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Showing content with the highest reputation on 15/07/19 in all areas

  1. 3 points
    Jamming and writing music is where the fun's at for me. Gigging I can take or leave. Fortunately my current band plays originals, and we mainly play small festivals, which is usually good fun. I played in crappy pubs on and off for years and, with the odd exception, I really can't be arsed with all that any more.
  2. 3 points
    Here is mine I didn’t capture the roasted neck very well!
  3. 3 points
    I think that model was called the Orion , I bought my son one years ago. They dabbled in electrics and basses for a while but now are just focussed on 6 string acoustics. Sounds great , looks great, not too heavy so not much to grumble about at this price! And the buyer can also proudly display this certificate on their wall ……….
  4. 2 points
    I can't be the only one, can I? Don't get me wrong, I love being in a band, hanging around with my mates making music, that's where the pleasure comes from for me. I know public performance is the pinnacle of being in a band for most people, but I'm just not feeling it. The way I feel at the minute, I honestly wouldn't care if I never played in public again Lugging gear around, trying to fit it all in the car. Spending the best part of an hour at the other end unloading it and setting everything up. Standing round like a spare part waiting to go on, then performing to a load of annoying, well lubricated people, who, in many cases aren't even interested. Only to have to break everything back down while the audience who haven't shown a bit of interest all night, start demanding "more". Then lug everything around back into the car, drive home, lug it around again into the house and finally get to relax about 3 hours after the people you've been "entertaining" have gone to bed. The only part I actually enjoy is if we get time for a couple of cheeky pints after the gig. Why do I do it?
  5. 2 points
    Last night. Played a lovely venue on the river. Nice owners, great welcome. good crowd. We were told they'd all be gone by 9.30 as it was a Sunday night. Still dancing on the road at 11.00 PM. We were all shattered from the night before and it felt quite subdued on stage but we actually played better than the previous night. Three "this is definitely the last song" encores with the last being an extended Pride, in the name of love. Smashed it. Think it's our new final number. They went crazy.
  6. 2 points
  7. 2 points
    Yup - that's very much my conclusion too! I think we're in agreement that the new Marcus Limited range has finally nailed it on the EQ centre-point front and I look forward to buying Fretmeister's new amp off him when he's getting his next 'must have now' toy 😂
  8. 2 points
    I heard about this two months ago so, although the press release has only just come out, it isn't sudden or unexpected. They've taken the last couple of months working out their way to bypass the issue (slight body shape redesign). If they had just made the occasional Tbird shaped model they would have probably been OK but the DBird was becoming a key line in their range and to Gibson's mind a threat. I'm just glad I got mine when I did and it'll retain its value nicely :)
  9. 2 points
    I only ever liked playing outdoors at festivals n' ting but hated pub gigs. For starters I don't like pubs. I like pub gardens but still never go inside other than to buy beverages. The types of band I used to play in tended to be upbeat, with a party vibe, lots of movement, a fair bit of badinage and sometimes gimmicks. That didn't really work when stuck between the ladies toilet and the dart board
  10. 2 points
    That would be a show stopper for me right there. Don't get me wrong, I'm not in it for the money, but I do believe what both my bands set out to achieve, they succeed. For that, I do expect to be paid. By that I mean paid a lot more than just to cover my costs. No wonder you have a full calendar if you're not getting paid. I know the situation is probably different in Bulgaria, but seriously, don't any bands get paid?
  11. 2 points
    Hi there to all you BC members ! Yes lets hear about your favourite players famous and not so famous and I will look forward to showing you around the factory here in Sevenoaks to show you how the strings are made. I am sure you will find it interesting.... Here's a cool ad from the 1970's featuring a few more Rotosound artists ! Regards, Jason How
  12. 1 point
    Ashdown ABM BP1510 - Great 1 cab solution, 2 x 10 and 1 x 15 all in one unit with switchable horn. Great condition considering the age, all in full working order, comes with a well worn Roqsolid cover. More pics to come. Power Handling 650W continuous, 1000W program Speaker Configuration 1 x 15 ", 2 x 10" + HF Horn Frequency Response 37Hz - 20kHz Impedance 4 Ohms SPL 104dB 1W @ 1m H x W x D (mm) 895 x 610 x 410 Weight (kg) 42 Looking for an Ashdown 2 x 10 or 4 x 10 for Trades etc. Will upload some more pics soon.
  13. 1 point
    SOLD Year 2014 Passive and active bass Preamp Bartolini Micro Seymour Ducan Rosewood fingerboard Color sunburst Weight 8.6 pounds (3.9kgs) Scale lenght 34' Very good state Sold in Mike Lull Case 1500£ / 1650€
  14. 1 point
    Currently learning relax for my 80s duo, The first video I clicked was this performance. About 3.13 in, Lemmy appears, playing a telecaster. https://www.youtube.com/watch?v=pEBXuhqVSws oops, I didn't realise she was that unclothed
  15. 1 point
    People forget that the punks are up listening to other types of music! Johnny Rotten got into trouble for admitting he was a big fan of Hawkwind. Still a big fan of Hawkwind, seeing them on my birthday in November :-)
  16. 1 point
    Got to be JJ Burnell. Without his sound, The Stranglers wouldn't have been.
  17. 1 point
    A bargain @Clarky, and yes it will do the trick alright!
  18. 1 point
    I did a one day set up course. However the neck were adjusted under tension
  19. 1 point
    Shave off and refinish?
  20. 1 point
  21. 1 point
    I've had that too, despite Squire/Yes not being a direct influence on either my playing or composition. My "gateway drug" into prog was Rush - I suppose being into punk & metal meant I was drawn to the harder end of the genre. Took me a good few years to realise the second-hand influences I was getting from the players I was listening to.
  22. 1 point
    . . . . on the other hand, who is doing the stealing? For a couple of decades now, a very large part of Youtube and the rest of the internet has been full of stuff being reproduced without permission or payment to the original artist or writer. The artists seemed to have largely given up the fight over the use of their property, but I'm surprised that the publishers have taken so long to get to grips with the internet. Now they have, the genie appears to be being put back into the bottle! Currently the pendulum appears to have swung too far the other way, but in the end I would imagine the best course of action is for the owners and users of copyrighted material get together and form licence agreements for what they need.
  23. 1 point
    I've started cutting back the third this morning, I'm not totally happy with the flatness, the gloss really amplifies any slight unevenness that you can't even feel by hand so..... Back to the spray gun for another eight coats or so, thankfully I'm not in a hurry to get this one done as I can't afford any pickups for it yet
  24. 1 point
  25. 1 point
  26. 1 point
    Although the better move would be to change the foh for XR18 and do it all in one box.
  27. 1 point
    Cheers Dosi. Agreed the DG pedals are more inherently mid-scooped and fizzy and this pedal doesn't have that baked in in the same way. The fizz I'm referring to, is there where the drive is fully engaged and the high pushed above 2pm e.g. can be heard between 3.20 to 3.35 on your review (and elsewhere). That's the particular tone I'm not a fan of, for my style of playing, but others may be. This pedal can obviously do a fair bit otherwise, but the 'core drive tone' is essentially a fizzy one, would you agree? I can therefore understand your preference for setting this to light overdrive. Btw - I thought your by-passed tone was really good
  28. 1 point
    well..... Here it is folks, the one you have all been hoping I would sell!... Yes that's right ! It's the Caline CP-60 Bass Driver + DI... the stuff of now near mythical status, and it could be yours for just £22.50 ! Due to getting migraines from looking at the bright yellow metal case (with true bypass switch), I am letting this go to a new owner to try out. Comes with box, battery clip thing and most importantly the free little rubber feet ! .. Caline "World's Cutest And Possibly Smallest ™️" power supply not included. Due to anticipating a surge of enquiries and offers, postage will only be offered to UK MAINLAND ADDRESSES ONLY. included in sale price. No time wasters , dreamers or tyre kickers this is grown up's stuff. Cheers, James.
  29. 1 point
    Funnily enough I've just bought a Joyo/HB/Ammoon American Sound pedal to achieve a similar result as that the OP is after. I'll let you all know. As to tube/distortion helping clarify the sound - yes absolutely in my limited experience it does. I wound up the Grind setting on my ABM (basically controls the valve in the pre amp) at the weekend in desperation having tried everything else (playing to a field, no PA support with a flappy cab - more about this elsewhere!) my sound was not great and certainly not cutting through. I was stunned what a difference it made. Compressed the sound somewhat, and cut like a hot knife through melted butter. Didn't sound particularly distorted either, strangely enough,
  30. 1 point
    Would sir like the last few drunken idiots that won't leave to stand outside smoking in the doorway right in the way?
  31. 1 point
    Bassdirect at Warwick would be a good place to look.
  32. 1 point
    Shhhhhh!! Can’t call them that anymore. It’s a D-Roc 😂 In their dreams that Gibson could ever manufacture anything that good.
  33. 1 point
    Over the years we have reduced the amount of gear we take to gigs and always set up the same way. If it takes longer than 45mins to get in and 45 to get out then something is wrong. We all carry the gear in, amps go straight into place and guitarist and I set up PA and lights while drums are set up. One secret is to have multi-way extension leads of varying lengths laid out first thing and know how many sockets you need where. Nothing worse than everyone asking if they can use this socket or where can they plug in and trying to rearrange cable runs.
  34. 1 point
    I seem to be in the minority, but Black & White is my favourite of all their albums. Never got to see them, sadly.
  35. 1 point
    I already have one, but someone says two is better than one... But only if in "almost new" condition and shipped in her original case 😂 Actually, could I come and try before I commit?? 😂 Best post in a long time Merton, put a smile on my face 👍
  36. 1 point
  37. 1 point
    I noticed the other day that after leaving cabs in the boot of a hot car on a sunny day the glue started to soften a bit, this allowed me to press the edges of the peeling tolex back on and they have stayed put.
  38. 1 point
    Steve Harris is my favourite Rotosound endorsee, his big and punchy Precision sound with his trade mark clank is what drew the teenage me to the bass in the mid 80's and his tone still ranks as one of my favourite bass sounds to this day. He plays flats and I prefer round wounds but that's still the sound I try to emulate today, it just works with many forms of music, not just old school metal.
  39. 1 point
  40. 1 point
    I would normally say Geddy lee as he has been my all time favourite bass player, and probably more than anyone the reason I took up the bass but because of the music I am listening to now, I will go for Mr Nick Beggs, as he is in everything I am currently listening to!
  41. 1 point
    Geddy Lee. Changed everything for me. Heard his amazing ‘corn flakes’ tone (you all know what I’m talking about) and bought my first bass the following week. He’s been through countless amp/backline endorsements and s fair few bass manufacturers, but has always been a 66Swingbass player, as am I.
  42. 1 point
    Sorry @mike2tone missed this entirely! Yes in Guitar guitar in Birmingham.
  43. 1 point
    Slash used a custom builder's guitar for that album - either a Max or a Derrig, not sure which and not sure those are the correct spellings either but AFAIK he owned Les Pauls from both builders. Apparently his real Gibson wouldn't stay in tune for studio work (presumably because it was Gibson quality through and through) and when you see old live pics of Slash from that era he's essentially using what would now be considered a masterbuilt guitar, like when you order one from Fender and it's ghost built by some master luthier who's well known in the industry but not to the general public. I think the first actual Gibson he used regularly was the amber quilt thingy so the GnR Les Paul association (and the re-emergence of the brand in general) is founded on copies built to a standard Gibson couldn't be relied upon to produce. Hopefully they'll publicise this extensively alongside their newfound stance on copies.
  44. 1 point
    Hi Ade. Aah, the John Lydon avatar. Concerning the Thunderbirds, it was a case of when the mortgage got cleared the floodgates opened; I think I was in double figures at one point and (somewhat disturbingly) there were one or two instances when I couldn't actually remember what I had. On the subject of bridges, I did have Hipshots fitted to all of the them until the Babicz ones came out (afterwhich I swapped out all the Hipshots for Babiczs). As I tend to play close to the bridge, the Babicz ones just felt more comfortable when palm muting and aesthetically they looked more in keeping with the old three pointers...the Hipshot was just a big old lump of metal, it didn't need to be as big as it was, but adjustment-wise there wasn't really anything in it to be honest, they both worked very well.
  45. 1 point
    I also use the tones and volumes; I fiddle with both constantly. Also different strings and picks can make a huge difference. My main Ric has been my favourite bass since 1993 when I bought it. I’ve been through all sorts of things since, Wals, Alembics, Seis, old Warwicks, Jaydees etc etc, but they’ve all gone and these days I almost exclusively stick to my Rics as they do pretty much everything I want. There are things they don’t suit, but they tend to be things I don’t play anymore.
  46. 1 point
  47. 1 point
    And for comparison with my 32” ACG Finn...:
  48. 1 point
    I’ve decided to sell my Roscoe LG Custom 5. This has been my main gigging bass for just over a year so has some signs of wear to the body, mainly the dings along the lower edge, probably from my belt (see last pic). Keith did a few custom changes when making this bass for me in order to keep it as compact as possible. He moved the bridge back and made the neck pocket a little in to the body to keep the reach to the 1st fret more comfortable so this bass is very easy to play. He also made the lower cutaway a little deeper for easier access to the upper frets. It’s also very light at only 7.9lbs! I'm not looking for any trades! Comes with a TKL Gigbag. Specs: • LG 5 string (B-G) • Swamp ash body • No Topwood • Natural Finish • Slanted Pick Ups • Roscoe/Bart pickups & Preamp • Black Hipshot hardware • 33" scale • 1.75" nut • Maple/Purpleheart/Maple neck • Purpleheart w/Sapwood fretboard • Dunlop flush mount recessed straplocks
  49. 1 point
    Started plotting these now and have cut a couple of pieces of wood. Firstly, I got some reclaimed pew ends - there is a smaller section which should be just about right for a body. Needs stripping and I'll need to avoid the old nail holes in the finished bass!! Here's the block I'm looking at using (currently 45mm thick) with a diagonal cut made: I'm also looking at using a piece of reclaimed wood given to me by @Rich for the neck Everything fits and now needs thicknessing.
  50. 1 point
    For the last few years I've been a devoted user of EBS amplification and honestly never thought I'd find something that would tempt me away. The furthest away I'd got was using a Crown XTi 1000 power amp along with an EBS-1 v2 pre amp. Being the owner of an EBS HD350, Fafner and TD650 it was clear to see that I was a BIG fan of the EBS tone. That was until this beauty came to play... The Genz Benz Streamliner 900 (STM-900). [b]SPECIFICATION...[/b] 500w @ 8 Ohms / 900w @ 4 Ohms Class D power amp with Class A 6-stage tube driven pre amp Modified Bandaxall EQ for highs and lows Active tube driven mids with selectable frequency Mute & high gain switches Studio quality DI out 2x Speakon out connections Headphone out, aux out, effects loop & tuner out Advanced switching power supply for use anywhere in the world! [url="http://www.genzbenz.com/?fa=detail&mid=2663&sid=675&cid=95"]Link to manufacturers site.[/url] [i]For the purpose of this review and all gigging/rehearing/recording I've done with it, the amp has been used with my Roscoe Century 6 fretless bass into a Barefaced Big Twin T bass cabinet. I also throw more effects and textures at the amp than you can shake a stick at.[/i] [b]FEATURES & BUILD QUALITY: 9/10[/b] The Streamliner has a great build quality. It's tough and robust with good quality knobs and solid inputs and outputs. The tubes are contained far enough back that an unfortunate drop of the amp wouldn't cause the pots on the front to jerk back and damage them (god forbid) and while that are not set up to be quick to change (removal of a number of screws and the top plate of the amp) the tubes are much more securely seated than those in any tube amp I've owned before. My only niggle with the build is that the additional rack kit (which can be purchased separately) is a horrid rack try set up which weighs a ton and costs far too much, rather than nice rack ears like the Genz Benz 'Shuttle' series of amplifiers. I know it's a minor niggle, but a niggle all the same. Features wise the Streamliner delivers what it set out to do - offer a slick and streamlined approach to bass amplification. it has a minimal EQ set up, but one which is very musical, with a choice of three selectable mid frequencies (220hz, 600hz & 2.5Khz) and shelving-style bass (at 55hz) and treble EQ (a single knob which boosts BOTH 4Khz & 12.5Khz). Compared to most modern high end amplifiers this is a somewhat stripped back approach to EQ, but really does work to the Streamliner's strengths. The amp also has a high gain switch for pushing your tubes into audible overdrive if you desire a classic overdriven rock tone and a mute switch to make the of swapping instruments on stage a little easier (and quieter!). The back panel is somewhat more feature packed than the front sporting a very high quality DI with post/pre EQ, ground lift & mic/line level selectors. It has two Speakon outs for your cabs and will run in both 8 Ohms (at a very decent 500w) or 4 Ohms (at an unbelievable 900w!!!). Yes I said 900w into 4 Ohms. In an amp that weighs less than 3kg!?! LOUD. Need I say more. The amp also offers as auxiliary output, tuner output, headphone output & an effects loop as well as having a rather impressive switching power system - flick the switch and the unit will work in countries with either 230v or 110v mains voltage. Perfect for those on tour who don't want to have to rely on (or remember to use!) a giant power converter. The Streamliner has a cooling system that sucks air in one side and blows it out the other and boasts what Genz Benz call 'P.H.A.T. (Proprietary Heat Abatement Technology) topology'. This is without a doubt the quietest cooling system I have ever had in an amp... to my ear it is totally silent and I have to say that the amp hardly breaks a sweat. I have used this now on some fairly major Drum & Bass/Dubstep gigs and have thrown some huge sub-bass wobbles at it and the amp has never felt anything above lukewarm. I'm impressed. Even my drummer is impressed - and he's a drummer! While it's clear to see that the stripped back EQ may put some people off (Genz Benz make the 'Shuttle' series for people that want a little more), the amp carries almost all the core features of a seious pro bass amp, with the exception of a dual channel set up (the 'Shuttle' series does have a 2-channel option, but the Streamliner does not). [b]TONE/SOUND QUALITY: 9/10[/b] BASS!!! That's the 1st thing that hits you - massive bottom end. Coming form a man that plays Drum & Bass, trust me, that means there is a lot! This is in fact the first amp that I have used in 2 years that I run with the bass EQ at noon/flat. If I was to be playing most genres and playing with a clean bass tone then I honestly think the bass knob would be rolled back to around 10 or 11 o'clock! The overall amp tone is warm and fat with some serious punch. The tubes add some real character to the sound which is obvious from the moment you turn it on (it is worth pointing out that the amp can do the whole 'hi-fi' thing well while remaining very clean and with great clarity) as its natural voice is that of fat finger funk (almost the flip of the 'Shuttle', which has an immediate hi-fi tone but the ability to dial in a warmer fat tone if desired). The musical strength in this set up comes form the mids - the 3 selectable bands have been well thought out and the EQ cut/boost knob is very interactive as tiny increments have quite an effect. When the mids are selected at 220hz overdrive & fuzz pedals really come alive, as well as making the mid EQ become suddenly more interactive when used in conjunction with the bass EQ. Flick the mids over the 2.5Khz point and it comes more interactive when used with the treble EQ allowing you to add some great body to slap tones. In some ways I would personally prefer a broader range of centre EQ's on the mids (like on the EBS amps I have been used to using) but the frequency options here are very musical and well thought out. The treble is lovely sounding, not abrasive or clanky, but smooth and glassy. In all honesty this was one of the reasons I had stuck with EBS for so long as the styles of music I play require a very full range sound with lots of top end clarity (I need to fill the space of a guitar and of synth pad's at times) and I can honestly say that the Genz is the only thing I've used which does it just as well. One thing worth pointing out though, which will not be noticed by many, is that is you have your tube pre amp gain past 1 o'clock and boost the top end as well as playing though a set up with a tweeter (I did say this was not going to effect many people), any dirt you add to the sound attracts some tube compression and grit before the rest of the sound... For most players and set ups you would still hear a solid sound with no change, but the extreme top end does take on a whole new character. Again I stress this is only when you are using sounds and tones not characteristic of traditional bass tones... I must also stress this is not really a negative, rather an interesting tonal characteristic that I am able to exploit due to my amp/cab set up and effects. It just apprears as though the tubes will compress/overdrive super highs (that most cabs won't reproduce) much earlier than the rest of your sound. Finger funk players will love this amp. Hi-fi junkies should be excited by the fact they can get a clear & clean tone while still dabbling with a genuine tube tone when the mood takes them. Many bass player will need to be prepared to do the un-manly thing and roll that bass EQ back though. If you are a little more interested in what the core of this amp's tone sounds like, here is a fantastic review from the Bass Whisperer: [media]http://youtu.be/d-27szg61bw[/media] [b]VALUE FOR MONEY: 9/10[/b] The price - WOW. This is 900w in a tiny box and is selling in the UK at [url="http://www.bassdirect.co.uk/bass_guitar_specialists/Streamliner.html"]Bass Direct[/url] for £689.00 (£589.00 for it's 600w little brother). In today's world of professional amplifiers this represents FANTASTIC value for money, even with its stripped back features section. For an amplifier of this power and build quality you would usually expect to pay double form most big brands. Best bit it though, this is far from a budget amplifier - this is real high end professional stuff. Value for money. Yes. [b]CUSTOMER SUPPORT: 10/10[/b] I'll start this section by saying that I have not needed to contact Genz Benz directly regarding my amp and so I can't score the company with regards to answering emails and solving issues etc. When I first received the amp I did however experience a few pops and bangs when unplugging my jack lead even when using the mute switch on the front panel. I did some googling and could not find anyone experiencing similar issues, but did come across a member on Talkbass.com answering a few questions on other Genz related issues. It so happened that this chap was one of Genz's engineers so I dropped an informal message over on the off chance he may be get back to me. I'm happy to report that within 24 hours I had a reply, direct from someone that deals with these units on a day to day basis with a few things to try and with the suggestion that it was most likely static which had built up from my amp being stored in the cold for a long period of time over winter (which can happen with all electrical equipment and is no way a fault of any unit) - guess what - the weather has got warmer and pops have stopped! He may of been answering as an individual in reply to a casual message outside of work, but was a great example of someone being a true ambassador of the brand they represent. If this that level of service is anything to go by then Genz Benz deserve nothing short of a 10! [b]OVERALL: 9/10[/b] As a long time lover, supporter and owner of EBS amplification (3 amp heads & 1 rack pre amp) I'll start this by saying I no longer own a single EBS amp! In fact the Streamliner is now the ONLY amp I own. I've sold everything else... this does it all. I have gigged with in it, recorded with it and spent day after day in the studio with it and it has done nothing but perform and impress over and over. The Streamliner offers a compact, lightweight, silent running 900w with almost faultless performance. Its versatile, interactive and has more volume that I could ever know what do do with while being happy to take the massive sub octaves and ear splitting LFO wobbles that I throw at it without any sign of struggling, complaining or clipping. Truth be told I'm pretty much in awe of this awesome bit of kit and it will be by my side over the coming year and out European tour which is being planned for October. If anyone interested in trying one of these out I would urge you to do so. Anyone near the Midlands, UK is welcome to get in touch and come try mine out.

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