Leaderboard
Popular Content
Showing content with the highest reputation on 31/05/20 in all areas
-
I paid £330 for this in 1986.7 points
-
Up for sale goes a nice and lightweight Sandberg Bullet bass in a beautiful lavender (correct me if I'm wrong 😋) finish. It sports mahogany body with figured maple top, maple neck with a dark rosewood fretboard. Gotoh gold-plated 3D bridge and tuners, original hand-made brass knobs, 18V Sandberg preamp "build by SCITUS", Bartolini 9W4 pickups. It sounds huge and weights only 3.8 kg / 8.4 lb Shipping possible at reasonable cost.5 points -
I only play fretless now. It offers you a great deal more creative freedom and is easier to play fluently, IMHO. If I go back to fretted for any reason (usually chordal playing) I find they get in the way. A critical variable is 'mwah', that singing sound you get as the strings vibrate against the fingerboard. Don't make the mistake of thinking 'mwah' is what fretless is all about. It isn't, necessarily. Mwah will fascinate for all of a day before it starts annoying the t*ts off you and all around you. Whether you get mwah is determined mainly by how low the action is set and the nut is cut. A very low action and low cut nut slots will give you mwah. If you lower the nut slots to no lower than around half a mil off the fingerboard and stick to a conventional action height your bass will sound just like a normal fretted bass, but with more freedom to be creative. Another factor is lined or unlined. Major name educators like Scott Devine and Steve Lawson insist that lined is sensible because it gives you precise finger placing control, which can be tricky, especially high on the fingerboard as Drax says. Others like me just find lines distracting. I only own unlined fretlesses simply because they're what came up when I was looking, but I very rarely wish I had lines to guide me. Perfectly happy with unlined. I quickly learned to play by ear and look at the fingerboard far less than I used to with fretted. Finally you will find fretless a little more difficult if the side dots are between and not on the notes, as is often case with a conversion. Even more finally, just go for it. It may not be your cup of tea but you may love it. More people on here than you might think play fretless.5 points
-
Got the neck painted and good news for me is that the Wilkinson machine heads fit. Not having to file them this time5 points
-
I once had a club biscuit that didn't actually have any biscuit in it - was all solid chocolate.5 points
-
This is very true. I play a lined Rob Allen Mouse and most of the bass lines I write and play are up the dusty end around the twelfth fret. I tried several fretless basses over the years and never gelled with them, the RA Mouse however was perfect. I think the whole ‘lined/unlined position of dots’ is set by how these things are on the fretless you start on. There are very strong opinions on all aspects of fretless basses and the playing thereof but I suggest reading them and playing them in a way that suits you. I agree with everything @lownote12 says about fretless and I always read his comments, particularly on fretless, with immense interest, however I do the opposite to almost everything he suggests just because I started off playing one (foolishly) without any advice. I play some of the songs in our set with slides, some without, depending on what I feel appropriate to the song, but then I’m a huge Mick Karn fan so I’m going to slide a bit too much. All I’m saying is don’t think there is an absolute right or wrong way, play it how you want to. I play fretless how I want to, in a way that suits me, but I also keep an eye on the stuff far more experienced fretless players, like @lownote12, suggest and I found tons of it really, really helpful but some people (absolutely not @lownote12 I hasten to add) will tell you that there is only one way to play and anything outside those parameters is wrong, that’s nonsense. Take good advice, sure, but play fretless how you see fit.4 points
-
,Body and neck meet for the first time. Nice snug fit.4 points
-
I am done. After an interesting quest to find rare Japanese tuner buttons and bridges, I reassembled this last week. The headstock crack has been stabilised, glued and is now solid as a rock. The bridge abomination has been cast into the murky past with the arrival of a replacement part sourced from Deviser. The pearloid tuner button required a custom order from Gotoh via an agent in Canada. I stripped and stained the body, more in sympathy with the blocks and binding, I feel - though the sooner the whiteness akin to a contemporary twentysomething’s bleached teeth has faded, the better. i also added series/parallel switching which I am quite delighted with. The bass was originally hardwired in serial and I am enjoying the flexibility, much preferring the parallel sound with the set of Chromes I strung it with. I also added a Hipshot string tree which adds a level of consistency to the break angle across all four strings. Overall, I am delighted. It sounds and plays wonderfully, so very playable. Perfect.4 points
-
Anyone in Newington area practicing in their flat...please stop, or get some headphones.3 points
-
I was given this one for free - all original 1974 Fender Jazz Bass I also got a Fender Custom Shop Nocaster relic for £600 a few years ago - with all the paperwork and two cases (Abs Fender moulded one, and a tweed "thermometer" one)3 points
-
Wise words, which are applicable to pretty much any art form, but especially the electric bass, which has only been around for about 70 years really (counting from Leo’s first P), the fretless version of which is even less so (albeit not too much).3 points
-
Me too. Use this as a guide and then adjust to taste. String action gauges like these are really useful!3 points
-
A 24 fret bass has 40 different notes on it. A fretless bass has 351 different notes on it. If you want to pretend your fretless is limited to 40 notes, put lines on it. Bit of a waste though. #nofretsnolimits 😂😂3 points
-
Yep, Dave is great, a really helpful guy, as are Ashdown in general.3 points
-
I've tried a few and always found them to be totally pointless. I love the idea of being able to join in with an acoustic jam, it would be great for barbeques and small parties etc. But they just don't work. They're totally inaudible if there's anything louder than a fly within a hundred yards.3 points
-
I cant recommend any wireless, because I would always recommend wired headphones. Anything using bluetooth might be good enough for general listening, but probably have too much latency for recording. Which probably rules out 99.9% of the 2020 wireless headphone market3 points
-
I once had a Wotsit that was just a big lump of cheesy seasoning. Nearly blew my head off.3 points
-
BASS NOW SOLD For sale, my beautiful 1966 Fender Precision in fantastic condition, all original (as far as I am aware) with original finish and original Fender hard case (including Fender catalogue). This is a player’s bass, not a case queen, but has been extremely well cared for by previous owners as well as by me. It has light signs of wear and some dings as you’d expect a 54 year old to have. I’ve gigged the bass extensively in the time I’ve owned it and always kept/transported it in a Hiscox LiteFlite case, not the OHSC. Apart from some minor body chips and scratches there are a couple of small dents in the neck behind frets 1-3 but these aren’t noticeable under the hand. There’s also some lovely light checking to the lacquer on the headstock and rear of the body. I’ve tried to capture these as best I can with my phone camera. Pups, pots, wiring and solder joints all look all original. The pups are still bonded to the black foam and backing plate. No dating is evident and I didn’t want to risk separating them to try and find out. Pots are stamped 6618 which I believe is week 18 of 1966 (kindly correct me if I’m wrong). The date stamp on the neck is partially faded and obscured by red ink but this is how it was when I bought it. To my eyes it reads 5 MAY 66 C. The neck is classic P chunky, solid and straight with a fully functioning truss rod and reverse tuners on the headstock. Beautiful striping on the rosewood fingerboard and there’s plenty of life left in the slim frets. The bass is currently strung with LaBella flats. Comfortably light, on the digital bathroom scales it comes in at 8.6 lbs / 3.9 kg. The case has a few dings and a couple of smallish rips but inside is clean and plush and all catches and hinges function (I don’t have the keys though). It came to me with a 1967-68 Fender catalogue inside which is in lovely condition and a really nice piece of history. This is a beautiful example of a mid-60’s P bass with a classic full burpy sound that sits so well in the band mix. Now... I know there are some real vintage aficionados and experts on the forum so in the spirit of openness and honesty I want to mention 3 things; Control knobs. These are more than likely the originals but still look brand new. I have no way of knowing as these were the knobs it came to me with but I am just saying as someone pointed it out to me. Ashtrays. Both are in really good clean condition and I believe are the originals. They show light scratching close up which doesn’t come out in the photos. Inside the bridge cover there is no evidence left of any foam mutes but there is some surface roughness in that area. E string tuner. Fully operational and stable but a bit stiffer than the other 3. I’ve had it apart and lubricated it, can’t see anything wrong, so it’s a bit better but wanted to point this out to potential buyers. I’m offering this bass for sale only (no trades thank you) at a competitive price based on what I’ve seen similar condition basses advertised by reputable dealers. I’m happy to ship at the buyer’s expense or arrange personal socially-distanced collection within a reasonable radius (location KT18). David2 points -
Look at it...😍2 points
-
Hey all, Today is a great day. I've always wanted a year of birth instrument and let's be honest, the late 80s were not a good time for Fender. However things were going pretty well in West Germany. Here is my new 1987 Warwick Thumb. I'm it's second owner, the first bought it from Warwick direct. I spotted it on ebay with less than 2 hours remaining and knew I had to have it. The owner delivered it today because couriers are a nightmare at the moment. It's been played, loved and looked after. Here are some photos. I really couldn't be happier with it. I've done the obligatorty send some photos to Warwick in the hopes of getting any more info on its history. It sounds like a thumb should too. It's taking a bit of getting used to. I'm always 3 frets higher up than I think I am. Here are the photos. I've never seen the edges of a pickup wear in this way before. It's in incredible condition I think. Enjoy!2 points
-
SOLD! Kenneth Lawrence ChamberBrase II 5-string Update: Weight and some new pics Ken Lawrence is without doubts one of the best luthiers ever. Even Vinnie Fodera came to this conclusion (and well, he might know a bit about basses as well… ;-)). I have been playing Ken's basses for long time and can 110% confirm this reputation. Besides being an extraordinary player himself Ken is the nicest guy who really cares about his customers. This bass is extremely rare and kind of a full-house-configuration, see spec sheet below. It hardly gets any more exclusive: Abalone inlays and logo, ebony bindings on fretboard, LED-Dots …… The craftmanship is out of this universe. The construction with its semi-hollow body gives the instrument an unbelievable dynamic and response. The sound does have an acoustic touch with some "airy vibe", but ultimately this is a powerful electric bass that delivers an amazing low-end. In fact I have and had also several Foderas from 33" to 36" scale and this bass has by far the best b-string I have ever player. The bass has been used and played a lot, but always extremely well cared. I used it on several tours throughout Europe and did not have to touch the trussrod a single time. Even on real big stages the sound is well-defined and precise, never boomy. Very low action with B-G at the moment. Also used E-C for some time, so that is possible of course The ramp can be removed without any marks Condition is excellent, I would give a 8.5 - 9 / 10. After very close inspection I found 3 marks: A little mark at the wooden electricity cover, a mark at the upper flush mount straplock and one next to the input jack. The last two marks are very superficial and just affecting the lacquer (Ken uses an ultra-light finish). It is not in the wood, no dings or dongs. The instrument would cost > 10.000 USD new plus shipping, tax, customs etc. and at least 2 years waiting time (guess it might be even longer, Ken just takes orders in January). So much more than 10.000 Euro with all the overhead. SOLD The bass is located near Bonn / Germany. Shipping at buyers expense and risk is no problem. Specs: Kenneth Lawrence Instruments ChamberBrase II Scale Length: 33" Nut: 1 3/4” nut String Spacing: 19 mm, Adjustable To 18-20mm Body Wood: Claro Walnut Top Wood: Figured / Blackened Redwood Top and Headstock Cap Neck: Eastern Maple 3 Piece with Dual Function Stainless Steel Truss Rod Fretboard: presumably Cocobolo with Gaboon Ebony Binding Inlays: Paua Abalone Blocks with Matching Paua Abalone Headstock Logo w/ Ebony Surround Additional: Gaboon Ebony Control Cavity Cover Electronics: Blue fibre optic side dots with on/off switch Nordstrand hum-cancelling "J" pickups w/ Gaboon Ebony covers Customized Glockenklang 3 band preamp, Tara Labs wiring Update: Weight: According to my old bathroom scale the bass weights 4.1 kg. In comparison to my other basses where I know the precise weight this makes completely sense… Toggle switches: There are two toggle switches, one switch is the on / off for the blue LEDs in the fretboard, the other one is some sort of boost. It adds a big load of db to the signal and gives the bass a fat bottom (as far as I see it can be trimmed, its the blue circuit, please the new picture of the cockpit). Haven't used both switches at all, as I usually have enough light on stage and play the bass 90% passive. I used the EQ as a second setting with a slightly shaped solo sound. However, I asked Ken about the exact specs of the circuit and will be able to give a more profound answer very soon hopefully.2 points -
NO TRADES Model: BSR TN5 Black Tiger 5 String Year 2007 3-Piece Body Walnut Top, with Tiger Maple Rosewood Back Smith Classic Hand-Rubbed Dutch Varnish over Stradivari Gold Oil Western Quilted Maple Core Shedua Laminate Accents on Top, Back & Neck 5-Piece Neck ~ Aged Hard Rock Maple & Shedua Accents Macassar Ebony Fretboard with 30" Radius 24 Frets Mother-of-Pearl Dot Fret Inlays Scalloped Brass Nut ~ Hand-Fit Nut-Width ~ 1-3/4" Rosewood Headstock Overlay Scale Length ~ 34" Gold Hardware Bridge ~ Smith QSR (Quick String Release) Machined solid brass Recessed Strap Locks Ken Smith Pickups Series/Parallel Switches wth Smith BMT 3-Band 18-Volt EQ Circuit, with Adjustable DIP Frequency Switches for Bass, Mid & Treble, with Pickup Blend & Master Volume Control Fully Shielded Pickup & Control Cavities Smith Custom Flex Truss Rod Gold Gotoh/Ken Smith Tuners She Weighs 9.7 lbs. Serial # 5TN542007 Original hard case and strap but no tools2 points -
My experience with fretless came about almost by accident. I bought a Hohner B2A (Steinberger licensed copy) for cheap, from a lady whose son didn't get on with it. When I got it home and had a closer look, I could tell that it had a bad fret job, with some notes audibly out of tune, and then I noticed that the label said "Hohner B2Afl". It started life as a fretless, complete with phenolic fretboard, and some numpty had fretted it. Within a few months I had re-de-fretted it, filled the slots with epoxy, removed the black paint and gave it a beeswax finish, and added a cutaway for better upper fret access. I don't have it any more, though, and I miss fretless, to the point where I'm looking to defret an old bass and give it a super glue fretboard coating. I didn't find playing it difficult at all, but then I wasn't trying to be Jaco. My main fretless influence by far was Paul Webb of Talk Talk: I really liked how his playing didn't scream "look at me, I'm fretless!", but it was there if you listened closely to tracks like Tomorrow Started.2 points
-
The Alibi - Ride Like The Wind (cover) Our next lockdown video. Full social distancing observed by the guitarists 😂2 points
-
Set your phasers to 2021.2 points
-
One of my band leaders is fully intent on going out the moment the pubs open again. Suffice to say they will be using a dep on bass 🤣2 points
-
Sound Control Birmingham circa 2004. USA Gretsch Firebird 6131 Firebird new for £299, should have been £1699 but they marked it up as an Electomatic. Even asked them to check... Sold on ebay for a grand a few weeks later.2 points
-
I plane routed the body today. Such a versatile machine a router. First took 5mm off, which took it to just under 2100 grams (with a few 100 grams still coming off). I then just went “full on” now having 32mm left, and I will stick a 7mm topwood on so will end up at 39mm. Expect to end up at around 1700 grams without hardware. Perfection Will post pics at some point.2 points
-
New Foxton Interview here . Host site also has other, older Foxton IVs.2 points
-
The important thing is to place your finger where it produces the note that you wanted. All else is nonsense.2 points
-
I've owned this combo from new in 1992 (it still has the sticker of the shop I used to work at!) It's in excellent condition. It was used for rehearsals gigs for a few years in the 90's but has been in storage ever since. 150w Power Amp. 7 band graphic eq. 15'' Speaker. It also still has the original Trace Elliot soft cover. No trades sorry. Collection only. My Feedback:2 points -
I have a maple board 4 string V7 fretless, on mine the dots are near-invisible, being sandwiched between the binding and the timber. Never gigged with it but under stage lighting they'd offer no reference point at all. You get used to not relying on them surprisingly quickly.2 points
-
I know! And this article in Bass Gear Mag shows "flat" as different again.2 points
-
Yes I came to the conclusion that the Ghent cables are cost effective and well made, so there is no sense trying to make your own. It was never a job I enjoyed in the past even having the correct crimp tool. I realise I have slipped a bit behind but hope to make more progress today. The Garden Funiture however is finished. I might use that finish on a bass soon.2 points
-
@Byo if I may suggest (if you haven’t already) give Dave green a call at Ashdown, he designed and built the LB , I’ve met him many times and he will tell you anything you want to know about it, mine is number 00046, he took mine apart and cleaned and serviced it and checked the valves and upgraded a few bits , while I waited , they really are top guys at Ashdown 🙂2 points
-
These are the settings I use for reggae and dub, through a markbass NY115 or an Ashdown 115 deep cab , and I always use the low input2 points
-
Looks like I lied to you all. Just ordered a bass online. This lockdown GAS is playing havoc with my reasoning.2 points
-
I found there frozen food section to be totally inadequate!.2 points
-
Yep, still the best looking fretless on Basses for Sale at the moment.2 points -
You’ll love it I reckon. You’ll find lower fretboard lines - below say 9th fret - easier to play than you thought, and such a satisfying sound. It’s the higher register / higher & faster / or chords where life gets trickier. Try and record your practice as much as possible. Personally found there was often a painful gap between what I thought was in tune at the time, vs the reality. Can recall a few recorded jazz gigs and solos that still curl my toes.2 points
-
Take it easy, I think fretless is a different beast. I have done gigs with the fretless only, but still feel she is best when playing less. I like that singing sound. Quick stuff is doable. Slides, use sparingly. It took maybe nearly a year, before I felt at home with her. Yes, something can be done nearly right away, but just play so much, that you are comfortable with her. It just takes some time. At least for an old fart like me. A flanger, a fuzz, and a comp are my favorite effects with her. I put the fuzz and the flanger through a x-over (IE Divaricator), and Cog built me a small sized octaver which works well after the comp. I use SS roundwounds only (40-95). Pretty same feel with every bass. "Play til your fingers bleed, and then play some more" (do not remember who said that).2 points
-
Drowned out by anything else2 points
-
Actually, sorry - I’m going to withdraw this from sale. I no longer need the space or the cash, the sale price is a LOT lower than I paid for it, and despite not using it I know I’ll end up wanting another fretless if I get rid of it.2 points -
The essence of Basschat in two posts 👆2 points
-
You cant argue with that sort of logic. 😂2 points
-
The best deal I got was a good few years ago I got talking to an American woman online. She seemed nice enough but started getting a bit full on. I mentioned that I played bass and my dream bass was an American standard P bass. She only went and bought me one and sent it over. I was embarrassed as hell and offered to pay for it. She wouldn't hear of it. Then I got a message from her husband calling me for everything. I had no idea she was married! I cut off all contact after saying I will pay for the bass. Again she said not to. So now I have an American standard that was completely free and she most likely has a broken marriage 😕2 points
-
P necks are thicker, so they need to use more wood. That stuff doesn't grow on trees y'know.2 points
-
Until the published R value comes down substantially I'd be quite dubious about being in an enclosed small soundproof box thats had numerous bodies through it in the preceding 7 days, with 3 other people struggling to maintain 2m separation for 3 hours. If that means the band want to move on without me then I'll wish them all the best.2 points
-
2 points
.thumb.jpg.442740a10eb54fffc761a1fbe4286d1d.jpg)
