Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation on 17/03/21 in all areas

  1. ****I failed to make it to Bass Direct, so it’s back up for sale on here, for now*** I’ve gone a bit Geddy and passive too, and need to balance the books, so this beauty is up for sale. I bought it new from PMT about 18 months ago, and just after I bought it the price went up to about £2,400. It’s still there or thereabouts, if you can find one. They found it had some minor lacquer cracks on the back, near the battery cavity and lower horn, so knocked £200 off, and I’m happy to pass that on. They’re barely noticeable to the eye, are hard to photograph, but can be felt, and didn’t bother me in the slightest. Anyways, that’s the full disclosure bit done, so here’s the (cribbed) details: Amber stain gloss, quilt maple top with slice of walnut, rosewood board, 1.5” nut, MoP inlays, 3 piece maple neck, EMG active pickups, Tonepump preamp, gold hardware. It weighs in at just under 4kilos, has an uber skinny neck as per Mr Wimbish’s spec, and is a joy to play.....and look at. Too nice for the places I gig for sure, hence no gigs, even before Boris said “No gigs”. I can ship at your risk and expense, in a Hiscox hard case, but a socially distanced meet up and try out is feasible, when we’re permitted, or a half-way meet within reason too, again when permitted. ****May partial trade for a Mesa Subway head and/or Subway cabs**** Oh, my feedback is pretty darn good if you want to check.Time for the pretty pictures:
    9 points
  2. So she arrived 🥰🥰. Lovely bass, slightly deeper neck than i expected but will soon get used to that coming from a 50’s P bass. Ordered some GHS pressurewounds for her and think I will go down the gold hardware route (bridge and tuners). Going to have an amplified tinker later with the tonepump through the SVT but for now im in love! My Spector cherry is popped
    9 points
  3. I've been gassing for a 4 string Forty Eight for a while now, for me they are a total modern classic and the black with creme stripes and the matching headstock is just what I wanted to fill the "rock bass" slot. It's not just down to the looks, I was after some good playability and quality and I liked the sound of the sound of these. I saw a couple on here but without the matching headstock, then this one came up at Classic and Cool Guitars and as a bonus it has an ebony board and block inlays. I had to trade my Stingray 5HH (stealth black, also a looker) for it, but somehow I never gelled with the 'ray so that wasn't too tough a decision. The only thing I wasn't 100% sure abour was the white pickguard, so I've ordered a black one with creme stripe. First impressions are good. Very very good. Looks amazing to me, I wouldn't have had one of the "hard core aged" ones but this is just right. It plays really nicely too, lovely neck, sits nicely on the strap and it's nice and light. I like the pickup covers as well, I play floating thumb when I do fingerstyle so they are good for something to rest on when I'm on the E string. After a brief blast through a few different amp models the tone is just spot on, it sounds great on everything I try it on. I always seemed to be struggling to get the 'ray to sound how I wanted, and this just does straight out of the box. It's not over bright either, even with new strings on, I won't get into trying to describe it but it's right where I wanted it anyway. Mark at Classic and Cool was super easy to deal with, and I'm a very happy customer.
    6 points
  4. My first thought is you might be blowing up your hearing with excess volume.
    5 points
  5. Up for sale is my favorite amp of all time, my Mesa Boogie Titan V12. I am really going to regret getting rid of this thing. It's a monster. It's so versatile, sounds soooo good with my supertwin cab, and everyone that's heard it has nothing but praise to sing to it. Just to be clear, I'm only selling it because it's rated for 220V and I'll be moving back to the USA this year. History of the amp, I'm the second owner, bought from someone in Germany. Although this is a black one, this one has had the power supply issues that the early ones had (they weren't only an issue with the silver faces). I had this repaired by mesa boogie in california, and the receipts for that. There was another issue that was repaired by a local shop, a transistor blew when I let a friend borrow it for a day , which I also have the receipt for. Anyways, it's back in tip-top shape. The original pedal is included, and it's cable (not in pictures, whoops). As is a box I had custom made by a guy in poland to control the amp via midi instead of using the controller. I will ship anywhere in Europe. Here's a link of a practice session: https://www.twitch.tv/videos/716899940 Specs: https://www.mesaboogie.com/support/out-of-production/titan.html And the pics:
    4 points
  6. We thought some of you might be interested in the thought process we've just been through. @Silvia Bluejay and I get all the gigs for the bands I play in, and the early feedback from contacting (the surviving) landlords is that carefully-organised outdoor gigs are still the most likely things to be on offer after 12th April and running through until 21st June. If pubs and punters like those gigs enough, many pubs may well continue doing them while the weather stays warm, so until - say - late September. The problem is of course that this is England. If we agree to play on a Saturday afternoon in the beer garden or car park, and on Friday afternoon the weather forecast is '40% chance of rain' or something, what do we do? Cancel because even a brief shower will wreck our equipment? So we've punted £104 on a waterproof gazebo. The thinking is NOT that we will put it up for all outdoor gigs, more that possession of that gazebo means that we can commit to play in anything short of heavy rain, and if there's heavy rain then the pub will cancel the gig anyway. I have a couple of acres of woodland in the Chilterns with a lock-up hut and a petrol generator, so Silvie and I went up there this afternoon to test out the idea. This is the first in an occasional series of informative and entertaining short films entitled Educate Your Band ...
    4 points
  7. Hi, if this has your attention then you'll know exactly what these cabs specs are. PM me if you need anything more.... As new, both have Barefaced covers and whilst ridiculously light I had a set of wheels / trolley made to fit the 410 where the feet fit exactly into holes in the trolley for stability. Part of my retirement sale as now getting older and going down the PA, in ears and no monitor route.... will soon be able to fit in an A class for gigs !!! 3 photos attached, Barefaced cabs and trolley only. Will put more pics if req'd re cabs, covers and trolley but all as new. No splits or trades unless I have committed interest on both cabs... Colin
    4 points
  8. Wooden it be nice - Beech Boys (sorry...I couldn't resist)
    4 points
  9. Thank you Woodwind. 3-4 hours use of public transport per day, in Tehran! loud and frightening traffic on the way to office. excessive use of horn and wild bikers everywhere. savage people who are unable to do a small task without making lots of unnecessary noise. I'm also HSP (highly sensitive) so you can imagine. time to get my ears checked i think 😣
    4 points
  10. I went for separate 112's because they represent the lightest lift. I also chose cloth grill fronts to shave off another couple of pounds. I would still have to carry a 212 up stairs, over gravel paths and muddy puddles which is why I never considered one. I have a bad back but my legs are strong so I don't care how many trips it takes to the car as long as each trip is a light as I can make it. BF cabs are efficient and very loud for their size. I can now do gigs with 1 cab, which is even better.
    4 points
  11. I recorded this direct through a TC Electronic Spectradrive (set flat). 1. fingerstyle 2. fingerstyle with the tone control at 0 3. pick 4. pick with palm mute The one with the tone rolled off sounds ridiculous 😁 mahogany-mudbucker.mp3
    4 points
  12. This is (or rather, was...) our hypnotically mesmerising band, playing at a local mini-festival a few years ago now. You'll understand from the insane antics of all of us the magnetic attraction we emanate, which explains why we get called upon so often. The choreography is meticulously rehearsed, perhaps even more so than the research for the best sound, and pays off handsomely (although it's hard on the knees, and the stunts are dangerous for the untrained. Do not try this at home...). I'll let those that get to the end judge the (modest...) popularity of our 'performance'. So, with no further ado, I'll leave the stage and welcome... The Daubs..! (sporadic applause...)
    4 points
  13. I just recently bought this Sterling Ray4 as a backup which, I have to say, are not at all bad for the money. I like the mint green but I knew I just had to change the plain white pickguard for a white pearl guard. (It's my thing!). That said, I also didn't mind the look of the bass without any guard (guess I could go for a clear see-through job at some point). But, for me, the white pearl just sets it off nicely. So I thought, let's see what the BC collective think. The original white? The white pearl? Or no guard? (Pics below and poll attached).
    3 points
  14. I do like it when the postie delivers parcels containing stuff like this: I'm going to leave it in the house for a month or so before I do anything with it but I have a plan.....
    3 points
  15. I bought this lovely bass direct from Mark Ramsay (RMI Bass). This is a Montage 33" scale that Mark described as: "The Montage is neither a clone nor a prototype. The bass is an original, bespoke creation designed for a niche breed of player". The bass has had some modifications made, by Mark, to get everything has he wanted. If you look at the pictures you will see that there are three wooden plugs where the micro-switches were going to be added for coil tap etc - the plugs will push out should you wish to install the switches. The back of the neck had a bit of refinishing but nothing that impacts on the playing. The frets also have had some reworking/reprofiling to allow for a low action and smooth playing. A Gator semi hard case is also available. The weight is 3.6kgs. Full Spec: Specification: * 33" Scale * Translucent tobacco burst * 5-string tuned E-C * 6-way bolt-on construction with all-access heel * 24 steel nickel frets - 2.5mm x 1mm * Flat fretboard (no radius) * C-shape neck profile * Approx. 22mm neck thickness (including fret height) * 43mm nut width (8.25mm spacing) * 345mm body width, 38mm depth * Sung Il / Wilkinson (Korea) BB002 16.5mm brass bridge * Wilkinson WJB-750 open-gear light-weight tuners * Single bi-directional truss rod * Three-way wedged body construction (Vietnamese walnut / swamp ash / alder) * Split-level body with 4mm poplar birdseye top enclosing a 20mm shallow chamber * Three-way "Apex" neck scarf construction (hard maple / hard ash / nato mahogany) * Indian rosewood fretboard with pearloid Japanese inlay * Split-level headstock design with matching poplar birdseye cap * Ramsay dual-coil humbucking (split-able pickups) housed in Macassar Ebony-topped maple shells * Stock 9v, 3-band EQ preamp with adjustable boost gain dial * Volume (pull/push passive/active switch), Balance, Treble, Midrange, Bass * Aluminium control knobs with white indicator lines * D'Addario Nickel XL strings (medium gauge) + 0.032" high C * 1100mm total length
    3 points
  16. This build is my first and was 12 years in the making. I started on carving the body blank with my dad, and after he died I lost the nerve to complete it. It has been knocking about my garage ever since. Lockdown inspired me to finish it. Pleased with how it turned out. Only the wiring and a setup to do and it's finally done, all these years later.
    3 points
  17. Finalised the design now front and back. Will be hand drawing the side view to decide on thicknesses as I've about had enough of Inkscape now. Pickup and top horn placement moved (thanks @Hellzero and @SpondonBassed for the suggestions and the helpful spreadsheet) and control cavity planned. Also, the bridge, tuners and side dot sticks arrived through the post today - made me happy!
    3 points
  18. Here's a little & large shot of my new acquisition. I'm getting used to the much smaller neck, if not the polish - I think that's going to have to go! Plays nice after a good setup though!
    3 points
  19. You may try this ? https://thegenerationofmusic.wordpress.com/2019/09/21/how-to-stop-the-rattling-tuners-of-a-yamaha-bb-series-bass-guitar/ [just doubled checked, and the new BB tuners are not the same - I'm leaving the comment though, as that might help sort out some old ones]
    3 points
  20. All these people who wouldn't have dreamt of coming to one of my bashes are all clamouring to join in now I've passed the baton on. Which reminds me, @jebroad, I've got the box of lanyard cards i had printed for the mids bash if you want them. PM me the address of your cardboard box and I'll send them.
    3 points
  21. Wasn't planning to. Was planning to bring 'The New One' *cue the 'wonder / rapture music*
    3 points
  22. I'll give you a bit of background on the Swissonic router. I took one apart - It's basically a router that can be found on Aliexpress for $30 that has been rehoused in a nice rack unit. That's not to say that the router doesn't do the job, if it works reliably, then it works reliably... and as stated, it's a nice format in that you can keep it racked up and ready to go. The reason that there isn't much out there in terms of rack mount WAPs (wireless access points) is that from a physics point of view, WAPs should be mounted away from metal as metal interferes with RF. When mounting WAPs/wireless units in racks (e.g. including microphones/IEMS), the antennae are usually external to the rack to avoid this issue. In larger scale gigging situations, the WAP is usually mounted with external antenna with hidden SSID(s). This not only reduces the risk of interference - but makes for a more reliable connection (assuming you have line of sight) You've probably noticed that a lot of home routers are very plastically and avoid metal construction - there is a reason for that - they are self contained and its often not practical to get the antennae away from the base unit. So from a purist's point of view, the Swissonic is a terrible implementation as you are putting your WAP in an area that typically dense in metal structures - and additionally, combined with a load of electronics that produce EM that can also negatively impact the performance of RF. In @DaytonaRik's deployment above, things aren't quite as bad as they could be - as the antenna, although close to a lot of metal and electronics (including radio transmitters AND radio receivers - more on that in a minute) at least stand proud of most of the rack. As for the placement of mic receivers and IEM transmitters, this is as about as worse practice you can get and it will be greatly reducing the amount of intermodulation free (e.g. interference free) channels that you will be able to access. Given that there's only two channels in play here, and they are on different channel bands (one on free to use, the other on shared mic license), it's likely, I'm guessing, you are getting away with it Rik! If you upped your channel count with this style of deployment, you would have a right ball trying to get your radio working! Having said all of that, if the resulting performance is good enough to be reliable for your needs and you can justify the price, than for the neat integration into the rack, the router may be a good call. At the end of the day, if it works and meets your expectations, then jobs a goodun! I only included this post as anybody working with wireless should go into this with their eyes open. @BCH - I would be wary of your stageclix system being placed right next to a 5G router - hopefully the device is clever enough to find a clean channel on 5G (there's a lot more of them compared to the 3 intermod free channels on 2.4 for starters) but you may have to set your router to fix on a channel that plays nicely with the stageclix. In short, always be prepared to ditch the Stageclix and ditch the wireless because a venues wifi may take yours out. A lot of conference centres are great at doing this. Always cater for a wired connection to your desk too... because not being able to control your mixing desk is a bit err... stressful. (Been there, done that, without the cat5 cable...) Hope this is insightful - this hasn't been written to run anybody's setup down - quite the opposite. I've tried to be helpful to avoid any mishaps down the road!
    3 points
  23. 3 points
  24. Taking more family shots 😅
    3 points
  25. The main reason that Reaper gets so much love is that it has a very low entry cost (essentially free and only £60 if you really want to pay for it) compared with other DAWs. However for that price you don't get very much other than the actual program, and to reach the same level of plug-in functionality as Logic you would probably have to spend quite a bit of extra money and almost certainly more than the £199 that Logic costs. However if all your plug-ins that you are currently using with ProTools are in AU format then you should be able to continue using them with Reaper. The other big disadvantage with Reaper is that it's MIDI editing/manipulation facilities are much less comprehensive than those in DAWs that started out life as sequencing applications like Logic, Cubase and Performer. Again though if ProTools' MIDI capabilities have been sufficient, then Reaper's should be too. ProTools for all it's historic dominance is on it's way out. Since affordable computers now have the kind of processing power that mostly renders the ProTools hardware unnecessary, it's USP has become less and less relevant. Added to it's problems are the reliance on the less than robust iLok copy protection system (as Beedster has already discovered) and the fact that the parent company Avid has been on the brink of financial disaster for years now, IMO ProTools days are numbered and it is only historical inertia rather than actual functionality that keeps its user base sticking with it. Also bear in mind that the parent company Avid are first and foremost into video editing and their audio offerings are very much second-class products compared with their main business. A cynical person might also be unsurprised that ProTools isn't playing nicely with Adobe products when the company produces competing applications - Premier, After Effects and Audition (BTW if you are an Adobe CC Subscriber you should definitely have a look at Audition as you already have it for free).
    3 points
  26. I think one of mine might be a factory preset in the guitar version, I need to check.
    3 points
  27. Scary Pockets are just an average cover band really, some good musicians but are they doing anything original?
    3 points
  28. Yes folks, the gigs are coming to an end so this iconic number plate is up for sale. Can effect an easy transfer. They say the definition of a gentleman is someone who owns a banjo, but doesn’t play it. I’m a gentleman of the personal reg world - I own BA55 ACE but don’t display it. Its on retention so an easy transfer to anyone who wants it for £4K. I bump this every so often. I’m not desperate to sell but if anyone wants to buy it then why not. £4,000.00
    2 points
  29. For Sale only £260 exc Sire Gig Bag £ 299 with bag My Sire Version 2 Marcus Miller V3 5 String Bass in Tobacco Sunburst excl condition as you can see in the pics below. This bass has never left the house except for a set up by luthier Doug Wilkes Guitars. Never gigged. Gig bag has small cut which I only noticed a few weeks ago when cleaning, this could have been there when purchased I just never noticed it. pick up from Stoke on Trent possible meet up observing COVID rules Possible trade for Barfaced One 10 cloth grill but must be in mint condition. Thanks for looking. Specs from Anderson site Construction In terms of construction, the V3 Version 2 employs the same selection of tonewoods used for the first iterations of the V3. With a Mahogany body, you can expect a rich and deep low end-tone, with a vibrant mid-range that serves as a great foundation for the punchy-sounding pickups. Paired with a bolt-on Canadian Hard Maple neck, this type of construction and material adds some crucial snap. Giving notes plenty of top-end bite, you can be sure to cut through any mix! Adorned with a smooth Rosewood fingerboard, this sleek and elegant wood adds more tonal depth and enhances the instrument’s overall playability. Finished with a smooth matte lacquer and featuring a C-shaped neck profile, the V3’s neck offers a feel that both traditional and modern players will enjoy. Electronics & Hardware The V3 Version 2’s biggest upgrade is its pickup set. Produced using US-Made Heavy Fomvar Magnet Wire, this offers a high-res sound with better clarity and definition than its older counterparts. Redesigned in close collaboration with Marcus Miller to create the best tonal balance, these articulate-sounding pickups are ultra-versatile and suitable for many styles. Featuring multiple controls, the amount of flexibility that the V3 offers is unparalleled at its price-point. With a volume/tone dual pot, the V3 boasts a full 3-band EQ, letting you manipulate the bass, middle and treble frequencies. This means that you can tailor your tones completely on-the-fly, with its active/passive toggle switch letting you attain vintage or modern sounds. The Marcus Standard Bridge provides a comfortable and solid feel, with its traditional design letting you make action or intonation adjustments easily. At the other end of the instrument you’ll find a set of Marcus Standard Open-Gear tuners, ensuring optimal tuning stability. Specifications Body Body Material: Mahogany Body Shape: New Marcus Miller Jazz Type Neck Neck Material: Canadian Hard Maple Neck Finish: Matte Neck Shape: C-Shape Scale: 34” Fingerboard: Rosewood w/ Rolled Edges Fingerboard Radius: 7’25” Frets: Medium Small, 20 Frets String Nut: Natural Bone, 45mm Width Binding: None Inlay: White Pearl Dot Neck Joint: 4 Bolt Steel Square Plate Electronics & Hardware Pickups: Marcus Standard-J Revolution Set Electronics: Marcus Heritage-3 with Middle Frequency Control Controls: Volume/Tone (Dual Pot) | Pickup Blender | Treble | Middle/Middle Frequency (Dual Pot) | Bass, Mini Toggle (Active/Passive) Knobs: Jazz Type Black Plastic Bridge: Marcus Standard Bridge Tuning Gear: Marcus Standard Open-Gear Hardware Finish: Chrome
    2 points
  30. Yeah... you had it easy. Heeheehee. Yes. The second and third Bashes that I attended were Si's.
    2 points
  31. Musicians are the most salty breed out there. The narrative, "we are all friends, we all support each other, we are all "good friends" etc...", meanwhile, they can't bring themselves to click a simple like button in support of others - and will go after your gig or use you to their own advantage, whilst bad mouthing you to your peers and generally stabbing you in the back. Terrible isn't it?
    2 points
  32. I agree with Cat about mixing it up every so often, I change plates on all my basses that have them depending on mood. A white pick-up cover would look good as well?
    2 points
  33. Hi guys, I've just uploaded a new tutorial on 'disco pony' 16ths. It's a term I heard Paul Turner mention once, and it's kinda stuck. Essentially it's the classic alternating octaves bassline that you'd hear in many disco tunes, but on the high notes you double up speed, giving it a galloping effect. Let me know what you think! Huw
    2 points
  34. My Le Fay Remington Steele 6 RHT CC CAP Big Block
    2 points
  35. Jesus H Christ! Its my first active bass in a while and I forgot. Plugged it into my SVT which I had set at 'normal' home volume for my Peavey passive bass....I just hit an open E and I now owe Mrs Pow a new dinner plate set! That is PHENOMINALLY loud! Will defo be tweaking that tonepump when I get more play time later
    2 points
  36. Please be careful Taha_Never! What is the work you're doing outside? I do a lot of work outside and just the increased high end content in the sound of london traffic on wet roads can irritate my hearing. Sustained fatigue will eventually lead to permanent hearing loss.
    2 points
  37. So Big singles on their way tommorrow. €140 all in incl shipping and import charges. Hopefully be in my SR600 by end of March🥳
    2 points
  38. I should add, the RM Head goes easily in a laptop bag with cables. Put that over your shoulder and you can carry an RM cab in each hand. Just make sure you go sideways though doors.
    2 points
  39. My 1979 Roadster - it lives a simple life these days, mainly kept for sentimental reasons. Twas my first 'proper' bass that I sold and bought back 3 times! It's now going to live out its days with me and shall never be sold again.
    2 points
  40. I would run away - you are quite scary
    2 points
  41. That's the setup I'm going for too. It always baffled me why Fender didn't come out with a Precision in this colour scheme. It's my ideal colour scheme for a P-bass.
    2 points
  42. GAS is a funny thing. I've been happy with my bass set up for a few years, it covers everything I'm ever likely to want to do. But recently I've been thinking about getting a Mustang and putting flats on it. I already have 3 basses I could put flats on, not including the fretless which already has flats and there's an unopened pack of Labella James Jamersons sitting in my spares box. I also have no need for a shortscale bass, none of my current basses give me any reach or weight problems. But part of my brain is still telling me to buy a Mustang and a £50 pack of special Labella Mustang flats.
    2 points
  43. I’m not sure why people are arguing about this – it’s pretty clear cut. if you are playing classical or the more cerebral types of jazz then it doesn’t really matter if you dance or not. Of course, a bit of showmanship doesn’t hurt, as everyone from Mozart to Paganini to Louis Armstrong to Jaco have shown. But generally speaking, if you are not expecting the audience to dance then it doesn’t matter if you do. However, if you are playing rock / pop / funk or whatever then you had better have some sort of stage presence going on. I suppose you can get by without if you are playing the lower level of function / wedding band work, where the audience are not there to see the band but for the occasion / free bar. But if you want to people to come and see your band then you need to put on a show of some sort. This doesn’t necessarily mean running around like Angus Young, just looking comfortable onstage and acknowledging the audience will do for a start. But if you can’t engage an audience then no one will make an effort to come and see your rock / pop band.
    2 points
  44. Could always go the X32 Rack route? I use an SD16 digital stage box upstage and an SD8 downstage - both have 8 XLR returns and either 8 or 16 inputs and connects via a single CAT5 cable making setup/strike a doddle as you can use short cable runs to a conveniently placed stage box. The SD16 takes care of the kit and backline mics/DI plus drummer's wedge and the SD8 for vocal mics, downstage wedges and FoH.
    2 points
  45. I dunno, you go to any jazz or funk gig at any city in the world and you'll see musicians of an equal standard to the Scary bunch, doing funk/soul covers of popular songs in exactly the same manner.
    2 points
  46. These are my matching headstock basses.
    2 points
  47. No, silly, there are 1515 incarnations of him, that’s how he builds so many basses. They’re all crammed into one workshop under Dickensian conditions. They all share the coloured dust collection and sing sea shanties whilst working long hours for a pittance and a plate of thin gruel flavoured with varnish and superglue and finished with a powdered trussrod topping Andyjr15 is an early incarnation, judging by his serial number but nobody kept proper records and so it’s a guide at best - worth looking at the date stamps on his component parts to get a not-later-than idea of his place in the incarnation timeline
    2 points
×
×
  • Create New...