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Showing content with the highest reputation on 15/02/20 in all areas

  1. I'm not a massive fan of hyperbole in ads so just the facts (err, and a bit of opinion... ) Candy Tangerine Precision - luthier constructed from a combination of an MJT reliced body (Alder I think - see MJT at https://www.mjtagedfinishes.com) and a Limelight reliced P neck (1.625 nut). IMO the relicing is of a very high-quality and looks authentic (in terms of both wear and checking). I picked this up on here around a year ago, spent around £150 on it, put it in my office and then it's hardly been played (I try to stay out of the office and when I'm there, I'm frequently too busy to play). On receipt, the bass played very well, though the action was at medium height and I prefer it extremely low. So, off to Jack's Instrument Services in Manchester to have the action taken right down: some fret-work, a full-set up, re-string and a shim - I also had some of the finish removed on the back of the neck, then a light oil to get that US Lakland style slickness. All this at a cost of £130 - I can provide the receipt. The result, IMO is stunning - super-low action, incredibly clean and fast all over the board and sounds like a classic early P. Specs: Light alder (?) body (MJT) with deep contouring - relic finish Candy Tangerine Neck - P Shape with 1.625" nut (Limelight) - very dark rosewood board Scratchplate - I'm told by the original commissioning owner that the plate is an original 1964 from his own '64 Fender. The plate has an extra hole that has been filled. I can't verify the provenance though it looks right Limelight electronics, pick-up and hardware Strung with brand new D'addario 35-95 Nickel rounds The original ad is here (I'm hoping that the original owner is OK with this) I have just over £800 in this so think that £690 is reasonable. The bass plays beautifully well and, again in my opinion, looks immensely cool (though you can be the judge here). The bass is in Manchester and comes with a basic soft padded case (not bad but not immensely protective). Please note, I don't have the pickup and bridge covers. I can ship but at the buyer's cost and risk (and there is a risk here without a hard case). Any questions please just ask - the original images are probably better than mine but I can get more if required.
    10 points
  2. For sale only, a 2010 Xotic XJ-1T £1300 Full working order. A lovely player for those moving from 4 to 5 string because of the (adjustable) string spacing. Specs Weight: 4.7 kg Nut: 47mm String spacing: 19mm, adjustable Xotic A-type bridge 22 frets with luminlay fret markets - activate with a torch or other light source, and they glow on a dark stage. Controls: Chrome pots: Volume - Blend - Passive tone Black pots: Active bass/mid/treble Switches for mid and treble centre frequencies Push/Pull Volume for active/passive Push/pull passive tone for Hum Reduction Inducter (a $150 add-on option which works brilliantly!) For other details see here: http://xotic.jp/instruments/basses/xj-series/index_e.html (this explains the bass was designed in California, built in Japan, and finished in California!) "The production of each high quality Xotic bass guitars begins in our Los Angeles, CA shop where the wood, shape, color, hardware, pickups and all other features are precisely designed for each instrument. Every model goes through an extensive process of R&D to determine which wood, construction and electronics will best serve its envisioned use. These exact specifications are then sent to T’s Guitars in Japan. T’s Guitars has an enduring reputation of producing exceptional hand quality instruments in Japan and Xotic has a long and ongoing relationship with them. Great attention is paid to picking the finest woods for our bodies and necks and each piece is hand selected. Seasoned builders blend old world craftsmanship with modern CNC technology in building each instrument with each step in the process supervised up to Xotic’s meticulous specs. Guitars are then shipped to our California shop where our Master Luthier will inspect each instrument. Fretwork is finalized with a fret dress that addresses every facet of the fret surface. Additional setup includes string height, truss rod adjustments and fine-tuning of pickups and electronics. Particular attention is giving to the instruments playability, tone, fit and finish." Also see the spec sheet in the photos. Cosmetics: Excellent condition, I can't find any body marks that would show up on a photo. A few minor scuffs and dings on the headstock. History I bought it a few months ago in Camden, it appears it has been previously sold on Basschat: https://www.basschat.co.uk/topic/328027-sold-xotic-xj-1t-5-sold/ Moving on because I've just bought a Ken Smith and this is far too good for a backup! Comes with A generic, shabby but operational black hard case Manual, stickers etc. per photo Payment, collection , delivery Payment by BACS please - collection from Tonbridge, Kent (J15 M25) or UK courier at £15. Thanks for looking, my feedback in my signature
    7 points
  3. I’m moving to the San Francisco Bay Area and I have too many basses and gear to transport. ‘This is a nice copy of a 51 precision bass. I built it myself from parts all over the Internet. Bolt on neck. No-name pickups but my god they sound terrific, with the right ancillaries it can sound like a real grinding warhorse and the only reason I am selling it is because it’s expensive to ship to the USA. this was used in its entirety on my first EP and you can hear it at its gnarliest here. https://clairefoxx.bandcamp.com/track/rise-up-2 I now have a relic MJT '51 P bass which is as good but this is in new condition and not been gigged. it has a good action, chunky frets and a maple fingerboard, it has sculpted body meaning it’s not a heavy plank like the original 51 shape and design. it weighs just a shade under 4.15kg. it is through body strung and has a sustain to die for. I hate to let it go but I’m moving and I have to cut back on basses, amps, cabs and pretty much everything to make moving possible. Can be shipped in a styrene mailer.
    7 points
  4. Oh yes. . . . . . . . . . and while a room full of people is having a great time, all because of you. If you do it properly everyone wins on so many levels with cover bands. Covers v Originals has never been an either-or situation for me. I'm lucky to be able to do both.
    7 points
  5. For sale my Stingray black rosewood from 1989 Good condition for his age Only 3,9kg Sounds like a dream really Comes with a gigbag Price: 1400€
    6 points
  6. Fun gigs, play music you like, money, appreciative audience, what's not to like?
    6 points
  7. There have been so many talented people who have written so many great songs. What's wrong in wanting to play some of them?
    6 points
  8. One of the key joys of playing live is connecting with your audience. Great originals bands will fill out a stadium. A half decent originals band can regularly play to an empty venue, often for no money. Must be soul destroying if it never goes anywhere? A half decent covers band will bring in custom and fill out a pub, or help a wedding couple celebrate (hopefully!) one of happiest days of their lives and get paid handsomely for the privelege. Writing a song is a wonderful creative process. A lot of original material by your average originals band is at best meh, which is why they play to empty venues. If you write a great song, you'll touch people's souls. Audiences will want to hear it time again and other musicians will pay you the ultimate tribute by covering it. There's room for both. A harder road awaits the one with the prospect of amazing uplands, but few manage to scale those dizzy heights. For the rest of us, there is a lot of fun to be had making great music to appreciative audiences for a decent pay day. That works for me.
    5 points
  9. Oasis made a good living as a covers band
    5 points
  10. I got unique Zon Sonus Custom 5 with cocobolo top to sell. This particular bass was review in Bass Guitar Magazine Issue 45, August 2009. Made In: USA Finish: High gloss Body: Ash with cocobolo top (cocobolo is a tropical hardwood that grows in the pacific regions of Central America,it has an irregular concentric grain and reddish-brown hue) Neck: Carbon fibre/wood Composite,bolt-on Fingerboard: Phenowood,305mm radius (12 inches) Frets: 24 Pickups: 2x Zon/Bartolini Controls: 1x master volume,1x pickup blend, 3-band active EQ. Hardware: Gotoh GB7 tunners Bridge: Zon adjustable top-loading bridge Nut: Width 40 mm (1.6 inches) Scale length: 864 (34 inches) Weight:3.9 (8lb 6oz) What Bass Magazine was thinking about that guitar: Plus: Impeccable construction,stunning looks and pro sounds. Minus: None Overall:Intelligent design,premium built quality and outstanding tone combine to make the Sonus and ideal instrument for the pro player. Bass is in near mint condition -one screw is missing from back plate It has "musicman" looks like hard case.
    4 points
  11. Evening all. New member just introducing myself. Haven't played in nearly 13 years but got the bug again lately so I'm starting to pick gear up to get back to it. Going tomorrow to pick up a hartke ha3500 head that I won on ebay then probably pick up an ashdown cab of some sort, after that I plan on picking up one of the new fender short scale mustangs. Picked up a couple of random bits on ebay too lately, got a behringer bod 100 overdrive and a bass v-amp pro cheap. Should really have bought a bass first but I'm a gear head and find it hard to say no to that stuff. Ariba.
    4 points
  12. There's a lot more to funk than EQ. Bootsy and Rocco aren't defined by their tone, they're defined by their chops. The thing you don't want to do is have too much low end, as that doesn't work well with staccato technique. With funk the bass isn't a background instrument, it's a lead instrument, so it should be mid prominent.
    4 points
  13. They did and I would never disrespect them by playing one of their covers
    4 points
  14. Move It - Cliff Richard C'mon Everybody - Eddie Cochran Shakin' All Over - Johnny Kidd & The Pirates
    4 points
  15. Ruts - Babylon's Brning Ian Dury - Rhythm Stick Bauhaus - Telegram Sam (Trouble Funk - Drop the Bomb)
    4 points
  16. I feel a quota system might be good though... So all cover bands would have to submit set lists to The Powers That Be. On a first-com-first-served basis individual song choices would be limited, so that by the time (for some songs!) 1 band has said it's going to play "Sex on Fire" no other bands would be able to play it until the next gig (if they're quick enough). That way when you walk between boozers that do covers bands you won't hear Freebird in all of them. Some songs would have special dispensation, so if you were going to do a Shockabilly type version of Smoke on the Water that'd be fine, or if you were to attempt a funk version of the Cramps' "Human Fly" you'd be awarded extra credits to play unlimited Mustang Sallys... It would encourage some creativity in set list choices!
    4 points
  17. A friend of mine, fine classical musician, was deriding tribute bands. I pointed out that the Berlin Philharmonic was a arguably a Wagner/ Beethoven Tribute band, that the Huddersfield Choral Society only really records The Messiah, and that the string quartet on the radio were specialists in one composer only. Nothing wrong with playing other people's music if it's what you and the audience like.
    4 points
  18. Now £525 collected with Fender gig bag or £560 including overnight shipping (in an ABS hard case) in the UK Status necked fretless Jazz 4 - luthier built alder body with natural gloss finish and custom Status neck (21 positions with overhanging board - black gloss finish). I bought this to use whilst my own fretless was away for some work. The latter is now on its way back so I'm selling. Though I'd honestly rather keep it: I'm not a fan of hyperbole in ads but this is very genuinely the best fretless I've ever owned or played (and this includes Fender Masterbuilt and two Wals). Superb, very low action and fabulous playability. It plays better than my other fretless (considerably better, that's why the other has been away). Condition is mint - I can't find any marks anywhere. Specs are: Luthier built, centre-jointed 2-piece alder body - gloss transparent finish Custom Status neck (Precision flat profile with 1.625" nut - apparently, this cost over £550 alone when Status was taking custom orders) Tuners - Hipshot Ultralite Pickups - DiMarzio (DP123 I think) Hardware - Fender (bridge, bell-plate and neck plate) Strings - currently very light (35-95?) rounds - very comfortable - nickels I think Weight is 8.8lbs (about 8lbs 12ozs) and balance is very good - the top horn strap pin sits above around 11th 'fret' and the ultralites imply there's no neck-dive at all I have around £600 in this so think £550 is fair. Though, honestly I doubt that you'll find a more playable fretless at pretty much any price. IMO opinion, this also looks lovely and the J shape is very comfortable The bass is in Manchester and collection would be ideal. Initially, I had only a Fender gig bag and was unable to ship. However, I've been able to source an ABS hard case (in very good used condition) and a box and can now courier within the UK. So, the selling price above (£550) includes a gigbag if collected. I can only ship with the hard case and this will add £25 to the total. Shipping should be around £15 so the total cost for the bass, shipped in a hard case will be £590. Following a recent disaster with an amp, shipping must be at the buyer's risk and collection remains the preferable option... I'm happy to ship with insurance if this helps (though again, there's an additional cost here). Any questions, please just ask I’ve added a couple of images of the fretboard extension to 21 positions. This also shows the very shallow radius of the board - almost flat. For me, this adds to the comfort. I’ve added some further and better images but please let me know if you need anything specific
    3 points
  19. Since I've written 2 books in which you could be forgiven for thinking I just contantly ridiculy cover bands I felt it was time to write something about my actual ever-abiding love for them It's here and contains plenty of video evidence of me playing in various covery situations TLDR: Cover bands are amazing and neccessary and I will fight anyone who says otherwise https://davedoesntwriteanythingever.blogspot.com/2020/02/the-mysterious-allure-of-cover-band.html
    3 points
  20. I have something incoming that’s a little different (for me at least) so I’m moving on my lovely Steve Harris Blue Sparkle Precision. This is the MIJ model offered long before the West Ham version was introduced. Made In Japan Alder body 1-piece maple neck with tinted gloss polyurethane finish Maple fingerboard with 7.25"/184mm radius 42mm nut 20 medium jumbo frets Seymour Duncan SPB-1 Vintage Style Split-Coil Precision Bass pickup Leo Quan Badass II Bridge 1-ply chrome pickguard 34" scale Weight 9lb 15oz Moulded hardcase (non-Fender) I’ve made several entirely reversible but I think sensible improvements to the bass in the time I’ve had it: Fitted a Kiogon solderless loom with solid shaft CTS pots, Switchcraft Jack and new flat topped knobs Very recently replaced the original tuners with brand new size correct nickel Hipshot HB2 units Fitted new Omega grooved nickel saddles in place of the original Badass units New Gotoh strap buttons (I can replace these with Schaller strap lock buttons if you prefer) The original loom, Badass II saddles, tuners and bushings are all included so if you wish to put the bass back to stock and sell the bits on, feel free. It did cross my mind to do just that but I have neither the time nor the inclination at present. The grooved saddles alone were eye wateringly expensive for what they are as they were shipped from the US. The bass really is in superb condition with no marks or dings at all to the body, only some light scratching to the chrome plate which I’ve tried to capture. The headstock seems to have taken all the knocks for this bass with a few cymbal dings and there are a couple of very, very minor indentations in the poly finish on the neck, but nothing that is anywhere it can be felt when playing. Again I’ve tried to capture these in the photos. Some additional shielding appears to have been fitted at some stage too. The bass is currently strung with Fender 7250 nickel round wounds but I do have the Roto SH flat wounds to throw in too. Ideally looking for collection from South Yorkshire or I may be able to meet up if circumstances at my end allow. I’ll say this is sale only but I may be open to a trade for something interesting. Bass wise it would have to be 4 string, fretted, headed, 34” scale, min 42mm nut, 19mm string spacing with a flat or flattish board (12”/14” radius) and have a 12th fret top horn. Not too much to ask for!
    3 points
  21. Ola amigos. My local tech just posted some Instagram pictures of a bass he’s worked on, and I’m smitten. The tech (very good too) is in the South Wales area , so I’m wondering if this belongs to one of us on this here site? This is just great!
    3 points
  22. Played at a Blues Weekend, for Edinburgh Jazz & Blues festival, last Sat. The venue was a nice old church but I think they had the impression we were jazzers or something. They supplied a Markbass 802 for onstage monitoring, which I'm sure would sound lovely in my living room, but couldn't cut it when up against our, hard hitting, drummer. This is a picture of me and the band. With me playing bass by sense of smell. Incidentally, the venue videoed the band from out front and livestreamed it on Facebook and the bass sounded great through the PA.
    3 points
  23. If it has to be strictly from teen years, in date order I'd say "I don't like Mondays", "Vienna", "She Sells Sanctuary"
    3 points
  24. Here’s a look at a couple of the new Ashdown bass guitars at NAMM. A bit of the story behind them too.
    3 points
  25. Our band’s first gig for 18 months bar a short support show last October. Our singer has been very ill, so it was amazing to see her fully recovered and really bossing the crowd. The outpouring of goodwill was amazing to witness; sometimes music can do that. Only disappointment was the drummer, who clearly missed his kit so much during the hiatus that he bashed the hell out of it at every opportunity. Numbers were done 20 per cent faster than they should. This really impacted on my bass parts, making me wish I had not bothered with the fretless. Fortunately my attempt at recording didn’t work so my fumblings will hopefully be forgotten. Sorry to vent, but I really can’t say anything without spoiling the singer’s moment - and she deserves it. Play each gig as if it were your last...
    3 points
  26. I'm in a covers band because I can't write music for toffee and I enjoy performing. I couldn't give a sheet if some gobs***e prat doesn't like it.
    3 points
  27. Yes - it's a bit iterative. I personally cut the slots to around 4mm on a board that has been initially thicknessed to 7mm. I then lose getting on for 1mm along the spine through the radiusing, and up to 3mm at the sides of the untampered board from the radiusing process. Usually, this leaves the lower frets still deep enough once the board has been tapered and thus the radius effect is less. For the upper frets though, depending on what radius is being cut, then the sides can indeed end up too shallow, so I deepen them with my fretsaw angled from the centre to the edge so that I'm only deepening where it's needed - that is a pretty quick and easy job. If you fret once it has been glued to the neck, you can cut the slot deeper to start with, but nowadays, I fret the fretboard before gluing it to the neck and therefore need a decent amount of wood still below the slot so the board doesn't break when hammering in the frets. Cutting an initial 4mm slot in a 7mm board blank gives me 3mm meat underneath for most of the fret slots which is usually enough. I use a thin piece of metal with a couple of depth marks on to ensure that the slots are clear of dust and deep enough along their whole lengths before inserting each fret.
    3 points
  28. @PJ-Bassist And once the kids have grown up and left the nest you'll be straight back into gigging i bet same as the rest of us.
    3 points
  29. Years ago, when i was in an originals band we had a bass player that was also in a covers band. He was very good but we looked down on him. Couldn’t understand why he had sold out any such a young age (30 IIR). We were young and back then lol. Now I love playing covers. None of the songs ive ever written are anywhere near as enjoyable as playing the songs i play now. I get to learn many different styles (and end up dumbing them down to my level lol). I get paid to make people dance, and at the end of the night we get thanked for giving them a good time. In a way, for me its like hearting my fav bands/tracks being played by a live band, and I’m up there with that band.
    3 points
  30. Had this beauty for a couple of weeks now an almost mint bb2000 with original case and case candy.. I have just restrung her with a set of bass centre peter hook signature elite stadiums .. god she sings weirdly I have had a couple of Japanese bb1200s the active ones a red and green one now gone and they weren’t as good as this bass .. strange as they should be pretty much the same basses minus the bridge pickup
    3 points
  31. Shy Boy - Talas Pale Shelter - Tears for Fears Second Rendez-vous - Jean Michel Jarre
    3 points
  32. Agreed. And what's wrong with wanting to earn a few bob doing so?
    3 points
  33. Age does matter. I wouldn't apply to join a band of 20 or even 30 somethings, because they wouldn't want me and I wouldn't wish to put them in the embarrassing situation of having to say "Sorry, grandad". Given that I play as much for fun these days as anything else, I want to be able to relate to/get on with the people I play with. That means we need things in common and that means in most cases that we need to be of a broadly similar vintage. Music may be ageless, but musicians ain't.
    3 points
  34. An absolutely stunning example with matching headstock Maruszczyk Jake 5+ P/MM that is around 7lbs / 3.2Kg in weight, Fitted with passive Delano MC5 HE/M2 and PC5 HE/M2 pickups and comes with a Hiscox hard case. New D'Addario nickel rounds fitted but I can include some used DR Sunbeams if you'd prefer. 18mm string spacing at the bridge If you've ever wanted a lightweight 5 stringer that weighs so little that a 2 or 3 hour set leaves little to no impression on your ageing shoulders, then this is the bass to have
    2 points
  35. I've seen a fretless that I'd like to buy, and since the seller is also selling a fretted P I'll not bother him with trade request so will put this up for sale in the belief of if it is meant to be it will be Fender Precision Bass Made In Japan 1990/91 PB57/500 Two colour Sunburst / Maple. Lovely sounding and playing, player grade, Precision Bass, in good used condition. Purchased from Bass Direct, has great sounding original type '57 pickups with staggered pole pieces. Fujigen built with typical of era quality Japanese parts and build quality. Solid one piece maple neck, truss rod adjustment at heel of neck. Single ply white scratch plate with original pots and capacitor. Condition is Used, no major issues, minor dings and wear as one would expect from a 30 year old instrument; frets, hardware and truss rod in good condition and electrically sound. Since I've owned the bass I have changed the pickguard screws to stainless and fitted Flatwound strings and 4 replacement shorter length bridge height adjustment screws, but have kept the originals and will include those. Instrument is currently set up with a fairly straight neck and low action to suit me. Complete with used Fender ABS hard case in good condition. Includes UK 48 hour courier shipping mainland UK, excluding far SW England and Scottish Highlands and Islands for which there may be an additional cost. You are welcome to come and try the instrument out here in Llanfyllin Any questions please ask, either through pm or by telephone 01691 648011. I have some additional photos saved and can take more if required, though outdoor shots with good natural light maybe difficult given the weather. Thanks for looking
    2 points
  36. Today this beauty of a beast moved into the Bass Shelter at the mountain top: a Dingwall Afterburner I five string in the Heavy Solid make. A bit on the heavy side, but not too heavy. The tone? Well, to die/killed/be killed for... All wenge neck and bubinga body...
    2 points
  37. Only 11 and a half years late...😜😜
    2 points
  38. I have been in both originals and covers bands - but mostly the latter. Although I enjoyed creating my own bass lines in the originals bands, what I didn’t get along with was all the boring, non-musical stuff that creeps in such as promoting the band, long gaps between gigs and paying to play far-away venues in a vain attempt to raise the band’s profile because no-one local books originals bands. So playing other people’s music is where it’s firmly at for me. And it’s just bass in my case, as I don’t do vocals; which allows me the undiluted pleasure of fully immersing myself in the huge and superb range of bass-lines that so many much more talented people than me have created. What’s not to like?
    2 points
  39. I can't comment on hours anymore. I'm obviously confused. Hopefully we'll take 2 nice breaks. Blue
    2 points
  40. Personally it doesn't matter who wrote it, if I play it exactly as per the original or what anyone else thinks, as long as we are having fun, getting paid and playing with a group of people that I love then I'm happy
    2 points
  41. Yup. See, you have contradicted yourself immediately. You say you 'respect anyone's decision' and then in the next paragraph have been disrespectful about people not doing what you do. I play in a blues rock trio. A decent chunk of the material are covers of stuff written in the 20s and 30s with another wave in the 60s. Successive generations have put their own spin on the songs - including us.
    2 points
  42. Being creative and generating new music is great, long may this continue. However, I don’t understand why some folks are so sniffy about covers in popular music. In classical and jazz this is the norm. No one gets snotty about musicians playing Bach or Motzart, etc (as mentioned above by @Richard R) or playing stuff from the Real Book. Why is pop/rock any different? I play in an 80s covers band because I love the music and because a lot of what we play is particularly challenging/fun for the bass player i.e. me. Yes, there are some poor examples of pop covers bands out there, but I bet if I went to jazz jams, etc (is there a classical equivalent?) there’d be some some stuff that would make me wince too. It’s music and should be enjoyed for its own sake, whether original or cover. BTW I heard Bob Dylan’s original of ‘Watchtower’ on the radio the other day, I didn’t know it was so good (I’m not a Dylan fan) but it’s the Hendrix cover most people know and revere.
    2 points
  43. So the current Players in Tidepool look pretty tidy with a black pickguard instead of the factory parchment one
    2 points
  44. I have for sale this incredible handmade Human Base Jonas 5 in very good condition. Top quality build and sound, a plesure to play. Now has setup a very low action. Controls are 3 knobs: 1st is Volum but also can be push/pull for pasive/active 2nd is pickup balance 3rd has 2 knobs stacked: first on top is high freq and the other on butom is low freq. Check price for a similar new bass at Siggi or at Thomann if you dare. 😉 The Human Base Jonas 5 is light, has 4.1 kg (your back will thank you for buying a light bass like this) and is very good balanced. 34 scale, Bartolini electronics, pasive/active (pull/push on volum knob), maple wings, birdseye maple neck, Purpleheart woodtop (very rare) with matching headstock, handmade by Masterluthier Siggi Jäger (Human Base). I am living just 20 km away from Siggi and know him personaly. He is a very nice and talented man and one of the best luthiers worldwide. The world of good boutique builders is smaler and smaller every day.... I just found out Mike Lull passed away. RiP.
    2 points
  45. Right... I'm into the .last couple of days before rehearsals start. I can probably concentrate on technical stuff this weekend. There's 15 songs in total - that's more than in 2018 - and only one of which I knew already. With the prep I've done I'm confident I can go straight into the rehearsal and just play them. That said, I'd be surprised if all 15 songs end up in the show as they are; I'm not discounting the possibility of changed keys, arrangements, or... a song being dropped completely depending on how the rest of the show pans out. I just have to be prepared for anything. The backline is being loaded into the rehearsal room on Sunday. The core band is going through basic arrangements on Monday, and we'll be joined by the brass and b.vox from Tuesday. Well not be running through the songs with the actual singers until we shift to the Arena later in the week. Until then, it's guide vocals only. Gear-wise, nothing new for me: Limelight Precision w/flats Maruszczyk Jake P + Humbucker w/rounds (I bought two sets of DR Sunbeams specially, 'cos I had none in the house. ha ha) Handbox R-400 head (main) Maruszczyk (aka Handbox) Bass Tank head (backup) TKS S212 2x12 cab LR Baggs Venue DI (just to use as an inline tuner) Still time to tinker beforehand, though...
    2 points
  46. He was a true gent. Messaged me about the bass I pictured above personally. Made me feel part of his family- even though he didn’t owe me anything.
    2 points
  47. I wouldn’t change the tuners unless the existing ones are problematic; better to keep it original.
    2 points
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