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

  1. 7 points
    is that like a drive thru plane wash thing or are you really a pilot.
  2. 5 points
    Reluctantly putting up for sale my Barefaced Six10. Looking at buying a house this coming year and need the money (also will need the space) I'm sure everyone knows what these are all about and the wording on the Barefaced website is better than anything i could write: https://barefacedaudio.com/products/six_10?variant=13875021119546 I've had this since the start of the year (arrived 30.01.19) and to be honest haven't used it as much as i wanted to. (band hasn't been giggin enough!) It sounds amazing and come with barefaced protective cover. Could be tempted with a swap for a barefaced two10 with some money my way! Collection only as i don't fancy putting this through the post Will put more details pictures up if needed! Cost £1359 new with cover so i think £900 is a fair price for one in this condition.
  3. 4 points
    Here for sale is my Stingray 3eq from 2010, it's in immaculate condition throughout. In Tobacco Sunburst it looks wonderful and plays superbly with a low action. Bass weighs 8.85 lbs or 4kg on my digital scales which is very good for a Stingray. Also the straplocks will be back on too. Comes with the EB hard case too. No trades thanks. ***forgot to mention you can have either the scratchplate that's on or the original black one* Price is posted to the UK.
  4. 3 points
    Just noticed the herningbone pattern on the skunk stripe on the Powder Blue Sterling. Beautiful.
  5. 3 points
    Looks like a bunch of leftover parts from half a dozen random basses, bodged together. This is that Eastwood shower again, isn't it? Bet it's about a grand, too.
  6. 2 points
    Wew! Hmm. Yumm. 32” scale. Sort of pseudo R styling... I like.
  7. 2 points
    Thanks! I only made pickguards out of necessity, as nobody was cutting PJ Mustang pickguards when I got my white one. Prior to the tort I made a white pearloid one for my original blue Mustang bass. It isn't easy or quick work and you could do it much quicker with a router and template. I got it down to about four hours per pickguard, but I've not done one for a while! I'm pleased with how close in around the neck I was able to get: I also hand cut the pickguard for my Rick: I only put the subtlest of round-overs on the 4003 pickguard. The stock pickguard had no bevel at all, but I put a soft edge on it to smooth it into the bass slightly. Final pickguard was a red Stingray pickguard that is out there somewhere in Glasgow now! This was hardest as it had to be totally symmetrical!
  8. 2 points
    I must say, I really do like the colour of this. I noticed when they released these new Vintera's and was immediately struck by the colour. Looks great with the Maple board too GLWTS PS. @karlfer - we all promise to let you out from under the stairs once this sells
  9. 2 points
  10. 1 point
    For sales - my lovely Shuker 5-sting single-cut. I bought this from John in December last year, and he had just taken it back as a part exchange. It’s a beautiful bass to play, the neck join is exquisite. Pretty wide-range of sounds available from the Aaron Armstrong pickups. I’ve currently got it set as E-C but can put back to B-G if wanted. It’s great either way. Some more details below. Happy to ship local and international (buyer pays) and it’s got a lovely Shuker hard-case (made by HISCOX). I’ve just bought another bass (Ha!) so don’t really want trade. Anything that looks like a scratch or a ding in the pictures is just a trick of the light - there’s none! I live near Reading in the UK if you want to pop round and have a slap. 🙂 34” scale 24 frets Maple / black veneer laminated set neck Palmwood Fingerboard Stainless steel medium frets Black walnut headstock scarf Laurel Burr headstock facings front and rear Brass nut Gotoh GB707 tuners Two way truss rod, carbon fibre reinforcement Laurel Burr curvetop and rear facing Black Walnut body Polyester basecoat Polyurethane wet look gloss top coat Schaller 2000 bridge Black Hardware Aaron Armstrong pickups. Blackout pre-amp with passive / active select (volume knob pull / push)
  11. 1 point
    You know what it is . 2010 weighs 8lb 4oz. £700 in very basic Ritter gig bag (not the hard case in background of photos). ONLY trades I'm looking at, straight swap for; Maple boarded US Precision or Road Worn Series Sunburst Precision If you wish to organise & pay for your own courier, happy to box it up, just let me know the day it will be collected, thanks for looking, Karl.
  12. 1 point
  13. 1 point
  14. 1 point
    The Godfather is a bit like GAS too - just when I thought I was out they pull me back in.
  15. 1 point
    Not sure how slow were are talking here, but i love playing this bass line
  16. 1 point
    I had a Mag 115, amazing sounding amp loads of features, sound wise hard to beat. How ever, fan can be a bit noisy at home for practice( fine for rehearsal/gigging)and its very heavy and award to carry, and the 210 is even heavier, it's a right workout moving it about, and I am a big strong lad. sound wise superb.
  17. 1 point
    Just played a couple of gigs with my PF-50T through my Barefaced Compact - gorgeous sound, and filled a large hall with ease! GLWTS
  18. 1 point
    I was on a cross-channel ferry many years ago where the on-ship entertainment was a duo with either a very limited drum machine or very little knowledge of music, who did "Delilah" in 4/4. I listened to it with a sort of horrified fascination.
  19. 1 point
  20. 1 point
    Interesting question. In practice 99% of the time it's 'transparent' and you wouldn't notice it's there. What does notice is that low frequency handling noise, like placing your palm over the strings or thumping the body is drastically reduced or eliminated. So it definitely protects the rig against those low transients. I don't know if it gives much extra headroom as at home the master volume on the Trace doesn't get above 1.5 and the Ashdown 500 at the rehearsal studio doesn't even get to 12 because we are old farts who don't want to damage our hearing (further).
  21. 1 point
    Not if, like me, you opted out of Christmas. I did this two years ago , not in a miserable Scroogy way just no presents in, none out, and it's been a massive relief. I now look forward to the time of year as never before. Still take mum to the carols, pop in and see my daughters on the day because they have asked me to, am delighted for those who celebrate it but I have none of the money side of it, none. It's been wonderful.
  22. 1 point
    Probably not what you want to read, Rabbie, but a couple of weeks ago at a rehearsal I unplugged my ply DB from my bass rig (AI Clarus II into a Crazy Eight) and plugged instead into the Hi-Z input on my cheap-as-chips Behringer XR18 wireless mixer, going into a pair of cheap-as-chips 1x10 PA wedges. Just out of curiosity. That channel on the PA had no special processing set up, no compression or low cut, no FX or anything. I was surprised to hear that the damned thing sounded very nearly as good through the cheap PA as it had through well over a grand's worth of specialist kit. Just a bit boomy. So I dug out my HPF and put that in the signal chain: DB -> HPF -> XR18 -> Powersoft Digam power amp -> cheap 1x10 wedges. Now it sounded just as good and - apart from the HPF - everything I was using was stuff that would be taken to a gig anyway for use by the band. It's worth experimenting with the kit you already have lying around before going the specialist mic route ...
  23. 1 point
    Go for a new one if you can stretch the finances that far. However a used alembic in good condition is a great investment in your bass playing. The reality is that whichever route you take, they are not gonna come around cheap and just like all other things to do with music, we don't all like the same things so whilst I love them to bits, I appreciate the sound of them is not everyone's cup of tea. There are however quite a good selection of alembics around for sale these days on ebay and reverb, more than I have seen in a good while.
  24. 1 point
    Just had a notification that my new one has been delivered to home, so new toy tonight! Player Jazz in Tidepool, played one in Buttercream in the local shop which made me love the feel and sound, but they didn't have any stock in this colour or an ETA. Since seeing the Tidepool colour on the new Strat, I was in love 😂
  25. 1 point
    @Andyjr1515 is the man to talk to about how much structure you actually need, he's accidentally built a bass out of something with no structural value once and deliberately a second time. Interesting concept you have though, like it.
  26. 1 point
    I saw Slim Chance a couple of weeks ago at the Half Moon. The mix was horribly swamped in sub-bass, common enough nowadays but extra inappropriate on songs of that vintage and quality. Anyway... still worth it to hear personal fave tunes like Roll On Babe and The Poacher, plus Geraint Watkins doing a really lovely Debris.
  27. 1 point
    Osmo is great as a satin finish - and yes...they indeed do tinted versions, but I would be tempted to stain it with a proper spirit stain and then put a clear finish over that (Osmo, Tru-oil, nitro, poly - they will all go over OK. Reason for me saying that is that tinted finishes tend to having the colour sitting on top of the wood and it is difficult to get a depth of colour or, sometimes, evenness. With a proper wood stain, you can experiment until you are happy with it and then seal it in your chosen clearcoat finish. I would recommend the trial pack of Chestnut Spirit Stains (the wood colour ones - they also do a poster-colour pack but they won't be any good for what you are after) available from Axminster here: https://www.axminster.co.uk/chestnut-spirit-stain-trial-packs-ax24498 Used carefully, each small bottle would easily do a whole guitar so this pack will last you years of multi-coloured builds! There are a number of colours amongst them that would do what you are after. You can also mix them, either together, or by doing a coat of one and then overlaying a coat of another. Bear in mind that the actual colour will be majorly affected by the colour and porosity of the wood so it's useful to have a colour spectrum to get the right effect. When staining, the colour as applied and still wet is a useful guide to how it will look when the clear finish has been applied. When it dries it will look a different shade. To double check the final colour once it has dried, just wipe over with a damp (not wet) cloth. For what you have described, on Maple, light oak and light mahogany will give the brownish/pinkish tinges and yew the yellow/orange tones - but there are plenty of other colours.
  28. 1 point
    You're welcome. What I've learned is that there is a balance basically between soft woods to isolate and promote desirable frequencies, and hard woods that maintain structural rigidity for the purpose of playability. AGC, Tobias and Sei have made wenge and maple necked instruments I've played which sound superb even if there have been other aspects that I've found less attractive. This seems to be the most reliable way to get that purr. Soft maple is an alternative but those instruments need a bit more bass or warmth around 100Hz. Other methods involve far more experimentation but if they hit the bullseye (like Jaydee did with their Supernatural range) then I suggest sticking with what has been proven. Tone wood is the first point of reference though. If the wood isn't right then it's too much like trying to paint lipstick on a gorilla.
  29. 1 point
    These gold stickers with the WO prefix appear on 70s & 80s guitars from the Cor-Tek (Cort) factory in Korea. Here's a random Cort-branded guitar with the same type of sticker: https://reverb.com/item/9881428-cort-double-cutaway-electric-guitar-1981-antique-brown-sunburst Cort's always been an OEM manufacturer as well as a brand name, and like all such factories, would badge guitars with whatever name the customer specified - as well as supplying unbranded instruments, like the one in the original link. The bulk of Korean instruments from the 70s and 80s seem to have come from either Cort or Samick, and since often no country of manufacture is specified on the instrument (stickers tend to get peeled off!) many people assume they're Japanese. If you know what to look for it's usually quite straightforward to spot differences between MIK & MIJ, despite there being a lot of shared designs. It does actually seem to be the case that as Japanese guitar manufacturing became more sophisticated and began producing higher standard instruments, budget ranges were outsourced to cheaper Korean manufacture. The problem with trying to understand the history of these old instruments - both Korean and Japanese- is that very few real records were kept, and a lot has to be pieced together from old brochures and details such as these WO stickers. There are still loads of grey areas, and probably a lot of stuff that'll never be 100% certain.
  30. 1 point
    The most useful lesson I have found on Rhythm Stick is the Josh Fossgreen one on youtube: Listening to the bit where he plays the complete verse through slowly from 11:12 along with looking at his pdf transcription completely cracked it for me.
  31. 1 point
    That Jazz and the Shergold are so nice! What a group
  32. 1 point
    @adamg67 before committing to the purchase of a BF BB2 ponder on the flexibility two BF Super Compacts may offer. I know it's more expensive but having a modular solution may offer some benefits.
  33. 1 point
  34. 1 point
    Cheers lads, really appreciated! Video indeed looks awesome as well in my humble opinion 😁
  35. 1 point
    I'm not that into his solo stuff and can't really get on with the Weather Report albums he plays on. However, I think his stuff with Joni is sublime (as above). That said, my favourite Jaco album is Pat Metheny's debut, "Bright Size Life". (Oddly enough I'm not that into Pat's other albums.) It's a pretty straight-up trio record with Bob Moses on drums and it's just stunning. A widescreen, atmospheric, Americana-infused take on jazz with wonderful playing from everyone. I think Pat was 21 at the time and Jaco not that much older. Title track for those who haven't heard it:
  36. 1 point
    The Josh Wah is just an incredible envelope/wah pedal, very funky and with huge amounts of gain on tap so you can even dial in dirt if you need/want. Only selling as my Source Audio C4 doubles as a filter pedal and it is pretty awesome in it’s own right, meaning this in essence is surplus to requirement. In good nick optically and in full working condition. Comes without box, price includes shipping. I will let Zach Rizer take you through the features and controls (demo starts @ 8.48m). Open to trades, Source Audio One series pedals or other midi capable pedals, clean boost, a smallish preamp pedal or volume/expression pedals.
  37. 1 point
    Just spent about an hour with youtube and a multimeter trying to figure out the colour code of the wires in a Wilkinson humbucker. Finally got it figured out, went to fit it and there was a little slip of paper in the bag with the screws with the colour code already on it 😂 Two positives though: 1) it's cool that they do that now because judging by what people have written in various places online, they haven't always, and 2) I got it right, which means I'm gradually getting the hang of this arcane world of wiring 😀
  38. 1 point
    There's generally less distortion in thrash metal bass than assumed. Too much distortion kills attack and that's what you don't want as the music is usually too quick to let notes ring and develop. Low boosted a bit, mid cut to taste, treble boosted on the amp and the gain cranked near clipping, tone open on the bass. Roundwounds struck with gusto near the bridge pickup with a plectrum or fingers in typewriter-ish style. Any bass will do although a MM humbucker may need more tweaking than others.
  39. 1 point
    I have a carefully managed captive breeding programme. By the time I wear through two balls, two more are ready to harvest.
  40. 1 point
    The rig looks really happy about the whole thing!
  41. 1 point
    Which bass is best for metal... the eternal question 🤔
  42. 1 point
    I'm the same. I periodically think I CBA with it any more, then get there, get all set up, start playing, and it's good again. My most recent extra smile was on Tuesday, when we did a guest slot at an open mic night with an eye on getting a few gigs at the pub in question. Our percussionist normally does a harmonica solo in "Three little birds", but just as he came up to it, realised he didn't have the gob-iron in question with him, so I stepped in and did a kazoo solo.
  43. 1 point
    For anyone interested in the origins, history, technical specs and model variations of the JV Squiers, this website and the attached forum should tell you anything you want to know. It's particularly recommended for anyone labouring under the bizarre and baseless delusion that MIJ Squiers, and the JV models in particular, were some sort of cheaply bodged-out, corner-cut borderline knockoff aimed at beginners. Read and learn. http://www.21frets.com/
  44. 1 point
    The ‘not very well hidden’ gem that is the Behringer BDI21. Cheap as chips and punching well above its weight.
  45. 1 point
    Seems like a lot of people are putting up with a drummer who can't keep time! That is like a guitarist who can't tune up or a singer who can't sing. Before you do any more rehearsing you have to sort that problem out. Being in time is part of their craft, so drummers speeding up or slowing down can't be tolerated. It doesn't sound good, it makes the whole band look bad and wastes all the effort of the other band members. I would fire any drummer who doesn't have a good sense of time. I'm lucky, this isn't a problem I've encountered in the last 20 years because I haven't played with bad drummers in that time. In bands most of the songs have been counted in by the drummer but I'm playing with a lot of guitarist/band leaders these days, and they tend to count in.
  46. 1 point
    How light is it? I assume being a 2x12 not very? Would just be embarrassing if I ended up buying another cab off you 😂
  47. 1 point
    I play mostly rock and blues, but earlier this year I had to learn 'Disco Inferno'. Loved it! 😊
  48. 1 point
    Favourite tone settings on the BB 735A Been experimenting with and loving your two alternative settings, John. My strings are (I presume) the ones they came loaded with so likely to be brighter than your Dunlop flats. For anyone whose interested, I seem to settling on: 1) Passive Pups - full P EQ bass & mid by-passed; treble rolled off to 2/10 for general and possibly lower for a vintage sound 2) Active Pups - 3/4 J EQ: bass - flat, mids - boosted, treble flat Unlike the BB 1025 having the P + J at 50:50 on the 735A gives the most mid-scooped tone , whereas with the selector switch you seem to be getting literally half of each on the BB 1025 3) Switching between active and passive: Really easy to swap between the two: bass EQ and mids EQ are left permanently on preferred setting for active (as they are by-passed in passive mode) and then it's just two quick turns of the pup selector dial from P <--> 3/4 J and rolling the treble from 2/10 <--> 5/10 To avoid needing to switch the amp from active <--> passive, I just give a little volume knob on passive and cut a touch on active => can do that very easily all from the bass itself which keeps the convenience-junky / avoiding dead-air time part of me happy! The passive tone is great for much of our covers material (vintage & general) and then switch to active where I need to cut through / more rocky material.
  49. 0 points
    Add to that an empty wallet after the silly season 🎅🏻
  50. 0 points
    My wife used it when she got a tattoo, many years ago. I suddenly got a rash. Turned out I was allergic to the bloody stuff.

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