunion gigs, that went pretty well. The problems I had which ended my involvement with the band were still there, but these days I'm better at dealing with that kind of person. Anyway, there won't be any more gigs since several of the guys have died. We just meet ups occasionally for a few beers and a meal.

Left handed Kramer Striker five string fretless basses from the "Musicyo" era. In 2060 some hobbyist "information archaeologist" interested also in the history of basses shall dust off a physical interface computer and smile as they rifle through the now defunct Google by actually having to touch a primitive computer in order to give it commands. They will find the ramblings of an obscure amateur bassist taking every opportunity to say "it was cheap but my goodness it's good" and then will start a quest to find any that haven't been sent to the woodchipper to find out if and/ or why it was good. Unique woods and electronics? Or just because it was an eighteenth birthday present for someone who never achieved much outside of playing covers in the same Hertfordshire towns...

A penetrating observation by the Stubmeister.

It's really very simple. Eurovision is not about the music. Basically it's the epicentre of over-the-top, glitzy campness and we just haven't been building our entries to spec. Want to win Eurovision? Here's how: * The performer is more important than the song so choose someone with an intriguing back story, a willingness to wear heavily perforated bondage gear and the ability to weep like Niagara Falls without the aid of a freshly peeled onion * Come up with a dance routine that would scare your mum, possibly involving near-naked people juggling blazing chainsaws * Select 'basic EDM 4/4' on your drum software. Turn down the snare, turn up the kick. Switch off cymbals. * Choose two chords. Any two chords will do. * Write lyrics which detail the performer's urgent desire to 'be themselves' and not 'anyone else'. Ker-ching!

..or pay the shipping costs, avoid HMRC payments, worry about how safely it's being shipped... In short, what we need is a "beam me up Scotty".

Stop being reasonable. We came here to air our prejudices 😁

Recently fancied a change from my Dingwall Z3 for something different......so added a Chowny SWB to the collection. (NB, added, not replaced) So Lost 7" in scale, 1 string and a bunch of electronics at a tenth of the price. Good fun, but could never replace the Z3

Caveat vendor. Whilst the Beeb isn't out to do Joe and Janet Public any favours, people only have themselves to blame if they don't get a proper appraisal on any musical instrument, painting, etc before selling it. You don't have to be Einstein to work out that an auction room full of furniture and bric a brac collectors in Stow on the Wold isn't the best place in the world to sell an electric guitar...