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Showing content with the highest reputation on 16/09/20 in Posts
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Hi all, I'm selling my Alembic MK Signature Deluxe with Coco Bolo top, so here is little about the bass. Bass has no scratch, no belt buckle scratch, it's almost as brand new, as you can see from pics. Scale: 34" String spacing: 19 mm Fingerboard: Ebony with abalone Top: coco Bolo Back: Coco Bolo Body: Mahogany with maple and purplehearth as accent woods Neck: Maple with Purple Hearth stringers Finish: clean gloss with satin finish on the neck weight: 5.7 kg (with 5 9v batteries that goes into the bass, 4x for LED) Electronics: volume, pan, 2x filters, 2x q switches, 1x LED on/off, 1/4" mono output. LEDs are amber and red (check pictures) Bass was done in 2015, so it has 2+3 machine heads. Bass has original case, papers, everything. New one like this is 17.600 dollars, you can check here on Alembic site my bass is Sig Dlx Coco Bolo. This is I think only signature bass in EU that is available with this price. For any questions you can contact me. Here are some pic that justify the whole thing, other pics you can see on my dropbox: https://www.dropbox.com/sh/huwja8inhg3pt5e/AAAZ_-yhsAWuU_Zi-cx5C75fa?dl=0 Price says 6000 5600 pounds but it's actually 6500 6200 euros, just conversion is different every day. Also check my feedback page:11 points -
Hi! I am doing short video clips with all the Flea's basses starting from Music Man Cutlass I. I'll post next "episodes" here. Enjoy!7 points
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PRICE REDUCED TO £1,800! The bass cull continues with this genuine 'one of a kind' Status originally made & customised for TM Stevens around 26 years ago. For whatever reason he didn't end up with it & it was then owned by Ashdown for about 20 years and used for testing new kit. I bought it direct from them and it's been played at a couple of rehearsals and one gig since then. Apart from one small surface scratch down the bridge, and some small buckle rash on the rear, it's pretty much perfect - certainly doesn't look 26 years old! The surface marks should be visible in the pictures below - The volume control 'sometimes' has a little scratch sound right at the end of it's travel towards off position but you have to listen very closely to hear this. It may well go with a continued bout of twisting. Some screws and bridge hardware are showing some age but I felt this just added a bit of character It has no serial number and there has been some debate between various Status experts (all of them far more knowledgeable than I) about whether it's an S2 Classic or an Empathy. Rob Green thinks it's an S2 so that's probably a safe bet. Here's what Ashdown said about it: "This S2-Classic is the ultimate combination of traditional and modern guitar design. Made in the 80's built for TM Stevens and painted by a top German artist. TM Stevens never actually ended up with the bass instead it found its way into our possession around 20 years ago and has been one of our go to test basses. Woven carbon graphite and selected exotic woods are combined to create a bass which sounds even better than it looks. It has a wide, even frequency response with huge dynamics and sustain." Note that the artist signature appears to be Andi Graphic Art 94 - this would suggest it's a bit newer than the Ashdown estimate but that 94 may not be the date it was made and/or have nothing to do with that at all. Could just be the 94th piece of custom artwork etc. It has the classic Status electronics with the sweepable mid boost/cut switch and sounds just like a Status should - great cut through that sits in a live mix really nicely. Happy to post anywhere in the UK / EU at cost - probably £25 UK & £40 EU (both with insurance).5 points -
Yes, there have been quite a few cases of designers underestimating how much effort goes into a successful design. This is especially true where the SMPS and the amplifier work together to improve performance even more as a pair. I know how difficult it is to design reliable SMPS and class D amps, I've done it a few times and it took longer and cost more than I expected every time. Ultimately, even though I have the background and education to do so, I simply couldn't compete with the depth of highly specialized talent that IcePower has in-house. The smart decision (IMO) was to partner with the best designers in the world and exploit their strengths as well as have input into their evolution of new products. Sometimes it better to put ego aside and keep your strengths for where they can make the greatest contributions.5 points
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We have here a virtually unused COG T-70. If you're looking then you probably already know what this is, but just in case look here. This is a really incredible pedal and the only octave pedal I've ever really liked. If you are looking for a clean, digital style octave, look elsewhere but, if you like synthy, nasty sounding octaves this is the pedal for you. Selling as, after having waited months for it to be ready I no longer have much use for it, and given the current situation I really need the money. Condition is immaculate, except for a bit of velcro underneath. Cost me £240 plus several months wait. I think £220 is a decent price, especially as you save yourself the wait.4 points -
Super all original 1970's made Jazz Bass, she has several age related small dings and scratches. She's a full size bass and the only issue is that a small part of the nut is missing on the G string side however the string is secure when playing, an easy fix if you feel the need though. The neck is lovely with MOP block inlays and fully bound. Missing the chrome bell covers and thumb rest. Comes in nice padded gig bag. Shipping £12 UK. SOLD4 points -
Bizarre update.... Just had a call from the guy who is sorting out the transfer. It's all done with no issues, but his starter for 10 was 'Is that Andy ****** on vocals?'. I have to say I have long forgotten most of the names involved, but he was spot on with the singer, drummer and where we all lived at the time. I'm now going to see if I can find the others via social media and share the results with them. I don't have the files yet. Will share in due course....but please, don't expect too much.4 points
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Well, I have two of these and with the complete hiatus on gigs currently, one has to go. For sale is a stunning 2019/20 Music Man Stingray Special 5 String In Chopper Blue. It comes with the original case and accessories and is in immaculate condition. This is one of the new Stingray Specials with 18v electronics, roasted maple neck (with rosewood fingerboard) and weighs in at only 9lbs 2oz. These retail at over £2,000 new. This one is in mint condition and offers a decent saving. Im looking for £1,400 plus £30 delivery.3 points -
Hi, I'm selling my amazing Sadowsky 2018 NYC Bass Satin Finish. So it looks like I won't be playing for a while therefore I've decided too raise some cash. This is a fantastic sounding and playing instrument weighing in around 7.7lbs The Bass comes with a certificate from Sadowsky and it's original Sadowsky case with case candy included. The Bass is in perfect condition with no dings etc and is lovely and light. These Basses are retailing for over £3600 now and I think they're worth every penny.. Cheers....3 points -
2008 USA model just after the S-1 switch had been discontinued from the Precisions.3 points -
Up for sale is my 70s PJ Fender copy, in very relic'd condition. Edit... The asking price is £250, not £350! Fat thumbs + small keys = dumbass mistake 😬 I've owned this one since 2015, but as I don't really get on with P width necks, it spends its life sat on the stand looking super cool, but is unplayed and gathering dust. Tbh, it's way too good a bass for that! The Precision pickup's a genuine Seymour Duncan Bassline with the cover swopped for an authentic look. The jazz pickup is an original 1970s Dimarzio Humbucker, one of the first made for sale. The previous owner installed a discrete 3 way toggle (neck/both/bridge) to maintain the classic P look. I've just had it in to the tech for a going over and all dry solder joints redone, so is ready to gig without fear of any problems. I've swopped the scratchplate for a brand new Northwest Guitars tortoiseshell Pickguard, which still has the plastic cover on. Tbh, I was going to relic it to match the bass, but my last relicing effort was a disaster, so I'll leave that the new owner to sort out... It has vintage tint neck, rosewood board, truss adjustment at the body end and 70s Fender Precision logo. Truss works fine, the action is nice and low. The machine heads are genuinely aged & pitted early Japanese, they hold tune well and have no play at all. The bass is weighing in at just under 4kgs, so not too bad for an old Precision. Please contact me to discuss shipping, although collection in person from Eastbourne is much preferred. Cheers Steve3 points -
I downloaded a spreadsheet from somewhere that detailed the positions for pickups on a variety of bass guitars. For the split P it specifies 295mm from the twelfth fret. As the Yamaha neck appears to be about three quarters of an inch longer than the Encore's, I expected to run out of room to move the pickup by the same amount. This was confirmed when I got the measurement of 295mm. I could almost get there but not quite. I really wanted to get the best from the pickup placement so I decided to remove sufficient wood for clearance at the correct position. I used a Dremel to hog out the worst of the job and finished by hand with a chisel. I am very happy with the result. I can now put the pickup where it is supposed to be with the centreline at 295mm from the twelfth fret. Time for a cuppa.3 points
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It strikes me this subject could form a good subject for a Scott's Bass Lessons mini course. 😁 We could have the Pino Palladino/ Joe Dart severe head nod; various choreographed ideas; Shadows walk; the Andy Fraser gentle head nod/rock to and fro etc etc 😏3 points
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Ready for sea trials. I went for chrome knobs in the end. Contours (well one contour) Headstock waiting for a suitable decal ...watch this space...3 points
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The body is on the bench....3 points
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30mm - there are 3 gaps with 4 strings.3 points
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Hi Rob - I had exactly the same thoughts as you, a while back, about stringing a normal 6 string bass E to E with "guitar" tuning in order to play both chords and classical but in an octave-below register. Key learning points for me that I can share with you are as follows: 1. It sounds fantastic - there is a richness to the sound of both chords and classical played an octave down. 2. If you add something like a Digitech Mosaic pedal for chords, you end up with a 12 string bass, which can sound ridiculously good! 3. I kicked off my project with an Ibanez SR1206, on the grounds that the Ibanez have narrow string spacing and fast playable necks, but I still found it quite a stretch to shape chords, and there is no doubt that a Bass VI would be a lot easier for that - I did briefly flirt with a Squier Bass VI - but the string spacing near the headstock was too narrow to comfortably play classical and the Squier was also at the top end of comfortable weight for me. 4. I ended up with a very happy compromise by getting an Ibanez GVB 36 which has 'fixed' 14mm string spacing for the whole length of the fretboard and is a signature design by Gerald Veasley, who uses his for jazz playing including a lot chords. Sadly they are no longer in production (I managed to source the very last new one from Germany as discounted end of line stock - which was kinda amusing as I would have paid extra to get my hands on it!). They do come up used from time to time. I've really enjoyed re-learning some of my old classical guitar pieces on this during lock-down. 5. In terms of string gauge - normal E to C bass strings are fine (and just de-tune the C one semi tone to a B). I then added a 25 gauge for the top E which has worked fine. Hope that's helpful. It's a fun and rewarding project - let us know how you get on.3 points
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how about this dude..😅3 points
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In a world with Davie504 I think Scott Devine is quite palatable..3 points
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Time to fit the bridge in the new position dictated by the Yamaha neck. I wind out the G saddle to its max and then measure 34 inches to the nut from the saddle centreline. I mark the distance with a pencil line on the body. Then I centre the bridge using twine. I mark that off with pencil. Having centre punched the hole positions directly from the bridge, I drill out pilot holes. Mustn't forget the bridge needs an earth connection. Best done now. Again, using candle wax as a thread lubricant, I fit Posidrive screws and tighten the bridge down. I used four strings out of a crap set of five that came with my Pit Bull kit a couple of years ago. For a laugh, I've strung it BEAD. It has tuned up with zero setting up already. I'm well chuffed with the acoustic sound so far. There is tweakage to be done however and I shall work out where the new sweet spot for the P pickup is going to be another day.3 points
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To start the stories, long time ago we played at our drummers wedding - he was suitably inebriated and foolishly was left in control of the smoke machine trigger. It was shall we say 'very dense' in every sense... I can still remember the plaintive cry as our guitarist danced off the edge of the stage- of course, nobody saw it, we just heard it..3 points
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I don't find neck dive a problem on any bass. Depends very much on your dimensions, and your preferred position/height, so neck dive experiences and preferences are entitely personal to each individual. I had a play on a colleages HB dual pickup Stingray clone a while back. It was very, very, very nice, couldn't fault the finish or the sound. Active onboard electronics and it had a grear tone - not vintage (ypwhich a Musicman wouldn't give you anyway) and not super-clear modern either. A nice tidy in between, with nice highs but a touch of mud when pressed lower down. Even the setup out of the box was first class. If the HB logo on the headstock had been hidden I could have easily believed it had cost 5 or 6 hundred quid, not £160. Indeed, im not sure the entry Stingray Sub is any better for a lot more money. Loved it so much Mrs Bassfinger is buying me one for Crimbo. And thats what HB do - they're not the best out there, not without fault, but they bring levels of build, finish, sound and playability that most manufacturers cant match at three times the price. If you have more than 3 times the cash to spend then you can start to look elsewhere, but if you don't then theyre a viable alternative for someone who wants more from a new bass than they could otherwise afford. If you can afford a new or used MIJ Fender then you wouldn't be considering an HB anyway, so im not sure theres a comparison to be had there. Indeed, MIJ Fenders can vary so much in character with the model and year it can be tricky to make a comparison against each other. Thomannn also have a fair rep for customer services. Reports generally ageee that if one does arrive faulty then Thomman are usually pretty swift about swapping it. Compare that with the grief we hear of from owners of boutique or custom basses who try to get problems sorted, or even of cooking Fenders and the like. In summary, cheap, but with plenty of cheer. Those who like or even love them seem to massively outnumber those who don't. If you want classic tones look somewhere else. If you want something immaculately presented that will kick a Westfield in the nuts and steal its lunch money and which sounds nice in it's own right, then theyre for you.3 points
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Got one of these recently, and was impressed enough with that I am planning a raft of mods to make it a really killer instrument. Today we start nice and subtle, almost undetectable. Can you see what has changed? More photos:2 points
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I'm selling this amazing Steinberger XL2 bass.. serial number 3654. It was made in New York in 1986 . Both original gigbag and strap are included .2 points -
Hi guys, I have been a gigging bassist since 1991 and I know how to make my instrument sound good. Creativity in abundance, I have always been able to come up with fitting basslines to the original songs our guitarists would throw at us. But in the last couple of years, I find myself sounding boring. I keep throwing in the same couple of flavors of licks and styles because... well that's all I know. So I set some goals for myself, now in my early fifties I am open to more musical styles then before and willing to lift my playing to the next stage. Up till now I have been completely self taught. A year of Scott's bass lessons did not help me much other then understanding what scales, degrees, triads, 7 chords and modes are... But I still wasn't able to apply that knowledge because there's no incentive to keep practicing and seeing progress. I canceled with SBL because of this. So what to do? I was wanting to learn bass specific techniques like doublethumbing and plucking triplets on top of getting my theory up to a point where I can apply it without thinking too much. Out of the sky came an American session/studio musician who is now looking for work in my area since he married a dutch girl and now lives here. What an opportunity! Check out his chops in the video. Yesterday I had my third lesson and by now I have all of the triads and 7chords down on the major scale. I am moving quicker then ever. Next week I will have to be able to play the scale notes anywhere on the neck up and downwards, and play them from a different starting point to memorize the modes in all the different patterns. I never thought I would be picking up on the material this quick, but I am, even at age 52. So what I am saying is when you feel stuck, maxxed out on possibilities, bored with your own limitations DO FIND A LOCAL TEACHER who knows his chops specifically on bass. It helps. Tremendously so. Using just online courses and books is MUCH slower. Cheers, Marco2 points
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I have several quality basses Fender and an an Epiphone upright. However, my favorite most played bass is my 1995 Godin LR Baggs Acoustibass. It's strung with Thomastic-Infeld flatwounds. The action and feel of the neck is remarkable and the sound can be like an upright with the growl and punchy. I've played jazz, soft rock, country, funk and folk with this instrument. This is definitely my go to bass.2 points
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A Big brother for my Mb2. I've been hankering after one for some time now, but with Rob's policy now of only making what suits his business, as opposed to what customers dictate (which is fair enough if he is able to do it), and the rarity of secondhand ones available the likelihood of me getting one looked pretty slim - especially considering my very specific requirements (fretless, unlined, min 17mm string spacing). I just thought I would try my luck on the Owners' Facebook page, and lo and behold I got lucky, a great guy in Italy responded, we did a deal and I am now the proud owner of a Deep 5 to go with my Mb2 4 string. I must admit I was slightly twitchy about sending a not insignificant sum of money to a complete stranger in a foreign country, but I trusted my luck to PayPal's compensation policy and bit the bullet. Antonio turned out to be a really great guy and the bass was in my hot little (actually big) hands within a few days and I couldn't be more pleased. Initially the action was too low for me - lots of lovely Mwah but not much attack and rather inclined to buzz on the low B, but a half turn on the truss rod did the trick and all is now great. This now means there will be no real point in having any other 5 string basses, so I'll be selling a couple of very nice ones soon in the form of a Shuker Artist 5 and Rick Turner Renaissance 5. Probably when things have normalised a bit more and hopefully the Bass community will be more comfortable spending money on bass guitars.2 points
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Stonkin master class in rock bass !2 points
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What I enjoy most about these things is the "mistakes" - the fluffed notes, loose timing and scuzzy tone which should teach us all to never let the quest for perfection get in the way of playing with passion and personality.2 points
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aaaaargh2 points
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Since this thread I’ve hidden lots of sigs, I don’t go looking for them but if a long one comes up while I’m reading I just hide it.2 points
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Has he converted his toilet into a music room? Either that or he has the smallest living room ever! Some dance moves right enough.2 points
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........ (lost for words)2 points
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These are great.2 points
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Fine, I'll send the kit and the glue.2 points -
If there is any hope at all of you selling the sparkly one, it will be worth the wait. I do love me a Status. My Empathy was one of my first basses. Still lovely today.2 points
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Mine is easily and predictably my old Jazz bass. Nothing has ever come remotely close to it for playability and sound. Every time I record and sneakily try to use another bass, I always get told to just go get the fender 😂. It’s not perfect, and yes, some bits are a bit ‘wonky’,(it always looks WAY wonkier in pictures!?!) But in well over 200 basses owned, this one is the most special by a long long long way! It’s a 1990 MiJ 60s reissue, the ‘mojo’ to the finish is real not fake, earned from thousands of gigs since I bought it around 1993. It’s all completely original...apart from the neck, pickups, electronics, all the hardware, scratchplate and stripes. And one of the tuning heads. 😂2 points
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We have indeed frank, it’s just one of those tunes that’s great to hear now and again, and you always come back with the classic Cool Meditation , one of my favourites 👍 im sure he sings, make natty shook, which I believe is slang for shake , but it could be, make that a stinky poo, you never know 😁2 points
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Scott Mulvahill's latest YT offering :2 points
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Haha, I just thought "If only it had one string more"… 😉2 points
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I looked into this some time ago when refinshing my 'oil-finished Warwick'. I think something is lost in translation here, as when they say 'oil-finished' it is actually a beeswax and lemon oil mix that they use (there might be other bits in there too) - but they melt it to apply it (so that it penetrates further into the wood). This might be where the 'oil-finished' description comes from - as in that it was liquid when they applied it. It still doesn't go deep into the wood, as I got the old wax off with a bit of light sanding on mine. Ironically, I then re-applied the same finish Warwick did, in the same way (melt beeswax, add lemon oil, dip a cloth in it, apply to wood, run scalded hand under cold water), and it turned out absolutely beautiful. Of course, you have to occasionally (yearly?) clean and re-apply to keep it looking great. I preferred this finish to an actual oil finish as it's less permanent - if I want to change in the future, I'll be able to, whereas an oil finish is very hard to get rid of.2 points
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Where he says it should be 40mm and not 38mm at the nut because of the 19mm spacing at the bridge sounds like rubbish. Fenders and Sadowskys are 38mm with 19mm spacing IIRC, as are many other J types.2 points
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Some people would regard that as a good end to the gig 😉2 points
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And Now @Leonard Smalls has done the same ! Now I fear that the bar has been set so high , I will have no difficulty in walking right under it in my defence, this month, I have written a song , I have learnt it , and learnt how to play it , so this time I have a structure to follow , it is of course, a bit random and full of my vocal , however, I have a few days left yet to rehearse and warm my larynx to its fullest harmonic potential* * who the f**k am I kidding here , not even myself 🤣2 points
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The rehearsal room have just bought an @Ashdown Engineering 414t cab. I now want one. Cannot believe a 410 is that light.2 points
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Have a look at www.chordpulse.com Which is $29 after a 14 day trial They also offer a simpler free cut down version called 4 Chord Songs which may be useful The sounds are a bit cheesy but in the full version (possibly also in the free version) the midi patterns can be exported to a DAW so you could then use your own sounds and replace the drums as you wish Found it ideal for a quick practise, speed up, slow down and it is so easy to change key2 points
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Actually, the bigger problem is the end users who think they understand what the data sheets mean without actually understanding the technical data behind the numbers and WHY they might be used in describing specific specs. When an experienced designer learns all of the ins and outs behind the performance of the module and what is actually happening between the lines, it becomes apparent that there are additional performance gains present to those who understand how to exploit them. As a specific example, when I was designing around an earlier IcePower module, we used to get "armchair techies" who would insist that the module wasn't capable of driving 4 ohms BTL and that it was was only capable of 250 watts into 4 ohms therefore we were not being truthful. In fact, the amp could easily deliver 900+ watts RMS into 4 ohms BTL, and that the 250 watt single ended specification didn't even apply. This was such a valuable off sheet applications (that required specialized cooling and over-modulation management) that we received a patent for the techniques that we employed. It's very similar to what's happened in the automotive industry over the years. Power output per cubic inch (or litre) of displacement has increased greatly through the introduction of fuel injection, variable valve timing, variable ignition timing, stoichiometric fuel management through combustion products feedback, advanced combustion chamber design, tighter tolerances, lighter reciprocating mass, etc. The same applies to many of the successful applications in all industries. The more you know, the easier it is to be successful and deliver successful, reliable products.2 points
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If you want to play the same shapes as on a guitar I'd go for as narrow a string spacing as possible. The Ibanez mentioned here would be good. As for strings, you could do worse than contacting Newtone strings who can advise on guages and make you up custom sets.2 points
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Yes, I can and do dance while playing. In my punk/new-wave covers band I move and dance a lot. The other guys are rooted to the spot - they are happy to let me get on with it. For me one of the advantages of using an amp sim pedal instaed of an amp is more room to dance. Dancing not up to stanard of Bruno Mars band though! Story? Nearest I've got is: a couple of people from work came to a gig ..... one of them said that my stage performance reminded her of when her son fogets to take his hyperactivity medicine!2 points
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time to bring out this old classic...2 points
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