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Showing content with the highest reputation on 29/03/21 in all areas

  1. Easter Price Drop/Offers £1500 ovno Decided 4 strings is enough for me so here goes: Now added P/X with cash option, More pics available A professionally reliced 5 string USA Marcus Miller Jazz, (refinish by Relic Arts guitars in France with matching headstock) and upgraded with the fabulous Sadowsky preamp with VTC and Aguilar 70’s Jazz pickups. Will come with original case and original boxed Fender pick ups if you want to put them back in. Widely considered to be best 5 string neck ever made by Fender and the Sadowsky massively improves on the Fender preamp, string spacing is a dream to play, sadly discontinued now rumoured to be due to production cost. Very nice weight and only issue is a missing grub screw on battery cover at rear, strung with Marcus Miller Stainless. Available to try or collect from near York , only interested in Sadowsky or Fender Custom Shop P Basses as a trade and cash from me possible but only 4 strings and no baseball bat necks. More daylight photographs can be taken weather permitting just ask me to email them 😎 Happy to answer any questions
    6 points
  2. I pulled the trigger on this on Friday and it arrived today. Have to say, I had no previous experience of Promenade Music, and had they not been the cheapest online sellers of the Mapleglo version, I might still not know them, but they have been superb. Hours after placing the order Gary from Promenade, their bass specialist, rang me to discuss the set up, we swapped a few stories, and he threw in an allen key because he couldn't see that Rickenbacker had provided any (in fact the have, buried in the case candy). This is how it arrived: And this is how it looks now: 50% more gorgeous, I trust you'll agree Black scratchplate thanks to Rickysounds (it arrived about an hour after the bass) Half way there to recreating the BT (black trim) option that I have on my 1975 4001 I contacted Rosetti about organising a swap of the nameplate for a genuine Rickenbacker black one, and they told me that this is not something that Rickenbacker will agree to. So having tried to source a genuine replacement, I'm now awaiting a knock off from our friends in the East. If that isn't a good fit then I did see that somebody on another forum has done something similar by sanding the paint off the plate to take it back to white, then painting the rest of the of it black. I'm reluctant to do that as it would lose the "Made in USA" but I'll keep it in mind. I've also stuck on Dunlop straplocks - the very first change I made to any bass when I got the 4001 over 30 years ago. And I had to do the same thing this time, put some rawlplug into the screw holes. First impressions: The maple is much lighter than my 4001, possibly/probably due to ageing of the varnish (?). The maple isn't highly figured, but it is what it is. The finish feels quite thick and plastic-y. I'd have preferred a satin finish, but it's a minor point. For tradition's sake I'd also have loved to have a skunk stripe, again, as per my 4001, although I do like the dark brown headstock wings which aren't on my old bass. But it would have made the thru neck more obvious - easily seen if you are close up, but lost in the bright maple a few feet away. Strings feel lighter than my usual choice, but I'll keep them for now until the new zinginess runs out. As a consequence it feels a bit floppier that I like, but not by too much Still has the Rickenbacker clank - responds well to aggressive playing, but cleans up nicely when I want it to The neck feels very different to the 4001, which has a narrow U feel to it. Wider (not just because of the extra string, the spacing feels wider) and shallower. Oddly feels a little clubbier below the 5th fret and slimmer as you get up the neck, but still a real pleasure to play over the whole length. Very fast, great access to the dusty end, but noticeably a few frets short compared to my other 5 strings which both have 24 frets. Still, I don't get that far up the neck very often I'm missing the 4001's bridge pickup surround, which is where I anchor my thumb. the top of the bridge pickup doesn't feel to be in quite the right position Also slightly missing the non-S features - bound body, neck inlays. But I'm happy to concede that these are even more cosmetic than the BT stuff, and that actually the rounded body makes it easier to play than the bound version. But still...and I can't help missing the 4001/3 bridge that they managed to put on the last attempt at a five string 4003, although there's nothing wrong with the bridge it has from a functional point of view So Day 1, about an hour of playing and half an hour of tinkering, with a full set up to be done when I change the strings, it's definitely a keeper. For all my (minor, mostly cosmetic) niggles, it's a great bass. And it'll be 25% greater once I get the black nameplate...
    6 points
  3. Body rounded, as it is is 2.45kg. And the wood I will take out for the control cavity, belly and arm cut, tuners and neck should be roughly the same as the weigh of the hardware, so that is where I am thinking we will end up. With the headless neck absolutely on track to stay below 4 kg, Quick mockup attached as well, just for fun
    6 points
  4. No problem at all. Some times I wish I had never gone down the filter route it has made my life more difficult in that I spend a great deal of time explaining how it works. As I said some people it just clicks with I was one of them. The first time I picked up a Wal I fell in love with the pre-amp could not understand why everyone was not using filter pre-amps. But I very quickly realised I was in a minority but I still to this day think it is a great system for bass. Hence spending a lot of money to develop the system with John but some times at shows when I hear myself saying the same thing all day just some times I think passive is the way to go.
    6 points
  5. Like most bassists I’ve always wanted the holy grail of bass amps, the Ampeg B15. But being too financially embarrassed and sensible enough not to buy one, I’ve hankered after the poor mans substitute the Ampeg B100r or B200r instead. I’ve looked around for quite a while now. After about 6 months I’ve been super lucky to pick up an American made B200r in near mint condition. Got it for a relative steal. Found it on FB marketplace. Super happy boy today!!
    5 points
  6. I don't think I have replied to this yet. I am in the odd position of finding myself being strangely attracted to the skill of slapping but of having almost completely failed to find any application of the technique that does anything for me. It is like having a fantastically sophisticated power tool that you don't know what it is used for. I cannot even post any 'this is what I call great slapping' because, whilst there is some great juggling out there, I just don't like the music it is used in. Any of it.
    5 points
  7. 📢 BROMANCE ALERT BROMANCE ALERT 📢
    5 points
  8. More fantastic plastic joins the family.. EDB605 Newly acquired EDA900 (courtesy of @PaulThePlug) Recently acquired EDC715 (courtesy of @Alcytes)
    5 points
  9. There is no flat as such with a filter preamp the filters are engaged all the time. (Unless you have the ACG DFM which has an active/passive option) This is a common misunderstanding made by people who don't really understand how they work. There is however a close to flat as you can get setting. Stack 1 is the volume/blend. Stack 2 Upper ring fully of. Lower ring full on. This is the filter fully open so the full range allowable by the filter is allowed through. Stack 3 as stack 1 Stack 4. Upper ring fully of. This is a gain so with it fully off the highness filter does nothing so the lower rings position does not matter. Both pickups are now useable with the blend and both filters are open the highpass disengaged. The way I would go from there is to move the blend on to the bridge pickup. Then adjust the lower ring of stack 3 until you get something you like. I generally close the filter to a degree to cut the top end so I have a more mid heavy sound. Now move the blend to the neck pickup and do the same. I would normally generate the bottom end from there which again means closing the filter to remove the top end and some of the mids. So you have reduced the preamp to a Volume/Blend/Tone/Tone and that is basically all it is. Now use the blend to go between the two pickups to change the overall sound. The upper ring on stack 2 and 3 just boost the effect of the filter cut off so you get more filter effect if you turn them up. I like them in the centre detent. The preamp only appears complicated if you try to adjust every thing at the same time if you take it one thing at a time it is not that complicated but it does not work the way a 3 band does and most people approach it that way and generally can't get what they want. This is a common problem and it is why filter pre-amps are not that common people as a rule don't really get them. For those that get their head round it you will get sounds you will struggle to get with any other on board pre-amp. But there is a learning curve and some people just don't get on with them which is why I have always offered an alternative to the filter preamps. If you don't get on with the pre-amp and like the bass just replace the pre-amp would be my advice. Sell an 01 will not be difficult and the East Uni-Pre will fit the cavity it is what I use for builds that don't need the filters.
    5 points
  10. I’ve tried slap reggae, it really doesn’t work, trust me 😁
    4 points
  11. Not a song but for a nice jazz bass sound I like this video from, vintage guitar Oldenburg, he demos lots of the basses they have , great sound from the 62
    4 points
  12. After much soul searching I've decided to sell my Shuker 5 string Jazz. Made for me by Jon in late 2012 and delivered in early 2013. I just have to be realistic about the number of basses I can keep and since arthritis in my left hand is limiting my playing significantly now I just don't need them all (bit of a bummer at 53!). I have three of Jon's basses including a S2 of a very similar spec that was the first that Jon built for me and I just can't let that one go, so this one it is. It's a real wrench to get it go, but it is what it is. I'd always wanted a Sadowsky but after discovering Jon I realised that I was never going to buy anything else, so I asked him to build me something that would kill an NYC and boy did he deliver that. This thing has massive tone and is incredibly versatile. It'll do a passable P and go all the way to Mark King at his most fragile, with great vintage jazz tones in between, but it really excels at modern Jazz tones - that's what it was designed for of course. It's utterly silent and is a fantastic studio instrument. The neck is incredibly stable - the last time it was out of the case was in 2019, and when I fished it out to take the photos it was still dead in tune. Balance is perfect with zero neck dive thanks the the super light tuners. Weight is 9lb. Condition is exceptional - never gigged, just used for some recording at home. There are some extremely light swirls in the finish on the top but it's only visible in reflected light (with glasses on!) - they would buff out completely. Next to no wear on the frets. It was serviced by Jon in 2019 and will be fully checked before leaving me. Specs are: 34" Scale 24 fret Swamp Ash body with quilted maple curve top and black pinstripe veneer under Gloss Cherry burst finish with matching headstock 5 piece laminated maple/flame maple neck with carbon graphite reinforcement (not sure on the neck depth but will get the verniers out and update the ad - it's around 21mm though I think) Dual action truss rod High nickel content frets Stunning birdseye maple fretboard with Abalone dot markers Phenolic nut Schaller BM light tuners Schaller 2000 bridge - currently set at 18mm centres but is adjustable wider and narrower DiMarzio UltraJazz pickups Jon's own three band preamp with sweepable mid frequency. Vol and Blend. Sadowsky knobs Weight: 9lb according to my luggage scales Shuker branded Hiscox liteflite included - as new Something of this spec from Jon now would be way north of two grand and heading towards three, so this is a bargain for a virtually as new instrument - I'll listen to sensible offers of course, but I'm not minded to shift much on price. UK delivery by fully insured courier is included, or Covid safe pickup from north Leeds or meet up within sensible distance. Any questions please ask! Sob....
    3 points
  13. Thanks to @PaulThePlug, my latest addition; An Ibanez EDA900. Weird and wonderful, but lightweight and well-balanced. The ergonomics really are very good. Controls are bonkers; Magnetic Vol, Piezo Volume, Magnetic Bass& Treble (twinned, not stacked!) Piezo treble. 'Round the back... 4 Piezo saddle level matching pots, 1 Piezo level trim pot and set & forget piezo bass level control. The magnetic pickup seems to be the same as the ones used in the EDB and EDC700/705, but the piezo is the real power house in this instrument. If it's not kept under control, it can dominate the tone. Mixed in conservatively, it works well with modulation effects, and solo'ed it does a passable impersonation of a plugged-in electro acoustic. It got very close to the bass tone on "Alice in Chains Unplugged" and Sevendust's "Southside Double-wide Acoustic Live" In summary, an idiosyncratic oddity, but quite versatile. The EDB605 is more jazz-like and the 3band eq can deliver a decent selection of tones. The EDC915 is a bit of a one-trick-pony, but like a 2EQ Ray, it's quite a trick.
    3 points
  14. Perhaps one of the coolest basses out there! A Burns Bison bass. Great condition, plays fantastic and has a genuine range of sounds from subtle 60s to full of growl. This has had some improvements done to it - a replacement bridge to give more definition to the upper strings, a full set up and earthing and I've had the strap pin moved from the back of the bass (which made the bass hang off you falling forward when playing, and moved to the head of the horn by a pro bass tech which now balances perfect. I have left the previous position clear so if anyone wants to revert back it's easy to see where to put it. Very rare now. Out of production for years and people tend to keep them. Also comes with the extremely rare Hiscox Burns custom case. Pick up Leyland Lancashire.
    3 points
  15. I don’t get it..... slap would be the ideal way to fill up all that silly space in the reggae bass lines 😉
    3 points
  16. Pickguard arrived today! Very happy. Well done @kodiakblair and well done to your guy. Fantastic job.
    3 points
  17. An hour and 20 mins of Dub...
    3 points
  18. Let's not forget the magnificent stylings of Tommy Seebach. A man whose desperation for musical immortality via the Eurovision Song Contest was only just eclipsed by his desperate and premature demise at the age of 53.
    3 points
  19. Gloss coat applied. Probably ready for buffing. SolarEZ is some crazy stuff!
    3 points
  20. I’ve always found Roto B strings to be awful. Daddario steels and Dunlop flats are my choice for B strings.
    3 points
  21. Thanks as always guys!! @Simon., ill have to see if theres a "Bowyerchat" somewhere in the bowells of the internet so this week ive started attacking it with a router... scary times. first off i routed the recess for the bridge. the neck is very flat and very straight, and the graphite saddles are fairly tall, so this should give me the adjustability needed to get a nice low action on day 1: and then i started routing the pickup cavities. this is a tough job, the pickups are pretty tall compared to most normal pickups, but thankfully because of the internal height adjustment per string, i dont need to leave a whole lot of room underneath them for springs or foam. here you can see how high the pickup sits at its lowest point, with the "window" that shows the current mode just sitting proud of the body: with both pickups in it gives you an idea of how this is going to end up looking, and just how much space these pickups take up: and, with a little bit of gold enamel paint and a steady hand: nice gold logos! i like these a lot more with the gold logos, it'll really help them stand out. and the gold mounting screws round the edge give just the look i was going for. just enough gold to not be over the top! time for a gratuitous mockup with artsy lighting: this is a pretty good representation of the control layout. the knobs are some aluminium shadowsky style knobs, 4 smaller ones for the filter controls, and 2 larger ones for the volume and blend. there will also be 2 switches for the premap modes on there as well. quite busy, but hopefully not too "mission control" the next step is routing out the control cavitites: the main control cavity is pretty huge, but it will have to be to accomodate the preamps. thankfully the batteries will be on the other side of the body so i dont need to worry about them. the volume control meanwhile will be up on the lower horn, so i simply drilled a hole for that with a large forstner bit and then drilled an acces hole between them the hole for the battery board on the other side is a whopper as well. this is going to be a snug fit. thankfully it all lines up with the lower pickup cavity, which will let me run the power wires through with no problems. last job at this stage is the two holes for the jack sockets. these are slightly recessed, and will accomodate a single mono 1/4" jack, just like a normal bass, that will operate the two preamps blended normally and running on 12v battery power, and the other will accomodate the 4 pin Mini XLR socket that will carry power, ground and the two pickup signals seperately. the plan then is to have an outboard pedal that provides the power, but also has a switchable mono/stereo jack so that i can run to either a stereo preamp / power amp setup, or to a normal bass amp if needed. the body shaping is getting close to being finsihed at this point, and so is the back of the neck. it feels super comfy to hold, and the weight with the pickups, batteries and all of the hardware is sitting aroundabout 9Lbs 10oz. not exactly a featherweight, but not too bad for an artsy fartsy bass like this
    3 points
  22. @lowlandtrees the ACG preamps are very sensitive indeed, i agree. the EQ01, EQ02 and EQ03 are all a very wide frequency sweep. as @BassBunny says, there isn't really a "flat" response, because the idea is that the preamp is mimicking different frequency responses as you manipulate the pots. all pickups have a natural frequency response of broadly the same shape, here is a plot that shows a bunch of different guitar pickups plotted next to one another: you can see that they are all broadly flat until 2000(ish) hz, and then they have a peak and then the frequency drops away. when we say a preamp is giving a "flat" response, we really just mean it is letting the pickup's natural sound through unobstructed. with a traditional boost/cut preamp, you're then applying boost or cut of different amounts at different frequencies. lots of different preamp makers allow for different levels of cut/boost, and at different frequencies, and this is generally what sets these preamps apart from one another. with filter control preamps like ACG, Wal or Alembic, its better to think of them as mimicking the sounds of a lot of different passive setups in one instrument. in a passive bass tone control, you have a pot that slowly pulls down that resonant peak, and then starts to roll off more and more high frequencies. here is a (exagerrated) plot of a normal tone control from the tone at 10, down to the tone at 0: (with the tone at 0 you get a low mid "hump" which is the blue line, ignore that for now ) you can see more and more of the high frequencies being wicked away as the tone control is turned. and different cap values change where the resonant peak and dropoff are: what the filter preamps do is allow you to mimick these different tone controls with a smooth sweep. on the EQ02, the frequency knob sweeps from high frequency to low, and the resonance knob changes the height of the resonant peak. here is a sweep from 500hz (red line) up to 5000hz (blue line) and here is a resonant sweep from 0 (green line) up to 13db ( blue line) the reason the ACG pre feels so sensitive, is that the frequency sweep on the bass filter stack is sweeping over a VERY wide range. all the way up to 6.3KHz, and down to below 100Hz i believe. Alan then also has a treble stack, that allows the treble frequencies to be attenuated sperately. I have an ACG EQ02 in one of my basses as well, and i know exactly what you mean. with the resosnance control all the way up (10db peak), even the tiniest movement of the frequency knob can make an enourmous difference to the sound. in reality with a resonant peak like that the frequency knob is acting like a wah wah pedal. my advice on getting the best out of it would be this: try sweeping the low stack frequency up and down a few times with the resonance knob in different positions. when you can sweep it without the change feeling extremely unnatural leave the resonance control there. then treat the frequency knob as a "set and forget" control as well, find a spot where it gives you the right balance of low end and midrange growl. then use the treble stack as you would a normal tone control. the lower knob chooses the actual sound of the high frequencies, and the upper knob decides how loud you want them to be. it really does take some getting used to, and i admit its certainly not for everyone, but you can get some really great sounds out of it if you give it a little time. i hope all that hasn't just made it more confusing. if you want to learn more about low pass filtering the first page of my latest build log has some details about the different examples out there (wal, alembic, ACG etc) (also, if you want to persevere with filter preamps but find the ACG too sensitive / complicated, im working on some at the moment that are based around Wal's current control setup, but that will let you choose how wide you want the sweep to be.) id also second the general advice that you shouldnt give up on a great bass because of the preamp. swapping out electronics is a great way to change the sounds you get out of a bass without major surgery
    3 points
  23. Very nice modern 5 string Jazz Bass in nearly mint condition. As good as they get from the likes of Sadowsky, Lull, Alleva Coppolo etc. 2011 US built, Ash body with maple neck and birdeye maple fretboard with pearl block inlays 34", 19mm string spacing, 3.9 kg, PU's in 70'ties position Seymour Duncan PU's and 18V 3 band pre-amp with pull at volume for slap sound, which can be pre-adjusted by two small pots in the control cavity. Condition is extremly clean with literally no marks to body or neck, as well as fretboard and frets in excellent condition. Extremely low action is possible. You can really dial in the distinguish Paul Turner sound he has in the live performances with Jamiroquai since he started playing Stenback basses. This one does the same, cost 1/3 and not with a 4 year waiting list. Bass will come in a brand new Gator case strung with a fresh set of Dunlop Super Bright. Only selling to fund a very expensive instrument, hence trade is not of interest unless it's a 5 string Alembic Mark King (plus money) or a 5 string Warrior Dran Michael Asking for a resonable 2200 € plus shipping. Regards Thomas [email protected] +45 61209520 Whats App.
    2 points
  24. Final Price Drop to £1,900. Hi All, I'll probably live to regret this one but here we go! Up here is my 1997 Modulus Flea in silver flake finish. Full spec below: Silver flake with matching headstock Headstock with "Flea" decal Lane Poor pickup Bartolini pre-amp Gotoh bridge Early version with no truss rod Jim Dunlop strap lock buttons Neck and fretboard are unblemished, as straight as it should be. Action set low to medium This bass came to me in 2012. It had several loose frets. I took it to luthier Andrew Guyton, at Guyton Guitars in Suffolk, and we decided for a complete re-fret. Andrew is probably best known for the authorised reproductions of Brian May's Red Special guitar; see here. Andrew also replaced both tone pots and repaired the cracked lugs of the Lane Poor pickup casing. In terms of overall condition there are few minor dings to the edges of the headstock and a couple on the body, but barely noticeable. This is an extremely clean example for a 24 year old bass. The tone is immense and cuts through anything. The sustain goes on forever. The funk levels will blow your mind, especially with new strings. The bass comes with a new set of Modulus Graphite nickel roundwound strings (105, 85, 65, 45) and new 9v Duracell battery. Original hardshell case which is a bit battered at the corners but is secure with all fastenings working correctly. Original warranty card and handbook included. Looking to move this iconic instrument on as I have just taken ownership of a Modulus Revolite Funk Unlimited, so the Flea has become surplus to my requirements yet needs to be played and enjoyed. The only trade I would consider is a 1976/77 all original pre Ernie Ball Musicman Stingray. Thanks very much for looking. Paul
    2 points
  25. It's time to thin the heard and I'll be selling quite a lot of stuff now that I've settled on my rig. Theres some amazing stuff, including this beauty: Spector Legend 4 in Black Cherry. Superb playing bass. Build quality is amazing. Beautifully built and put together. Great active circuitry (tonepump jr) allowing a lovely mix and active bass and treble and selective pickups for extra smoothness or bite. It has the cut out back to perfectly fit your body. Immaculate unused, ungigged condition. These are around £800 new. Collection Leyland Lancashire.
    2 points
  26. Hello BC'ers, Now traded elsewhere and left up for posterity! Sadowsky Metroline RV5, 5 string bass, Made in Japan and from the now discontinued Japanese range. Spec's below. The last time I saw a new one for sale it was circa £2,600 at Guitar Guitar, but it's gone now. The remaining 2 MIJ Metroline MV5s they have are either £2.7k or £2.75k. Specifications: Sadowsky Metro Line RV5 - 21 fret standard bass, Made in Japan Serial Number: M96** (which dates it to 2017) Colour: Olympic White Body: Alder Neck: Maple Fingerboard: Morado Frets: 21 Nut Width: 1 7/8 inches Spacing at bridge: 19mm Scale: 34 inches Pickups: Sadowsky Preamp: Sadowsky 2 band - Volume, Pickup Blend/Pan, VTC Tone control (push/pull active-passive), Stacked Treble & Bass boost Pickguard: Tortoiseshell Weight: 8.5 lbs Case: Non-original; Reunion Blues 'Continental bass case' (very high quality, rigid style gig bag) Thanks for looking, Jon
    2 points
  27. HI, for sale or trade a nice one from fender , is a jazz bass from 78 only one pot was change and the neck pickup was rewind by david barfuss hier in germany (some german pickup guy) nice wear overall good condition exelent playability truss rodd works fantastic i both it from a guy who own this bass from the 80 ties , one piece of the bone by the g string broke , but still hold the string very well , frets are in nice shape for his age , comes with a non original but nice old case , and both pick up covers. For trade will take 5 strings basses , 4 strings only p basses i could add or take cash +- some f bass bn5 would great
    2 points
  28. How sweet is the bass on this tune. Bassist is David Barard who is a tone hero of mine. I first heard him playing with Dr. John and was blown away by his 70s Jazz Bass sound, to me it exemplifies everything I like about that sound with its open treble and clanky bottom end. I've finally got around to learning this tune and thought I'd share it because it's such a nice groove. @bubinga5 I think you'll like this album! Barard plays a Sadowsky and sounds pretty much straight to desk with light strings or at least a fairly heavy touch and low action. I love the fret rattle and the way the notes sound slapped when he digs in. I am able to get this bang on with my Celinder but my playing is nowhere near as tight! I think he's on Facebook actually so I might try to contact him, seems like a cool guy.
    2 points
  29. Welcome to the forum Trevge1 and sorry to hear about your flood In respect of your query re: "Recommend a 2x10 amp with a horn" you might get some suggestions here in the Introduction section of the forum but you'll likely have more responses if you post it as a new topic in the Amps and Cabs section https://www.basschat.co.uk/forum/5-amps-and-cabs/ Cheers, Skank
    2 points
  30. In the Summer of 2018 @Silvia Bluejay and I were lucky enough to interview Marcus Miller for BGM, and we asked him about this. https://www.musicradar.com/news/marcus-miller-ive-always-hated-bass-solos-thats-the-one-point-when-the-music-isnt-grooving-any-more
    2 points
  31. My band has got 33 gigs booked in for 2021, starting early July, with more to hopefully be added. Also 17 confirmed for 2022 so far. Most of our gigs are in theatres, so good to know that they are confident in committing to book dates. Let’s just hope people don’t abuse the gradual relaxation of lockdown rules and prevent it all from being able to happen. 🙂
    2 points
  32. I didn't expect this sort of debate when I started this thread, I half expected to be told to fork off and that would be it. Since there's little agreement here, can everyone at least agree that Korn's slap lines sound like a filing cabinet falling down a fire escape? Slap from 1:18. Just horrible. Fieldy has said in interviews he hates the sound of bass guitar and to be fair to him, this sounds nothing like a bass guitar unless it's in a filing cabinet falling down a fire escape.
    2 points
  33. Not fitted yet, I'm reshaping the headstock but I can show you a mock up on my other bass
    2 points
  34. The naughty filter must be flipped! *no it’s still working.
    2 points
  35. Used to listen to Linton Kwesi Johnson while playing Lemmings on My ATARI !!! LOL 🤣
    2 points
  36. 2 points
  37. I was listening to the playlist while playing on the computer... Anybody play a Shoot 'em up whilst listening to Dub? Create your own sound effects...
    2 points
  38. Another +1 for Rockboards here. Got mine for my birthday Dec 2020. Really really really well made, and very good value for money too. Not my final layout, waiting on one more special pedal, and I'm going to sell my Bass Big Muff and replace with with a Green Muff Reissue. Also, I think I need a smaller tuner. Cheers, Eude
    2 points
  39. Permission from the neighbours? Umm ... nope. Don't think I need permission from the neighbours. 🤔
    2 points
  40. Thanks for all of your responses. To clarify - there is still an issue when playing unplugged - which is what I do a lot of the time. So not an amp/EQ matter I would say. I am only finding this issue on my MM Sterling, which is strung with Rotosounds. I recently bought a second 5'er (Fender Jazz) - same scale as the Sterling - and there is no such issue with the Fender strings. I have ordered some more Fender strings for the Sterling, which I hope will resolve the issue - particularly as it's a much easier bass to play.
    2 points
  41. Love me a bit of good old Richard Cheese now and then... I find this version rather good and avoiding the parody element:
    2 points
  42. The new 'simplified' ACG prototype...
    2 points
  43. Might also mean some people make more of an effort with their ‘best ive ever owned’ new purchases 😂
    2 points
  44. So I saw this Teambuilt bass pop up on BassDirect’s website. I thought the Teambuilt models only had nickel silver frets, but this one came with the regular bell brass frets. It was pretty cheap by Warwick standards, so I took the plunge. I was curious to see whether the cheaper Teambuilt models showed any signs of being built to a price. The answer is... not really. Fit and finish Compared to German Warwicks I’ve owned in the past, the only real differences are chrome hardware only, 3-piece body (grain looks OK from the front but is a touch jarring on the back), and a satin rather than oiled finish on both neck and body. Weight-wise, it’s a bit heavier than the original German version of this bass I owned a few years ago, but the balance is much better, so guess the extra weight is in the body. Other than that, you’d think it was a custom model - invisible fret technology, all the same hardware and electronics and perfect from headstock to bottom strap button. Playability The neck feels quite chunky, but similar to other Warwick 6s I’ve had in the past. Top fret access isn’t great, but then that’s the Corvette design with 24 frets. The satin finish on the neck feels ultra smooth and I don’t miss the oiled finish one bit. Fretboard is basically flat and everything is easily adjustable, but I didn’t need to do anything to set it up except tune it - neck relief, intonation and action were spot on. One other point that I like is that there is no large cutaway on the top where your plucking arm rests - so not like the original Corvettes, but the same as the $$ model. Sound Typical Warwick growl - a little too bright for my taste when set flat, but that might be the Black Label strings as they are quite tinny. Cutting a little treble makes for a great basic tone. My favourite tone with active with both pickups - fully panned to the neck sounds great but the bottom end is a bit flabby, panned to the bridge makes for a great soloing or chording tone, but is a bit thin for regular bass lines. Anyone that thinks you need a Dingwall for a good B needs to try a Warwick. IMHO the best bottom B string out there, and 34” scale makes life easy. Overall I really like the bass. The whole thing feels top quality - as a comparison my Sterling 5, which was £800 more, is also very good but the fit and finish cannot hold a candle to the Warwick - perfect fretwork, super-tight neck joint, nice woods and a deep, punchy tone. If anyone wasn’t sure about Teambuilt Warwick basses, and they find one with brass frets like I did, don’t hesitate as they’re excellent.
    2 points
  45. For those of you who liked the Toy Matinee stuff that Guy has done previously, here’s a pretty long video about the band and recording, made by Tim Pierce, the guitarist. It features all the surviving members of that project.
    2 points
  46. Ok, an update. Here’s how it looks now: First thing to say, after experimenting more with bridge pickups, the Seymour Duncan SPB3 (Quarter Pounder) is a great match for the SPB1 at the neck. The thread about dual P pickup basses on Talkbass has this as a common combination, and with good reason. It sounds good. After a lot of work, I think what I have found is that the bridge pickup position best suits a pickup with big bass and big treble. Too much mid in this position just gets a bit too nasally for my taste. The DiMarzio Model P, for instance, works less well here IMO, because it is basically a ‘more of everything’ pickup frequency wise. It sounds fab at the front position though! I used car paint and clear car lacquer on the rear pickup cover to get the colour closer to the body. I now know quite closely the term ‘overspray’ and I can tell you if there are mistakes to be made whilst spray painting, I probably made them. The job is ok but could probably do with me sanding it all back and redoing it completely, but I’m not going to do that, lol. But it looks decent. Once I finished doing the pickup testing, I put a white pickguard back on. Slightly ‘mint’ shade. The chrome electronics cover was convenient for ease of access to electronics, but I think I do like the pickguard aesthetic, and once I finished the testing, I didn’t need easy access anymore, so... I very nearly tried reversing the neck pickup orientation. I think it probably would let the pickups blend better, from reports I read on Talkbass. However, the two ways of doing this (either keeping position same and reversing the orientation of each half, or moving the DG coil closer to the neck by moving it to the other side of the EA coil) both change the ‘Precision’ nature of the sound of the neck pickup considerably, at least IMO. I can’t bring myself to do it, a Precision’s fundamental sound is just too cool. As it is, it sounds like a gnarlier PJ bass. I think of it as being a Precision (so front pickup mostly being run at 100% and blending in different amounts of rear pickup) as opposed to being like a Jazz, where both pickups together is probably my favourite sound. Both pickups fully on together here sounds good, but I’m not sure if it was really worth the effort over many PJ setups. (Assuming the J pickup is a humbucker in those setups, never understood why people introduced single coil hum in that setup). The rear pickup on its own is like a beefier, angrier Jazz pickup. You can definitely 'Jaco out' there now and it is not nasally or clavinet-ish now. It’s fun. If I had my time again, I’d move the rear pickup DG coil right up against the back of the Precision pickguard, and of course start with it being reversed. It just works better. I think I will shell out for a maple Jazz neck on this. I prefer the nut width and the high end spank of maple. But it’s a personal project, very much my bass now, lol. On the whole, for economic effectiveness, I think I would simply say to most people they should just buy a PJ bass, and get most of the same sound without the effort. A split coil Jazz pickup at the rear will get much of the sound without the hassle. Or a Nordstrand Big Split, I bet.
    2 points
  47. I've finally got around to looking at this. Lining up the Performer P/J config Mustang with a Vintera, one pickup one, reveals that the bridge p/up would need to go hard up against the bigger bridge plate of the normal Mustang. This is also born out if you resize a 34" P/J Precision to 30' scale and line it up at the nut, 12th fret and bridge (although the Mustang's pickup does sit a little north of the Precision position). Using a '50s reissue as a source image for the pickup gives us this... Because of the string spacing, there is a wee gap in the mockup, but you get the idea. I've added an extra knob rather than get into cloning a 3 way toggle on. I don't think it looks too bad from an aesthetic standpoint.
    2 points
  48. ... and I have a job. Pending written confirmation, at least.
    2 points
  49. Does this mean Strike will have to move his office and flat?
    2 points
  50. Not really interested in the opinion of some self-appointed judge, on the matter.
    2 points
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