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Showing content with the highest reputation on 27/01/20 in all areas

  1. 14 points
    Today I took receipt of my first bass a Fender Vintera Mustang in sea foam green. Bought the bass from @Grantd who made the process super simple, really nice guy and went above and beyond to get the bass to me, so thank you, definitely buy with confidence. Really chuffed with this bass, should give me a solid platform to learn from and more importantly makes me smile.
  2. 7 points
  3. 4 points
    Ok just back and thought I’d see how much fettling these would need before I can fit. Answer absolutely none. Nothing! They fit so snug in the guard and the pole pieces it’s ridiculous! I’m sure MM would be proud if they’d pulled it off! Absolutely over the moon @GisserD and much thanks for your help. I’ll tell the other dudes about it and I’m sure they’ll be ordering soon. This place man, it’s just amazing 👏👏 Couple of pics to show how neat they fit (obviously not set up yet!)
  4. 3 points
    Just an idea I had... I'm currently building my fourth bass. It's generally going very well given the short time I've been doing it and I'm sure if I continue to hone my craft and amass better equipment I'll one day produce something someone might like to buy. In the meantime, though, I'm just making them for myself, which is all well and good, but surely the real challenge is making something to fulfil someone else's needs. As a consumer, I'm very forgiving of my own shortcomings! So I was just wondering - if there's anyone else out there at a similar stage, i.e. able to handbuild a serviceable bass but not feeling ready (or perhaps even willing) to go into business with it. If so, perhaps we could come up with an arrangement where we build an instrument for each other? In theory it wouldn't be limited to two people - an even number could pair off and an odd number could just go round in a circle. Obviously there would need to be further discussion to hammer out all the details, expectations, etc, but I just wanted to put it out there and see what people think. It may well have been done before on here - I wasn't sure how to word a search for something similar! I know there are more dedicate builder's forums out there, and I might try there in due course, but I've found the community here very encouraging and it's as good a place as any to start.
  5. 3 points
  6. 3 points
    Bass Soul Food might give you what you’re after. There’s varying opinion with them but you can nab one used pretty cheap and it does really need to be heard in a band mix as it could sound a bit middy and ugly on its own. That’s a fair point if I say so myself make sure and demo the pedal with your band. All too often folk on forums especially the TB crowd are buying and flipping gear within days having not tried them in context with their bands. Very important and not to be overlooked!
  7. 3 points
    As someone who plays Bass VIs exclusively in one of my bands (I own a Burns Barracuda and a Squier Bass VI) here's my take: The 30" scale models with 3 pickups tuned E-E (an octave below standard guitar tuning) are most definitely basses, but with an extended upper range. The voicing of the 3 pickups allows bass as well as guitar type sounds. Don't expect to be able to play full chords in the first (or second) position on one of these though, it's just an undefined bassy mess. However two or three note chords in the upper register can work well, if you pick your notes and pickup voicings and arrange the song for it. Bar chords are unplayable unless you a have a vice-like grip on your fretting hand. In my band I alternate between bass parts and mid-range melody lines, but we don't have a guitarist and live, the synth player takes over with a bass sound when I'm playing melodies on the Bass VI. As I said it's all about the arrangement. The Squier Bass VI can be a good starting point, but there are a number of things you need to take into consideration first. 1. The neck is very narrow even by guitar standards. Of all the Bass VIs currently available the Squier has by far the narrowest neck. Think 70s Fender Stratocaster width, which with the much thicker strings you need very Bass VI tuning doesn't make the string spacing low down on the neck very comfortable. If you are used to very narrow guitar necks then you might be OK. I play guitar as well but all my guitars have wider necks so I find the Squier a bit of a struggle hence it's been relegated to being my spare Bass VI for live work only. On the other hand the bridge spacing is much better (wider) than a lot of the competition. IMO you have to try them all, but you may well find like me that it is a compromise between narrow string spacing at the nut or narrow string spacing at the bridge. This is a function of many of the instruments using standard guitar parts when they should IMO really be using specialised ones to account for the thicker strings. 2. The supplied stings are too light for decent bass playing - especially low E and A. This problem affects all the Bass VIs I have tried. What you change them for will depend on the sound(s) you are after. 60s style bass VI and you'll probably want LaBella Bass VI Flats. If your inspiration is more late 70s post-punk (Cure, New Order) you'll want either LaBella Bass VI Rounds or Newtone Axion Bass VI strings. I like the Newtones - the lower strings are the same gauge and feel as standard short-scale bass round wounds but the G, B and high E are lighter for a more guitar-like feel. 3. On the Squier you will also need to shim the neck to get a better string break angle over the bridge. You might also want to change the bridge for a StayTrem model that doesn't rock back and forth on the posts. This is fine if you are playing MBV guitar parts, but doesn't really add anything to a Bass VI except more opportunities to go out of tune. You will also find once you have changed the strings that the vibrato mechanism now barely works with the increased tension of the heavier strings. Again this a compromise. You can have a working vibrato but only if your bass lines can cope with the sloppy sound of of the lighter gauge strings. 4. You'll need to think about your amplification if you want both bass and guitar-like sounds from one. I run mine into a Line 6 Helix multi-effects and then direct into the PA with an RCF745 FRFR powered speaker for on-stgae monitoring. Otherwise I'd need separate bass and guitar rigs to get the appropriate sound for the different parts. Again experimentation is the key to find what works best for you. Occasionally at multi-band gigs I've forced into using the bass rig for on-stage monitoring. In these cases I always find that the higher parts end up sounding like bad jazz guitar. I know it's going to sound fine FoH so I don't worry about it too much, however if you are a player who needs to be hearing the right sounds on stage to be able to get the best out of your playing, that is something to consider. Hope all of that helps.
  8. 2 points
    For Sale £950 Here we have my Spector Euro 4 LX. Bought this about 5 years ago from a nice old lady{honest} it has been my workhorse in this time. Any one that knows these basses knows the quality and sounds available. There are obviously a few scratches with one what i would class major which is at the 5th fret where there appears to be a small dent which does not affect playability { it came like that} ive tried to photograph it but its hard. Comes complete with Spector case,
  9. 2 points
    Is he a Psychiatrist??? This is clearly what the seller needs...selling a Spector??? What is the matter with this man??
  10. 2 points
    The Doors did use bass guitar players to some extend (not live AFAIK), but in this case it's Manzarek's left hand on the Fender Rhodes Piano Bass, and through some electronics. He might just be overdriving an input, Idunno. I've never seen him use organ pedals with his tiny combo organs, but that doesn't mean he never used them. I agree with EliasMooseblaster about the idea of a bass and an overdrive. The exact sound is hardly important for this song even though the overdrive part seems important to me. Me, I'd use a compressor as well so as to govern the decay as well as the oomph. Oh, and playing one octave closer to where the dust starts. 😃 BTW, for those few that might be interested, and I'm aware I'm being a foot fetish nazi here, there's no such thing as "foot pedals", much like there are no "hand pedals", "hand manuals" or "foot manuals". @Teebs, have you seen my nazi TLRT? Must've mislaid it.
  11. 2 points
    IMO the op is worrying about the wrong thing. It's a cover band and he's the bass player so he should be playing the bass lines and they should be his interpretation of the original. His personality should be in those lines. I always listen to the original lines, then I'll decide how close I want to stick to them. IMO as long as you don't compromise the spirit and feel of the song, get in there and make the songs yours.
  12. 2 points
    Yes, but you don't have to is the quick answer. On the other hand... What you get with a 13th chord is a whole host of chord tones. Have a look at C13. From root upwards in thirds that's C, E, G, Bb, D, F, A (root, 3rd, 5th, b7th, 9th, 11th, 13th respectively). Yes you can play all the notes of a mixolydian mode over that, but that's not helping much in terms of outlining the harmony as the song plays along, and that's a big part of our job as bass player right? Check out some of the triads you've got in that selection of notes. As well as C major, and C7, which will help you out big time, you've also got for example Bbmaj7 (Bb, D, F, A), Dm (D, F, A), Gm (G, Bb, D) and probably loads more. Chuck in a few of these triads instead of something based on C and you might start hearing some jazz. Or, alternate a couple of triad pairs (Am and Dm for example) and see what happens. To maybe even elicit an approving nod/raised eyebrow from your keyboard player, lets pretend you've got a #11 in there instead of a 11. Then you get to switch between triad pairs C7 and D7 for example or even you've got Bb-D-F#, the triad based on the third mode of the melodic minor scale, which opens doors to all kinds of excitement. (Bilbo will be along any moment to correct me on this paragraph) Remember there are no bad notes, just bad resolutions.
  13. 2 points
    It's a bass line. . . . . . you're a bass player. . . . . . . so you play it.
  14. 2 points
    Just remember not all P basses sound the same anyway, its a case of use your ears to see if you like it. A change of string can make much more difference than having a second pup on the bass and not using it.
  15. 1 point
    Made in Japan 51 Precision in two tone sunburst with maple neck Weighs 10lb 10ozs Shipping at buyers cost and risk Serial Number V018392 Absolutely superb Sale only
  16. 1 point
    This top-class amp incorporates a valve pre and should be good for another decade's service (or several) following recent overhaul by V Amps (Pete Searle). Delivers 550w at 40hms or 660w at 2ohms. There's been lots on this forum about the wonderful 'baked-in' Eden signature tone and this one with its valve pre-amp is a great example. Price includes the pictured alu case with one-piece fitted high-density foam insert or the Gator rack case in which it's currently mounted (no pic's here but will send if required). http://[/url] I don't want to ship this but happy to deliver/meet up anywhere withing 1 hour's drive from Taunton.
  17. 1 point
    Also up for sale is my 1979 pre-EB Stingray. This one has had some playwear as you can see from the photo's - a little paint off the back. Martin from SEI/Bass Gallery did a great refret for me and it's a fantastic player - very smooth, fast (and quite slim) neck and good action. It'll be a gigbag only with this one I'm afraid. Collection preferred. No trades sorry. My feedback
  18. 1 point
  19. 1 point
    Big Fender Logo (and small Squier one at the end of the headstock). I think you're right... anodised is the way to go...
  20. 1 point
    Smear laxative around the mouthpiece of his toy trumpet.
  21. 1 point
    Bump !!!!!!there ist a picture with His Friends on the sofa
  22. 1 point
    I'm sure it will be hideous to play and won't look amazingly cool with neon green DR's on ! I liked it better when you gave me reasons not to buy it !
  23. 1 point
    I think I've found it. It was sold to me as a CV Strat but reading up about them, they started manufacturing them in 2009 and mine is a 2007. I do believe it's a Daphne Blue Deluxe, like one of these https://www.amazon.co.uk/Squier-Deluxe-Stratocaster-Fingerboard-Daphne/dp/B001MW7WV0?SubscriptionId=AKIAILSHYYTFIVPWUY6Q&tag=duc08-21&linkCode=xm2&camp=2025&creative=165953&creativeASIN=B001MW7WV0
  24. 1 point
    I can’t remember, I know 12s featured a fair bit but details elude. I do remember that the Berg CN212 was the winner tho.
  25. 1 point
    Took me months to get around to doing this, but better late than never, Bought an Aguilar rig from Daryl which was in great condition. Easy to talk with and answered any questions I had. We actually met for the transaction after our own respective gigs at 1am in the morning... So he is definitely as committed to a sale as the purchaser is! Recommended
  26. 1 point
    Not sure if ever in print, but if so Strange Fruit from Still Crazy, which on film was Bill Nighy, Timothy Spall, Jimmy Nail, Stephen Rea, being a 70s rock band who reformed for a tour/festival. Absolute classic.
  27. 1 point
    As part of my downsizing prior to moving 2003 USA made Musicman Sterling Natural finish Maple Neck with Rosewood Fingerboard Black Scratch Plate No case or gig bag Collection or meet-up £900 ono. There are a couple of dings on the front as can be seen here.
  28. 1 point
    As others have said, "better" is largely subjective. And I've heard some budget speakers sound as good as some more expensive models Re your question about whether a 15" is better than say a 4x10 My observation here is that a 15" can sometimes sound too "boomy" - depending on which bass you're using, which amp head, what the venue size & layout is etc etc However, as someone who doubles up on Bass guitar and upright (Acoustic or EUB) - I must say, I've never been happy with 15"s. I always seemed to end up with either uncontrollable "boom" or else a really wooly, undefined bottom end of the tonal range. 12's, 10's and even 8's I've been much happier with. Smaller speakers seem to deliver a much tighter, punchier tone Of course, to move the same amount of air as a larger speaker, you may then need more speakers Given the choice of a 15 or a 4 x 10, for my purposes, I'd go for the 4 x 10 But really I'd prefer two 2 x 10 cabs - to give me flexibility for instance, some times I'm playing smaller venues or acoustic gigs
  29. 1 point
    I really like these too
  30. 1 point
    I wouldn't touch a hercules mic stand if it was given away free, my last one was that, you couldn't do the boom up hard enough for it to not fall down and smash the iPad, the bottom bit worked loose, and in the end when I accidental left it in a pub, I couldn't be bothered to go back for it.
  31. 1 point
    The other point about a walking line is that it should work on its own. Just because it’s a bass line, it’s still a melody in its own right. That’s the beauty of a walking line - you can just play chord tones - R/3/5 - but you can also play something much more interesting. It all depends on the context and the player.
  32. 1 point
  33. 1 point
    As an aside, you can make a BG sound more like an organist's left hand by using an octave pedal
  34. 1 point
    Something about Bromley, I was born in Mason's Hill, grew up in Downe and went to school in Bromley. Also play bass and a bit of Banjo. Welcome to basschat
  35. 1 point
    One Control HGBM worth checking out, too. Grit + high end clarity. Adjustable trim pot on the side to enable meaty low end for bassists (sometimes overlooked!), which may not be needed by guitarists. Higher price bracket than the Caline or Mojomojo, but arguably well worth it.
  36. 1 point
    I came across this on Facebook. It’s not to everyone’s taste I know, but I liked it. I’m intrigued by the Spider capo too.
  37. 1 point
  38. 1 point
  39. 1 point
    It's a blooming long drive between the north and south of Devon!
  40. 1 point
    🎶 I'm playing Graceland, Graceland, on my fretless P, I'm playing Graceland 🎶😊
  41. 1 point
    Reverse psychology, tell him that although his bass lines are good you think they’re getting in the way of his sublime sax melodies, so it would be best to dumb said bass lines down in order to not do so - but do admit it will pain you to do this.
  42. 1 point
    That’s how G&R’s always sounds to me. 🦡 🔪🍒🤪
  43. 1 point
    Sounds great, north west bound if they are planning another
  44. 1 point
    Modify, absolutely. Some people might talk about resale value etc etc but at the en dog the day it could make it the ultimate bass for you, so what do you care! Especially as there's been some work on it already so it's not 100% original, which for some is a key sticking point.
  45. 1 point
  46. 1 point
    right, but my limited fretless playing doesn‘t bring me into rushing stunts along the fretboard that much more chilled playalong = less trouble
  47. 1 point
    The Yammy BB is outstanding for the money, no question, so not surprised you're finding it a hard bass to compete with. The PJ EMG GBs do sound awesome - I'd love to hear what they sound like in action. Any clips of you playing? @burno70 & @Frank Blank - come on boys, let's get some pics up that we can drool over (again!)
  48. 1 point
    Finally got some time and space to paint my cab and finish it off. It has been an interesting process for me and nice to do something different like working with wood and paint rather than gears and lumps of metal. Fortunately this warmer weather over the last few weeks has meant the workshop hasn't been too cold for the paint, curing times have been a little slower but with the water based paint it has worked okay, and I'm pretty happy with the finish. I found that as the roller became more soaked with paint (I just put it in a plastic bag between coats rather than clean it each time, as advised on the TuffCab instructions) it tended to skip a little so for the last two coats I used a second almost clean roller for finishing once I'd applied the paint with the heavily impregnated roller and that way I was able to get the subtle ripple effect with the slow and light technique, especially on the front edges which I couldn't do with the loaded roller. I chose TurboBlue for mine, partly because I like the colour, have a blue camper van and matching blue bass and partly because the unit I trade out of was one of the workshops that was used to build TurboSound PA cabinets in the 80's and early 90's, so it's a little bit of a homage/tribute to that era. Back in 1986/7 I was part of a PA system in Newcastle and we had a couple of Turbosound cabs to start with, they were great sounding, powerful and compact, but kept burning out drivers so we did change to Martin Audio after about 6 months, but I have fond memories of our first new build rig. Many thanks to Stevie for the ready painted grill it made finishing it off pretty easy I have briefly tried it with both a TC BH250 and a Hartke LH500 (new to me) and it's pretty impressive, very clear, sounds great at low volume but goes well loud without a problem retaining that clarity. Interestingly the TC gets louder with less 'volume' than the Hartke does and flat out they don't seem that much different despite their power difference, the TC seems to give a good bit more volume than expected into 8 ohms. Both amps are single volume types without a gain and master volume set up, both are class D output, the Hartke has a valve preamp which seems quite subtle upto about 6 and half then goes into full on heft mode.
  49. 1 point
    Dear @Bassbandit – Hank never went without lube, take that back right now 😎
  50. 1 point
    Just leave it out....

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