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Showing content with the highest reputation on 17/02/20 in all areas

  1. Every time I see a slightly vintage map of the world, wherever it is, I get the strangest sense that there is some high quality bass gear that I need to buy immediately. Walshy is clearly conducting a large scale experiment examining classical conditioning of visual media to unrelated objects of desire. And it's working
    11 points
  2. Noticed a funky looking Wishbass on ebay: https://www.ebay.co.uk/itm/Bass-Fretless-4-String-Curly-Ambrosia-Maple-J-B-Wishbass-Kent-Armstrong-J-PU/143531217204?hash=item216b209134:g:ks0AAOSw7UheGOpm and this fugly one: https://www.ebay.co.uk/itm/Lefty-Bass-Fretless-4-String-Red-Cedar-Fiddle-Shape-Short-Scale-28-Wishbass/133325147860?_trkparms=aid%3D555021%26algo%3DPL.SIMRVI%26ao%3D1%26asc%3D20190711100440%26meid%3Daf81145a6a9f4ca6b4d1f88154fb85a7%26pid%3D100752%26rk%3D1%26rkt%3D18%26mehot%3Dpf%26sd%3D143531217204%26itm%3D133325147860%26pmt%3D1%26noa%3D0%26pg%3D2047675&_trksid=p2047675.c100752.m1982 Also noticed the verbiage near the bottom of the page: Unfortunately this video exists with Mr Wishnevsky himself demoing one of his basses by using it to make a noise like a dying cow
    10 points
  3. Up for Sale is my much loved, played and looked after Musicman Sterling. This is a USA made Sterling from 1996. Unfortunately needs must and I am offering it up for sale at a fair price. For those Musicman fans out there, this is the period where Musicman recessed the neck plate! Hopefully you can see it is in great condition for a 23 year old instrument. There are a couple of dings (headstock) and some shallow marks on the body which I've tried to pick up in the pictures where visible. Apart from that the usual signs are there for an instrument that has seen many years of being played. As pointed out I have taken an image of a small ding on the radius of the fretboard on the 4th fret. On the scales, the weight is a manageable 9.5lbs The serial number lists the instrument as: Manufactured October 15th, 1996 Model BASS STERLING SUNBURST ROSEWOOD Controls Single Pickup, 3-band active preamp; vol, treble, mid, bass Switching Single Pickup - 3-way lever pickup selector The Bass comes with the original Musicman Hard Shell Case. I would rather the buyer collects (if at all possible under currently social distancing) or happy for buyer to pay for courier service with an acceptable level of insurance. Sorry no trades or offers on this one as it is fairly priced for an instrument of this quality. Any questions then feel free to PM me and I'll come straight back when I can!
    6 points
  4. Hi , Up for sale is an Sei jazz bass made around the year 2000 for Randy Hope Taylor , in very good condition:- 4 string 34” scale Surf green body with matching tele shaped headstock Flamed maple neck / Rosewood fingerboard 38mm nut / 19mm string spacing Gotoh GBR640 tuners Alder body / parchment pickguard Passive / stack knob Mørch single coil jazz pickups ( 60s spacing ) Vintage spiral saddle bridge Weight 4.8kg Strung with TI Jazz flats Comes with gator gigbag , tortoise pickguard , neck metal pickup cover & cream pickup covers This has been one of the best jazzes I’ve owned with a great neck profile ( very similar to a celinder j classic I once had ) I’d say slim d profile. The neck & fingerboard was originally painted white , but I had this stripped some years ago by Martin Sims & he did a great job. I’m selling due to mainly playing 5 string nowadays, it’s better to see this getting played more often. My photos are not great , but I’ll try and take some better ones & if you want me to take any specific ones let me know.
    5 points
  5. Sold For sale is my lovely Fender Precision Bass. It’s made in Japan and serial number dates it to approx 1988/1990 and was made in the Fujigen plant. It’s light (approx 3.7Kgs) and looks like a basswood body with maple neck and a lovely slab of rosewood with dark stripes for the fingerboard. Neck has a nice vintage tint to it. It sounds fabulous and has a resonance and depth that’s comparable with vintage P-basses and is a sheer joy to play. I tried this out in a shop with 7-8 other p basses, some Japanese, some US and a couple of 70’s models and this was head and shoulders above the lot. I’m only selling as I’m a 5-6 string player and miss the B string pickup test! Front and rear are in good condition but the bottom edge is a bit roadworn. There are also some lacquer cracks around the neck but expected with a 30-year old bass. It really does have a vintage vibe! Hardware is fine - however jack socket is a bit crackly and probably needs replacing. Minimal fret wear and neck is nice and straight. It comes with Hipshot Ultralite lollipop tuners. If I get the asking price they’re included - if not I will restore the stock tuners (which work fine but add about 300g extra to the headstock). Collection only on this as there I no case with the bass. No trades please.
    5 points
  6. Right... day one done. 9:30am-6pm. Knackered. We got a decent balance, ran about half the set, sorted a few endings, and ironed out a few bumps, and identified something we're all going to have to work on for tomorrow. Every time we run a tune, we can ask for monitor tweaks and they'll all be stored individually for each tune. That way, everything should be optimal for when we move into the arena. One weight off my mind is we've run the song which is the hardest work from a bass POV, and all the swotting paid off... it's going to be fine. Thank goodness. Tomorrow we'll be joined by our lovely backing vocalists, and the brass lads. Looking forward to it.
    5 points
  7. Some pics from early in day one... We (the core band, no vocals, BVs, for brass) have ran through a bit of the set, and so far so good.
    5 points
  8. Definite improvement in sound and volume, mostly due to getting the sound post back to where it belongs. There was some damage about ten years ago when the original owner had it and I believe the sound post fell and was put in the the wrong place by the person who did the repairs, almost two inches from where it is now. The bridge feet were also contoured for a better fit to the top and that may have affected the sound too. The new adjusters work well and the top profile of the bridge was reworked for better bowing although I only bow while practicing at home, I can't inflict my poor technique and scratchy sound on anyone yet. The volume and tone from string to string are more uniform now and the E and A sound "like a real bass" instead of a dull thud, especially when played without the amp, while the D and G sound clearer than they did, particularly at the G to B on the D string and C to F on the G, not the dull "woody" way they sounded before the work was done. Although no work was done on the nut and the bridge height is about the same it just feels better to play, more sensitive and easier on my left hand. Perhaps not quite "like butter" but I can still make some adjustments with the bridge now and find the perfect height for me. He did some sanding on the fingerboard and that may be why it feels different. It also sounds better through my amp as I had hoped, cleaner and clearer than it was. All in all a good investment, now I know why so many on here have urged us to have a good luthier do a set up based on how we as individuals play so we can get the most out of our instruments. One very important thing is that Paul, the luthier, treated me and my cheap ply bass with respect and didn't trash talk my bass and try to sell me one of the Shens or other basses that I tried in his shop, although he was certainly aware there was a strong aura of GAS around me. So two trips of 780km each and $320CD and I am a happy old guy, now if you'll excuse me, I'm going to play my "new" bass. 😊
    5 points
  9. Day one in the rehearsal house. I’ve done my prep.. I hope.
    5 points
  10. Cover band or Originals, the key is playing with good people. Not necessarily good musicians but good people. I would bet most of us would rather play with a marginal musician that's a great guy then the local hot shot that's a jerk. Blue
    5 points
  11. Hey gang! A couple of years ago I played two shows at Newcastle Arena, as part of the house band for Sunday for Sammy. It was lots of fun - two sell out shows of 5,000 each, and I got to play with the likes of Trevor Horn and Ralph McTell. Here's the last diary thread if you're interested. With it being a biennial thing, the time has come around again: 23rd February is the date - afternoon and evening shows, and a slightly larger crowd (7,000 at each show, I think). The shows have basically become a Tyneside equivalent of the Royal Command Performance, with music and comedy lots of local slebs (the Auf Wiedershehen Pet cast, etc.), visits from AC/DC's Brian Johnson, Mark Knopfler amongst others, and more 'national' faces (hence Trevor Horn, Ralph McTell). This is the 10th show in 20 years, and the second to be held at the Arena after 16 years at Newcastle City Hall. It's a HUGE production, which is also shot for DVD release. By nature of the show, plans can be a bit liquid which means it can get interesting, so I'm going to post a diary sort-of thing here as it all unfolds. To complicate things, the line-up is top secret until the last minute so I can't post any details of the show, songs, or names of guests. Apologies in advance. The core band for 2020 is largely the same as 2018 - Bass, drums, guitar (John Ashton, who worked with Arctic Monkeys and The Last Shadow Puppets), 3x female BVs (Including Lorraine Crosby, who duetted with Meat Loaf on 'I'd Do Anything for Love', brass section (headed up by John Waugh from The 1975). One change to the line-up is that Jamie, the usual keys player and MD, isn't available so Alan Clark (Dire Straits) is taking the reins. The band don't exist outside of these shows - I play with the drummer and other sax player occasionally, but that's it. With 3 weeks to go, I'm aware of 13 songs that are in the frame, in keys that are subject to change. I've familiarised myself with them already - some I knew, some I didn't. No nightmares so far. One of the tunes might even need a bit of slap on it. I'd better remind myself how to do that. What I don't know is any specific arrangements... yet. We've got a solid week of band rehearsals before the show, so I'll post more updates & pics etc. when it begins to happen. In the meantime, here's little video from the last gig, and a photo of my little bit of the stage.
    4 points
  12. I love this. Its just brilliant. I love their mix of musical styles. He is very creative. Tina's playing is just groove.
    4 points
  13. Depends on what your looking for. For example, say you want to gig and you find your hot shot musician doesn't want to do this or that won't play here or there. I don't think there's an upside to playing with jerks or Aholes. In most cases they're going to deal with you before you deal with them. Keep in mind I'm talking about local level pub/bar band opportunities. If I had the opportunity to tour the world with a major artist that's a jerk I'd take it in a heart beat. Blue
    4 points
  14. In defence of cows they are far more melodic, even when calving or dying. (I raised cattle for 45+ years)
    4 points
  15. I'd have liked to have been a true artist but I wasn't naturally inspired enough nor prepared to give much up to become so. Instead I became a pretty good craftsman , which I enjoyed being , so much so that others were prepared to pay for my time and skills. There's your answer.
    4 points
  16. 1977 Fender Precision P Bass Shell pink with original case Purchased this a few months back and it's been sat waiting to be played and I've not really had the time to give it. With no time due a new job and a house move coming up I need to thin the herd so unfortunately as the last one in it's gotta be the first one out. In amazing shape for its ages, the action is currently low and very comfortable. The frets are in great shape. It has a rosewood board with Pearl dot inlays. The back of neck has some wear off of the lacquer from being played but that is the most significant sign of use on the whole guitar. I'm pretty sure its a refin as the colour is super clean and the paint is perfect. The owner before had it in a studio. Weight of the bass is about 10lbs/4.5kg Photos are from previous owner and can take more if needed. Last photo is for reference for colour against my Flea Jazz Bass. Would prefer not to ship due to age and value. PM if necessary.
    3 points
  17. So... it happened again... I need genuine medical help. Our good friends at guitarguitar have dropped the price of their last 2 Mesa Boogie Traditional Powerhouse 4x10 cabs to a lean £599 a piece, that's 55% off the RRP of £1350 (currently selling for that at gear4music). And, well... I may have accidentally bought them. Both. My inner OCD required a full matching rig after having bought the Mesa Boogie Strategy Eight:88 from err... well... guitarguitar a month or so ago. So now, once these cabs have been delivered, the rig will be a Mesa Boogie Strategy Eight:88 head with two rather tasty 600w Mesa Boogie Traditional Powerhouse 4x10 cabs. If I'm not heard from in the next few days, it's because the walls of my house have crumbled due to the horrendous volumatic nature of this completely unnecessary rig! Help. Please.
    3 points
  18. Interesting, and thank you for taking the time to come a explain your thinking behind the construction of your basses. However, it is my understanding was that the Fender method of non-angled headstock construction was done simply because it allowed them to use smaller pieces of wood for the neck blanks as well as reducing the amount of skilled craftsmanship required, and Fender were all about keeping the production costs down. Any additional benefits appear to have been "invented" later. Personally in 45 years of playing guitars and basses with angled headstocks I have never come across any problems either with weakness at the head/neck transition or deficiencies in tone; although that is far harder to quantify as tone is entirely subjective and I've never payed two instruments that were sufficiently identical in all other ways for me to be able to say categorically that the headstock angle is what is causing the difference in sound (and no-one else has either). Also IME non-angled headstocks come with their own sets of problems - variable break angles of the strings over the nut leading to a mismatch in the compliance of the strings and tuning issues caused by string trees/retainers. And what is so bad about a glued scarf joint? Modern machining and gluing techniques will guarantee that the join is at worst as strong as the surrounding wood and if done properly will be stronger. And why is a joint at this point on the guitar or bass less good than the one between the neck and the body? Or the joint between the fingerboard and the neck? Or even the multiple joints that are made between the various pieces that go to make up the body itself?
    3 points
  19. Bob Marley & the wailers- one of my first concerts Black uhuru- watching Robbie Shakespeare play was inspiring UB40- signing off , was something really different at the time
    3 points
  20. You can stand your ground all you like, it's when you denigrate other people's views that you sound verrrrry defensive, for no real reason. As someone just said, it's not a battle. I'm in an originals band as well as other covers/function bands, and I'm not as precious as some about either. It's only rock n roll, but I like it...
    3 points
  21. You said open E dies but a fretted F rings for ages. Might be worth tuning the E string up a semitone to F and see what happens. That would tell you if it was a resonance issue or if it was something else
    3 points
  22. Fo sale is an extremely rare Greco GOB 1200 bass. It has undergone a very extensive sympathetic restoration. It came to me with all brassware extremely corroded and pitted, masses of buckle rash, lots of crater like dings to the lacquer, broken control knobs, terrible corrosion, shot bridge posts, poor frets, poor control cavity, and gummed up / corroded tuners. The tuners were stripped, cleaned up and lubricated,complete refret, new brass nut, the body has had most of the dings filled, and most of the buckle rash, control cavity has been relined with copper, new knobs, new brass bridge posts, all bridge assembly/ ferrules cleaned and coated and lacquered and coated in tough brass paint. I thought that the hardware was solid brass..but it isn't.. its brass plate..thus hardware cannot be sourced so it was painted and lacqured..it looks really nice now. All pots are original.. one if them is still crackly..and the passive tone doesn't work...a minor job. The bass looks really nice but used...NOT PRISTINE. A rare opportunity to buy this wonderful bass. https://photos.app.goo.gl/L8XidwW6TePqZPQo9 Pics of whole bass https://photos.app.goo.gl/oxmjGYmXoSaHuvqY6 looking for sale to fund a new motorbike. Close offers invited.
    2 points
  23. This was my back up for the Demeter Minnie I've just sold. Notice how I cleverly rationalised my purchase . However, the Minnie is sold, and much as I really like the Ashdown valve front end on this amp, ( I do have various other Ashdowns with the same pre) the others have real valve power amps, which I prefer ( can't lift them , but I still prefer them ), so this also, has to go. So, Ashdowns take on the CTM 100, but with a 550 w didgy amp instead of the valve power amp . Nice and light, great, well cared for condition, rock solid cover, and you could run for a bus , carrying it. It's no 14 of 50 that were built in the UK collection from Chichester or Worthing, where it can be trialed,
    2 points
  24. Here is my pretty much mint Fender P/J '75 reissue, made in Japan with the usual high quality finish. Aged (like me) Candy Apple red finish, has a Badass II upgraded bridge and comes with a Fender Tweed deluxe case. Fender Jazz Bass 75, Alder body, maple neck with rosewood fret board. pearl inlays with white binding on the neck Bullet truss rod, vintage p bass and vintage jazz pickups Leo Quan Badass II Bridge vintage tuners parchment scratch plate Fender vintage tweed deluxe fitted case. Aged candy apple red finish. Limited Edition 1 of 78 made in the Dyna Gakki factory Japan. The bass is setup so it plays wonderfully well, and is around 7 years old. Weight is around 9.5 lbs. My digital scales are not working. Price is delivered to UK.
    2 points
  25. Very reluctantly I’m selling this top class British made Green Monster. I just have too many old school heavy valve / mosfet heads and while I love them I need to thin the herd as I’m playing far fewer big gigs . So .. 500w 7 band EQ with compression and mid scoop EQ preamp setting . Foot switch included . Shipping to UK will cost extra but probably not a huge amount. It’s true what they say about trace watts btw. This thing is savage !!
    2 points
  26. Because of an acute G.A.S. attack I have to sell my Moollon J-Classic Bass, SN0128 in vintage white nitro laquer, with matching headstock and ebony fretboard. Condition is very good, the laquer is "aging" as it should and morphes slowly to the "relic" most of us like. Some minor scratches and dents, see pics. Inspiring sound, look & feel - just the perfect "vintage" Jazz Bass. Weight: 4.0 kg Incl. OHSC PayPal is possible, if you pay the fee. Shipping (with GLS) is no problem. Any questions: PM
    2 points
  27. The Sex Pistols - simply the most exciting band I’d ever heard when they emerged to the masses in 1977, and still are today. Stiff Little Fingers - first punk band I actually saw, back in 1980 probably. I listened to these more throughout the 90s than any other band and loved the new material they were releasing. Hanoi Rocks - found out about them just as they split up. A real influence on both music and image for me, and their live album All Those Wasted Years was never far from my car stereo in 1986, def the sound of the best summer of my life.
    2 points
  28. .... and sold to the man with the crazy moustache! Thanks all
    2 points
  29. Nope, just can't get on with it. I'd have to do this.
    2 points
  30. Jeez mate, that's a lot of cab. Think yourself lucky they're the Traditional Powerhouse, which are slightly shallower and lighter than the Standard Powerhouse which are massive (I sold my Standard 4x10 to a USA bassist touring Europe and he asked whether I though he'd need two to get decent volume on stage; I said I'm not sure he even needed one, the Standard 2x10 is enough for most applications). That is a monster rig you have there. I'm guessing as I only live 100 or so miles away if I open the windows I'll probably hear you. Can you do Seven Nation Army so I can check it's you?
    2 points
  31. Bloodywood metalling up an Indian classic! They seem ti have bags of fun doing this!!
    2 points
  32. OK so on reflection and research, I've decided to give the Markbass Traveler 102P a try with my Trace head. I've gone ahead and ordered one and I'll let you know how I get on.
    2 points
  33. Personally I dont have a problem with the headstock. It works well in context of the rest of the guitar - ties in and balances nicely with the shape of the upper horn.
    2 points
  34. We have a different set list for every gig. It is usually thrown together at the last minute by the singer and occasionally guitarist, and then completely ignored by the end of the gig.
    2 points
  35. It would be hard to persuade that many people that it was worth a whole quid.
    2 points
  36. Fortunately @PJ-Bassist and @Reggaebass have covered some of my big big influences in RATM and Bob, so I am going for. Kings X - so much Rock and grunge etc has comes from their influence without them hitting the heights, as well as bass and guitar tone for days Boney M - Guilty pleasure (just like @51m0n) but Night Flight to Venus is a stand out album, they are pop and disco and showmanship in a nutshell - love them. Muddy Waters/Mississippi John Hurt - you cant argue with those boys DJ Premier - this is a wildcard as he is one of the foremost producers out there and not just hip hop, but his beats were always on point. Only 3 is very very hard
    2 points
  37. I've played in originals bands most of my life - I took up playing guitar/bass/synthesisers because I wanted to write songs and being able to play some instruments seemed to be good way to achieve that. However I have also played in two covers bands and that's enough to know that it's not for me. Yes, a large proportion of "originals" bands aren't particularly original, but as an audience member at a gig, I don't necessarily want original, but what I do want is to be entertained, and TBH there's a lot more to entertaining an audience than playing some songs they might enjoy. If that's your USP as a covers band the venues you play at would be better served by a DJ or a well selected playlist. There's nothing big or clever about being a musician per se. Like it or not it's all the other things that you do whilst playing the songs to your audience that will make your band entertaining or not, and for the most part the covers bands I've seen have not really been very entertaining to watch. That makes it difficult for me as an audience member because I rarely go and see covers bands unless one of the musicians is a friend of mine, and so any feedback has to be "diplomatic". I've grown up with the idea that "rock" music should be mostly played by the people that wrote it. One of the bands that I really liked when I was discovering music was The Sweet who came in for a lot of stick because most of their hits were written by Nicky Chinn and Mike Chapman whilst their contemporaries - Slade, T.Rex, Bowie - were writing their own material. Those attitudes meant than when I formed my first band in the mid-70s there was never any possibility that we were going to play covers, although our unconventional instrumentation and almost complete isolation from any local music scene meant that we were never aware that most bands started off by playing other people's music and if we had been we wouldn't have been able to play any in a recognisable form. In fact I'd been playing in bands for almost 10 years before I did my first cover song, and even then it was one picked deliberately to be a complete contrast to the type of material that the bands was writing at the time. So it's probably no surprise that of the two covers bands I've played in the one that was most enjoyable was one that would probably be despised by most musicians on here in that all we kept of the original would be the lyrics and vocal melody. Occasionally we would include one of the other major musical themes, but only if we thought the song absolutely required it. Because I only had at best a passing knowledge of most of the songs we covered, I treated each one as if the singer had written it themselves and created a baseline that I thought worked with what they were singing. By contrast the conventional cover band I was in was a much less enjoyable experience. It probably ruined the listening experience of a lot of songs that I learned, and I mostly felt that their audience would have been better served by a good DJ with an appropriate selection of records. I suppose it didn't help that the originals band band I was playing in at the same time, was doing more gigs, getting a better audience reaction and actually making more money once expenses had been taken into account, and overall a lot more fun.
    2 points
  38. You could always try looking at the Ashdown AMP300 2x10 combo from Musik Produktiv in Germany. It's a MAG300 Evo III amp, comes with a warranty that can be extended to 5 years if you register it with Ashdown. Not the lightest rig out there, and only punts out the full 300w with an extension cab (4 Ohm load), but it does put out over 200w from the internal speakers (8 Ohms), which frankly is loud enough for a heavy rock band. Bloody good VFM, and they'll deliver it cheaper than most UK suppliers.
    2 points
  39. Can’t disagree, but if you know what sound works for you solo’d in a band, then it still gives some info. Sometimes something which sounds horrible solo’d is the sound you need
    2 points
  40. 1979 Ibanez Musician MC924DS Bass Guitar MIJ. This is one of the very first Ibanez Musician basses , used by Sting and Adam Clayton . It`s in very good original condition and comes with original Ibanez Case (also in good condition just the handle is broken) there are some surface scratches and some indents on the top from years of playing ... I can post at buyers expense or maybe meet up within 40 miles of NG18 .. Thanks
    2 points
  41. I know I'm fighting a losing battle here, but I will still stand my ground as someone who has only ever been interested in playing original material. If you're looking for a decent gurning bass-face, go and search for the beardy guy who currently seems to be the face of Tech21. Just copy him.
    2 points
  42. https://www.rapidonline.com/Catalogue/Search?Attributes={"Capacitance"%3a["100nF"]}&tier=Polyester&Page=1
    2 points
  43. Unbridled self promotion..... BTW Those Canadian Peeps are COOKIN!
    2 points
  44. It’s nice to see manufacturers engaging with a forum. Hats off to you, chaps!
    2 points
  45. Read the thread title quick, thought it was about Hair Styles 😀
    2 points
  46. If they ask for your NI number, ask them about the Work Place Pension. A Pub Landlord doesn't need to know about you or your bands NI details. He's employing you as a Sub-Contractor to provide musical services to entertain the punters. As a Sub-Contractor, he pays you direct, and it's up to you to declare your income from providing your services.
    2 points
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