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Showing content with the highest reputation on 29/05/19 in all areas

  1. How do you quantify genuine mojo? A few years back I acquired the bass below. I've jammed with it, recorded, gigged it and on my last gig with the Johnsons I threw it about 20' across a stage. It wasn't pretty when I got it, so I pledged to ding it every time it left the house. It's beautiful now in my eyes.
    7 points
  2. This is my most favourite bass, my 1984 L2. From December 1984 to the middle of 1993, it was essentially my only fretted bass and came with me to gigs, sessions, tours throughout the busiest time of my music career. It's been with me all over the UK and as far afield as the Middle East. That's the original Earth strap still on there too! Thing is, Steinbergers are pretty tough really, EMG pickups slightly less so... Yes, I sometimes dig in and my slap technique is in the Louis Johnson mould. And yes, it appears that a human thumb, used to anchor against the pickup can wear down carbon fibre! Original frets - they've been dressed once - she still plays and sounds magnificent!
    6 points
  3. Sandberg custom Ken Taylor/Neil Murray bass 4 string Demeter EQ I had this built to my specifications, from the choices on the Sandberg website. Home use only. There are plenty of small dings and marks, which is Sandberg’s interpretation of ’soft aged finish’, which wasn’t what I was expecting - I would preferred either more obvious relicing or a perfect finish. Of course a great sounding bass, enhanced by the high-quality Demeter preamp. Basic Ken Taylor model Body: European ash (I think) Top: Imbuia with matched headstock Soft aged finish Rosewood neck 2 Sandberg powerhumbuckers, black metal covers, split coil on bridge pickup Electronics: Demeter BEQP-1 Bass EQ Preamplifier - active balance control which mixes two pickups and provides active equalisation for treble, middle and bass. The treble and bass are both shelving controls with 14dB of boost and cut @ 6dB per octave. The middle control is a peak control with plus and minus 12dB of cut and boost @ 6dB per octave. Black hardware with Hipshot Bass Xtender on E machine head Abalone front face dots Sandberg gig bag
    4 points
  4. All routed out, dry fit of the neck and all seems ok. Now sanding, lots and lots of sanding!! All bits bar pick ups here so almost dry fit time!
    4 points
  5. Saturday was Bearded Theory. It's a big one and a load of my friends and family had got me over excited and pretty nervous about it. I woke up at 5AM and couldn't get back to sleep. I only had to go to the studio, pack up my drums, bring them home, and wait for the van to arrive at 11:30, but it seemed like such a big task. So after lying there for an hour I decided to forget trying to sleep and get my sh*t together. They picked me up at 11:30 and we got to the Woodland Stage an hour later. A couple of hours nervously hanging around and soaking in the atmosphere (and passively smoking some very pungent skunk!) and we were on. The adrenaline kicked in and all my fatigue was washed away by the hundreds (maybe more than 1000?) people singing our songs back at us and cheering us on. 45 minutes later, soaked with sweat, I couldn't stop grinning as I packed away my drums. Best gig for ages!!! A bit of a crap photo bit I don't have a lot of time between songs to have a drink of water, grab a photo, and count in the next one After that we had to hang around until we played a small tent at 10PM. I crashed pretty hard in between so went for a lie down in the van for an hour or two and that seemed to sort me out. The tent was absolutely packed with people. We were parked right next to a side door in the tent, but the staff wouldn't let us load through that door. We had to go right around, through a fence, and then fight our way through 200 people to the stage. They seemed really anal about the rules for a bunch of crusty types smoking massive joints. Maybe the hi-vis vests gave them a power trip? Or maybe there was a real safety concern. Anyway the gig was OK. Their bass drum was seriously lacking in volume, and although I could see a mic in it, I couldn't hear it, so to get the mix right I was kicking at full power. Unfortunately this meant the beater went right through the head during the penultimate song. Ooooops! Still, the reception was great Early Sunday morning I got a call - "Are you OK to play Nice 'n' Sleazy Festival in Morcambe tonight? It's good money". We'd already got a slot at Strummercamp in Oldham that afternoon so it'd be another 2 gig day, but I was still buzzing from Bearded Theory so I agreed, as did the others. Strummercamp was good but I don't think we impressed the crowd. There were a lot more in the main tent for the ska band (very good btw) on before us. I guess we weren't their cup of tea? Nice 'n' Sleazy was another belter though. Packed room, great reception, and some great banter with some well oiled punks.
    4 points
  6. https://forum.jbonamassa.com/viewtopic.php?id=22909 Yeah, just dandy Joe. https://www.facebook.com/JoeBonamassa/posts/ears-still-ringing-from-the-amp-show-saw-a-bunch-of-friends-though-even-a-couple/164303641317/ https://www.mylespaul.com/threads/joe-bonamassa-in-concert-unbiased-review.251371/ I dunno about you - but I have some very strong views about Joe's views.
    4 points
  7. The first band I was in had a terrible name but we were popular locally and couldn't change as pubs would just advertise us with the original name. The events leading to the hasty naming involved a group of mates that got together with instruments in someone's kitchen once a week, not a band as such, just having a laugh. We went to the pub one evening to see a band and one guitarist was trying to chat up the barmaid with the old, "Oh yeah, I'm in a band you know", line. It worked so well he got us a booking and she asked the name of the band to put in the diary. We weren't a band and we had no name. He looked around for inspiration and a random bloke was wearing a bobblehat, erm "The Bobblehats" he said, [email protected] Anyway we had to choose who would play what a get a set together in three weeks. The gig was horrendous and amazing at the same time. I had massive feedback issues for the first half but got it sorted in the break, at the end a bloke came up and congratulated me on my amazing sound in the first half but didn't like what I'd done to it in the second. It was noisy, raucous, and ferocious and people were dancing on tables and anything that would move got dragged out and danced on/broken. We were paid and the banned from ever playing there again. I learnt a lot that night, not least that we were The Bobblehats and the name stuck. Moral of the story, pick your name wisely, it might haunt you for a long time.
    4 points
  8. I live on the edge, me. I write cheques. I cross the road, too, sometimes. I just don't care.
    3 points
  9. I've had a bank account since I was 17. So that is nearly 45 years. For the first 42 or more of those years I paid for stuff - like the rest of the world - by writing cheques, which have my name, sort code and bank account details quite clearly written on them. No one has cleared me out of money or set up hooky DDs. I think you must be mistaken.
    3 points
  10. 3 points
  11. I was in South Yorkshire the other week and someone was telling me that they used to go and see Saxon in their early days when they were called Son Of A B#tch. She was new to the area and would go to a lot of pub gigs, and commented to her then husband that there was a local band she'd never heard of who must be doing well for themselves as they were on all the forthcoming attractions posters, often playing a few nights a week at the same venue, and then again at another pub for another few nights, and supporting a lot of other bands: One For The Lads Hubby explained that this wasn't a band, but an, ahem, one woman performance of an artistic nature, and not the same woman each time
    3 points
  12. I thought a heavy metal band could be called Truss. But they would only ever be support...
    3 points
  13. A common beginner's mistake. 😃
    3 points
  14. Gahhhh! They totally nailed it! So excited.
    3 points
  15. Lovely Maruszczyk fretless jazz bass for sale, a real lightweight, only 3.6 kg. good condition, some small battle scars on the body. Sounds great, strung with LaBella flats. SOLD
    2 points
  16. No longer for sale, fallen in love with it again. It is in very good condition and comes complete with a padded cover. It has a 15" LF driver a 6" for the mids and 2 soft textile tweeters for the HF. It is full frequency with pretty flat response, so accurately puts out the sound of your bass and amp without colouration. Accugroove are USA made and at current exchange rates this would cost around £970 plus shipping. So I'm selling for less than half new price. Any trial welcome, bring your bass and amp with you. Collection only, or could deliver if within 30 miles of Bath. I'm not willing to box up and post.
    2 points
  17. Well, received it all in the post this afternoon - two bodies, one neck, a full roll of veneer AND a fairly heavyweight gig bag...all in an IMPOSSIBLY small parcel. @TheGreek maybe struggling a bit with the Nanyo save but he sure is no slouch when it comes to packing things well! It all looks good, certainly in terms of no unexpected surprises so far. I will have a closer look and a deep ponder over the weekend on the best way to go about it and then probably start on it early next week
    2 points
  18. Oh yes of course I am Adamant that we have those.😁
    2 points
  19. Update. Finally had the chance to use my Headrush FRFR-112 at a band rehearsal at the weekend with the Helix LT. Result? Very happy. It was just a 'technical' rehearsal with three of us as one of the guitarist and both vocalists weren't available. So just guitarist, drums and me. The drummer had a new toy he wanted to try out too (roland drum pad and sampler thing). I needed to check the headrush was going to work, so seemed like an ideal opportunity to try these things out without interference. I've mentioned before, we're not a loud band, and I previously used a single markbass 1x12 with a Carvin head running at [email protected] Before the Helix arrived I had issues with boom and mud I just couldn't dial out. It was much better with the helix's hpf engaged, but now with the headrush, much better. The low end is controlled, still fat and deep enough even at high volume. I had it set a volume I felt I would normally gig at and it was fine - didn't even break a sweat. As an experiment I turned up the wick to a sort of volume I'd never play at, and where my previous rig would get 'woolly'. Again, absolutely fine. The natural roll-off around 50hz really helped. In fact, I was able to turn the hpf on the Helix (which I also had set at 50hz from before) off without negatively affecting the tone. I found I prefer the tone of the Helix amp sims without a cab sim. To my ears, they just seem to kill the tone too much and don't 'feel' right (amp in the room syndrome perhaps). The key is a high cut instead around 3-4khz to simulate a real bass cab roll off. This, for me, more closely represents a DI from an amp going straight to the desk. Hopefully, this will translate nicely to FOH when we try that. FWIW, I also tried my backup preamp, a Valetone Dapper Bass straight into the headrush. Sounded fine. Sure, it's not as refined as the Helix, but it simulates a bass amp with 3 band eq and I'm sure it will get me out of a jam if need be. It may even suffice for the odd small gig with a short set where I need to travel light. Both of the guitarists use a Helix as well, each through a Yamaha DXR10, so I tried my bass through that as well. Not quite as deep but again, will get me out of a jam if the headrush fails. Likewise, my Headrush will be more than adequate to share as a backup to one of the Yamahas. Lastly, as another experiment. I remembered the smaller headrush FRFR-108 rolls of the low end around 70hz, so I set the hpf to that frequency. More than adequate for rehearsal, so I'm almost tempted to pick one up for rehearsals and small low volume gigs.
    2 points
  20. Just shoot me now......
    2 points
  21. In a similar vein, I was once in a band called Bread Poultice. Didn't get anywhere because we sucked. Ay thank you! 😃
    2 points
  22. Not sure you need to go any higher than £100 for anything other than aesthetics or brand bragging rights. I have the full fat Gator Pro Go (think they call it the ultimate now) which is all I could ever need in a gigbag and they're £99, superb bags and rock solid with high end appointments (solid metal clips for strap connections, integrated rain cover etc). I'll be honest I think the Mono stuff looks a bit tacky, like the puffer jackets everyone wore when I was at school:
    2 points
  23. That's also a fair point! Andy Lewis, proprietor of Acme Bass, the designer of my favourite bass cab the Low B2, was testing the design of a new cab for old school sounds and discovered that with an old P bass and flatwound strings, the tweeter made no difference to the sound whatsoever. So they just missed it out and called the cab the Flatwound! https://www.acmebass.com/pdf/b112_flatwound.pdf
    2 points
  24. TBH for a soul funk band you could do a lot worse than “Bubinga” ...asthe suggestions so far have amply demonstrated!
    2 points
  25. It must be powerful, it's blown you right out of your shoes! 🤣
    2 points
  26. Fair point, but it’s the best half!
    2 points
  27. Can I just say, this thread is great. Informative, humorous and makes you contemplate. Carry on chaps.
    2 points
  28. This one’s my most mojoed There must be more out there!
    2 points
  29. Too many people watching wheeler dealers
    2 points
  30. And this is why guitarists are always a nightmare when it comes to inears. Playing for themselves instead of the overall sound of the band. Bad for your hearing? In the fact that you can have a lower SPL? If JB has explored Klang and all the ambient options available, then I would be receptive of his wide, sweeping statements. In Ears have reduced the amount of people that have resulted in having chronic tinnitus... I'd say that's saving your ears. I find it interesting that all those that don't advocate the use of IEMs (typically the old school rockers) - are all the ones that are struggling with insufferable ringing ears. As for comments about the dynamics... the sounds engineers are in control of the dynamics that audience hear anyway, whether you are using IEMs or not. If your guitar rigs are overpowering the PA, then the balance of music that the audience here is greatly compromised anyway. Better to have a set of ears out front where the audience are to balance the mix. Fatter and fuller sound - he's saying a desk full of processing and a PA with full range reproduction can't produce a fatter and fuller sound? Err... try getting a fuller and fatter sound out of your kick drum without any processing and see how far you get. If you can't get a fatter and fuller sound, it's down to poor engineering or inadequate tools... not down to the concept of running a quieter stage with the PA doing the work. I think we can say that JB is a dinosaur who doesn't give a stinky poo about the health of his own, or other people's hearing. But hey, that's rock n roll.
    2 points
  31. I don’t understand people’s reticence at friending someone on social media. I have over 3,000 ‘friends’ on Facebook, and about 80 requests that I haven’t looked at. I actually know maybe 100 of them, but many of the others are quite interesting people. You can always de-friend someone afterwards if they turn out to be a nazi or a tory or something.
    2 points
  32. To which the most obvious answer is 'what is the maximum that you'd give for it?'
    2 points
  33. I don't think a short video demonstrating the instrument is a particularly unreasonable request, but I'd run a mile from anyone demanding proof of ID and social media acceptance just to buy an instrument, or anything else for that matter. I've sold cars worth thousands of pounds with nowhere near that amount of hassle. I'm not being funny but I wouldn't sell an instrument to you in a million years. You sound like you'd be a nightmare to deal with and life's too short. I'd rather lose the sale and sell it to someone else, or even keep it before sharing personal details (other than what is necessary) with a potential buyer.
    2 points
  34. Sandberg JJ4 Sunburst Hardcore Aged Made in Germany in 2011. Spectacular looking and lovely to play. Great tone. All the usual sounds you’d expect from a “Jazz” bass but with extra depth and clarity if you want it. 2 – piece Ash body 6 bolt maple neck with rosewood fretboard 22 frets Zero fret 34” scale 2 Delano Jazz type pickups Sandberg bridge Sandberg tuners 2- band active/ passive pre amp : Controls are: Volume push-pull / Balance / Bass / Treble Weight 9.2lbs Possible trades. Must be under 8.5lbs. Jazz width neck. I'm in Malvern, Worcestershire. Happy to meet up half way within reason.
    2 points
  35. Welcome. You've single-handedly lowered the average age on here and raised the average IQ. Nice work. 😀
    2 points
  36. I knew it was all over and I'd lost the band I formed years before. That last chorus was just shouting, sometimes I'd play through it, sometimes not. Terrible venue, twenty or thirty in, prospect of a two hour ride home. Spur of the moment thing. The bass was already off and it just seemed apt at the time. I have this slow motion vision of it flying through the air and it clattering into the bottom of the drums.
    1 point
  37. When I saw Charlie Mingus play he used no amp. He also told everyone to sit down and shut up, or else he was gonna clock 'em. Too bad Mingus is gone, we could've had a proper cage match between those two.
    1 point
  38. I have D'Addario half-rounds on two of my five strings, the Ibby and the Pit Bull. I have tapewound Stainless Picatos on my Steiny five. The only bass I have now with roundwounds is the B2A and they are lightweight superwounds. The B2As pickups work well with these giving a full bottom end to the otherwise light superwounds. My Vantage fretless has Rotosound 88 black nylon tapewounds - warm and thumpy. I like the half-rounds. On the Ibby I have more than enough bass and sometimes I will roll it off a bit and boost the mids and highs at the preamp but they sound fine flat too. There's a nice interaction between bridge and neck pick-ups midway in the blend knob's travel that would work well for solos I think.
    1 point
  39. I might remove it. Don't want to run out of emotional outbursts.
    1 point
  40. Same. Years back, I was in a band called 'Today's news, tomorrow's chip-wrapper'. Never had much success - we were rubbish!
    1 point
  41. John - I presume when you say rehearsal levels that was in the mix with your band rather than just simply turned up loudly at home? Agree you shouldn't notice this digital noise with pretty much anything else in the mix e.g. aux in, or other band instruments etc. Personally I don't think the Zoom UK units will be pre-production units - they will almost certainly have road tested this in Japan before exporting to the UK and US. But as a headphone amp with tuner and effects there is nothing that comes close to this in the sub £100 price bracket. And the only folk likely to ever notice this "digital noise" is going to be us bass players when listening out carefully for it and when playing an isolated bass. It shouldn't impact its live use at all. So for both the above reasons it's gonna be sticking around a while longer in the Krow pedal pantheon and I'm going to pass on my 60 day window to get a full refund from Zoom UK.
    1 point
  42. I put a MarkBass LM800 through a Super Compact. Magic!
    1 point
  43. What matters is the frequency response of the speaker as a whole. All a bigger woofer does is make it easier to design a speaker that can deliver power at lower frequencies, but its far from the whole story. You seriously need to stop worrying. If you rely on internet rumour rather than your own ears, instead of enjoying the new gear you will end up looking for ways to check it and measure (or worse predict on the basis of other's comments) its performance, which leads to convincing yourself that it has minor issues and has to be upgraded when in reality it probably does the job perfectly well. In am distressingly familiar with this story in the context of people who buy kit and get frustrated chasing test numbers rather than comparing the results they get against the results they need. They usually end up frustrated and out of pocket, plus they leave a trail of frustrated retailers who have perfectly good kit returned as sub-standard, that they then have to discount as b-stock.
    1 point
  44. Can you have a word with my wife.
    1 point
  45. You know, I've lost count of the number of basses that have passed through my hands; obviously having done my due diligence pre-purchase, I know what I'm buying so I'm more than familiar with the specs, but never once have I really bothered about the weight, nut width, neck radius/profile, type of wood, pickups, bridge (except where Gibson 3-pointers are concerned). It's all a nonsense. Sure there's a need if you can't actually lift 10lbs or you have the hands of a five year old girl, but in general, nah. I know the shapes I like and I have a visual preference for solid finishes and dark wood on my fingerboards, but that's pretty much it.
    1 point
  46. Hi all, I'm looking to sell my gorgeous BTB Volo. The bass is in great condition and I couldn't find a mark on it that is worthy of a mention. It's really fast and smooth to play, as you would imagine from a bass of this style, great punch and sustain and I've never struggled to be heard in a mix! Adjustable and removable finger ramp if that's not your thing. Currently strung with month old Warwick black label strings, comes with a spare set (E to C). The bass weights in at 4kg (8.8lbs) on my scales and is very well balanced on a strap or seated. Specifications: - BTB5 5pc Maple/Bubinga neck-thru - 838mm/33" scale - Ash top/Mahogany wing body - Rosewood fretboard w/Abalone dot inlay - Medium frets - Graph Tech® BLACK TUSQ XL® nut (45mm width) - Mono-rail V bridge (17mm string spacing) - Bartolini® BH1 pickups - Ibanez Custom Electronics 3-band eq w/Mid frequency switch - Black matte hardware I'm looking for £425, no trades thank you. Collection would be preferred from the Leeds area, or I can meet up within a reasonable distance. I could also post, it comes with the original box and packaging (no gig bag) and would be packaged securely within another box for extra protection. Buyer to pay postage cost, only UK buyers please. Any questions, please send me a message My feedback: https://www.basschat.co.uk/topic/231666-feedback-fof-castlemaine22/
    1 point
  47. Here's my old 6'er that I traded a few years ago.... ....and my 5'er I traded it for
    1 point
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