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Showing content with the highest reputation on 30/04/21 in all areas
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Here's an Encore I modified some time ago.7 points
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Hello all.. EDIT: Brand new Elixir strings and fresh setup 🎉 £2350 - Open to trades of 5 string Xotic/F bass or similar Specs from the Mayones website below! •Body - Profiled Ash •Top - Spruce/Matching Headstock •Construction - 6 Bolt - on - custom profiled heal •Neck - Maple - additional carbon-fibre rods •Neck dimensions:Width at nut – 43.0 mm Width XII fret – 61.7 mm Width XXIV fret – 70.8 mm Thickness I fret – 20.0 mm Thickness XII fret – 23.0 mm •Fingerboard - Rosewood, 20” radius •Scale - 870mm (34,25") •Frets - 24 medium jumbo Ferd Wagner •Markers & inlays - Luminlay side dots, SGM-23 Super Green in Black pipe, 3 mm •Tuners - Hipshot Ultralights •Bridge - Mayo Vintage bridge, 18mm string spacing •Nut - Graphtec Tusk •Pickguard - Tortoise 3 ply, clear acrylic ramp between pickups •Pickups & Electronics - J-J / Delano JMVC 5 FE Jazzbass Twincoil Humbucker Set •Active May 3 band preamp •Control - 2 x Volume, Stacked bass/treble, tone, active/passive switch •Body finish - Satin •Neck finish - Natural wood / Matt finish (T-NAT-M) •Hardware colour - Chrome •Strings -SIT Nickel 40 - 125 •Weight: 8lb 14oz/4kg I mainly use this bass passive as that's what I prefer generally ( #flat9vAnxiety ) but it sounds great active! Has only been out on one gig this year unfortunately so it's pretty much mint condition other than a few scuffs on the back of the neck (pictured) which don't affect playability at all. Has an incredibly playable neck and a wide variety of sounds! Comes with Mayones flightcase. Considering trades of 5 strings of equal value or similar + money my way/yours. - Happy to deliver within reasonable distance of North London for a small fee for fuel (would rather do this than trust a courier!) Thanks! Jack IMG_1595.HEIC IMG_1596.HEIC6 points -
Don't agree that it's pointless. Except obviously in the sense that everything is ultimately pointless. Trying to use words to describe sounds is fun, creative, and a great example of what language is for. Like using words to try to describe colours, smells, and complex emotional experiences. I think its pretty cool that some air moves in a certain way, and what you hear, and what I hear, and the effect it has on us are totally different, and can never truly be shared, so we use this complex system of symbolic meaning to try to convey that to each other, and in the process discover that we're wired completely differently. It's the Kantian epistemological break happening right before our ears. Lol. FYI I'm pretty high at the moment, so apologies if I'm rambling.6 points
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So the misty green BB1000ma arrived. I think the one with the new finish will be ready next weak. I will post a new group hug of the basses when they gather!6 points
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One 18? Get a pair!!6 points
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In '73 I went up to that London to get myself some new gear 😎 I had recently aquired a new shiny plastic thing called Barclaycard and it was burning a hole in my pocket ☺️ After trying every Rickobasher in town and being incredibly p1553ed off with them, I fell in love with a beautiful blonde Gherson Jazz, had to have it! Then - trying it through a HiWatt 100 and a cab I can't remmember - I wanted more of everything, grunt, heft, trouser flapping wind, etc.etc. The sales guy said 'hang on a minute' and rushed out of the shop, returning shortly with a monster Orange cab, on a trolley, standing 5 foot high and 2 foot wide and about the same weight as HMS Ark Royal, concealing 2 x 18" massive cones. It sounded wonderful, fulfilling all my dreams, to be the envy of every other bass player, (in Bexhill at least!). It was 'perfect', fitted in the back of my Mk1 Cortina estate with amp and bass just right! 2 weeks later I was back in town buying another HiWatt 100 to push even more air through it 😮 Those really were the good ol' days, then in '75 I got married, '76 it all came to a bitter end, I had to give up gigging, she couldn't stand the lifestyle of a bass playing rock 'n roll hero, you've heard it all before 🤩5 points
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That's true. I can if you want go into long and mind numbing detail on the science but as @Dad3353 says it has been done before In the days when Jimi was still alive and Marshall stacks were the go-to for guitarists there was a reason for the 18. Sheer volume and efficiency. Valve amps were heavy and expensive and the early transistor amps under powered and unreliable. Speakers generally had low power handling, at one point 12's would handle something like 25-30W only. PA's available to most bands were incapable of handling bass so the back line was used to reach even quite big audiences. Lots of cone area increases the amount of sound you get per watt and big cones are not only usually deeper but louder. To get bass heard live over 100W of guitar through two 4x12's you needed big speakers, lots of 10's or huge elaborate horn designs. 18's have gone not because they were 'bad' but because we don't need them. A single 12 will let you hear yourself and the PA can do the rest, any more than that simply ends up going through the vocal mic line and messing everyone's sound. Huge speakers look good though5 points
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Quick snapshot to show just how easy I can access way up the neck due to the flared heel/ deep body cut.5 points
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Pleased to say I will re-joining the Status owners club after an absence of about 4 years. I've missed my old Streamline and always promised myself that I'd get another Status bass at some point. After discussion with Rob he confirmed he had a couple of basses in the final stages of prep and was able to direct one to me so with luck it will be hitting my door (hopefully with not too big a thud) some time next week.4 points
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Makes me think of the insane Ashdown rig John Entwistle used in his last years with The Who. Ashdown designed and built some huge 18" horns for him! Note the stack of power amplifiers in that rack:4 points
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Nothing wrong with big speakers 😁4 points
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I voted, for the first time. I very much enjoyed the music, and was impressed that basschatters have so much skill and imagination.4 points
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This arrived yesterday.4 points
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Custom Shop Washburn Stu Hamm SHB3, hand made in the USA. This remarkable instrument is actually the second SHB3 I've owned. Designed from scratch by Stu Hamm and the Washburn custom shop to be the "perfect bass". Ergonomics are particularly important to Stu, and that's one of the main reasons I tried to find another one of these. It's incredibly lightweight and so well balanced that you hardly know you're wearing it. You can tell that every element of the design has been carefully considered and laboured over. It features USA Hipshot tuners (with drop D extender), slim figured/flamed maple neck with a lovely tactile finish, radial neck joint (a particular favourite feature of mine), nicely figured rosewood board, meticulous fret-work with invisible fret ends, TUSQ nut, a slim contoured body, custom EMG X pickups, a Hipshot Bridge with piezo saddles and a custom EMG X 18v preamp. It weighs just 7.5lbs/ 3.4kg and comes with the Washburn flightcase with the original tools etc. By using a combination of the MM and J pickups you can cover most of the classic bass sounds, I particularly like to favour the neck pickup slightly for a fat traditional tone with added weight. Bare in mind that the electronics are from EMGs 'X' series, which are designed to have the benefits of active pickups with the more traditional response and dynamics of passive pickups. Standard EMGs these are not. Also If you turn the MM/J pickups down, engage the piezo bridge and boost the bass, you get a very passable upright bass sound. I've owned a lot of high-end basses, Wal Fodera, Celinder, Sadowsky etc. and in terms of build quality and execution this is right up there with the very best. A link to the Guitarist review https://www.soundtech.co.uk/music-retail/washburn/news/washburn-stu-hamm-shb3-guitarist-magazine-review Some bad photos, needless to say it's sparkly 🤩3 points -
Serious lightweight fretless 5 string. Soap bar Bart Mk 1 pickups + piezo. Nice figuring on fretboard. Excellent condition with almost new Dunlop flatwound strings. £500 posted well packed in gig bag/box, prefer £470 collected or meet around the middle of East Anglia [no sale outside UK]. PM me if you want more info or pix. (Stub fretlines mean playing 'unlined' is not nearly as tricky as you might think)3 points -
Fender Jazz Bass Marcus Miller made in USA, like new and completely original. The bass is from 2007 but it has never been played, as can be seen in the pictures. Perfect paint, perfect keys, perfect electronics. Before putting it on sale it was perfectly set and checked by a specialized lutherie. It's hard to find such models in these conditions. Obviously the case is original, there are all the accessories and certificates and also the tools in the original Fender pouch, that is still sealed. I don't trade with anything.3 points -
Lucky chap! Look forward to the pics! I acquired this lovely Series 3 about a year ago. Wonderful bass, perfect weight and balance. Gigged it twice last year and have since added a D-tuner so that when our gigs resume in the autumn I have the option of leaving my Stingray 5 at home if needed. I’ve always loved Status basses, they’re just so rock solid and versatile. My first was a 4000 (resin body, bolt-on neck, weighed a bloody ton but sounded epic), followed by an all-wood Series 1 5 string and an early 90’s Series 2. Moved them all on after many years hard work but always regretted not having a Status. So I now have this one to complement my 30th Anniversary Series 2.3 points
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Quite happy with my Metro 16 at the moment. But I need a flanger and a chorus, and one more fuzz (maybe two more). And a Metro 20.3 points
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looks good... just a little note, All the bridge saddles look to be set the same. (have a look at the bridges of other NBD threads) These may need to be adjusted, they are usually staggered, due to the different thickness of the strings and notes of the open string... this is called 'intonation'... you may hear that the notes go slightly out of tune as you go further up the neck, particularly after half way, the 12th fret... dont worry just now, if you post ya location you might get an offer of help from someone local, if not a simple fix with the aid of a £10 clip on tuner, which would be handy, 30 mins or so and a google search.3 points
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I like this! Here's my new friend, I've never usually been a fan of red but I actually think it's pretty jazzy! Scuse the crummy photography.3 points
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The arrangement as detailed above simply licenses the other bands to leave the premises once they've played their set. A more equitable arrangement would be to invite each participating band to provide an item of equipment for the whole night.3 points
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Hello Basschatters, I PM'd @Erax Sound to take up this offer! I handed over the stems from one of my home recording projects... it didn't sound so great with my mix ☹️. Andy at Erax has done a great job.... really bought the track to life and even fixed a couple of timing issues. Good job, very happy with the results.3 points
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Received my B:Assmaster this afternoon so thought I'd add it to give it a proper mess around. I also threw on the original Octabvre, I feel like two massive pedals makes more sense visually on the bottom row...3 points
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Heres some pics of the kinda distressed look The top has had a wipe of danish oil on it but the back hasn't yet Opinions please..... 👍🏻3 points
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See how many beers I get through in the next 2 hours3 points -
I wrote to Steve Bailey to know if it is possible to see the webinar again...3 points
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I’m glad you got yourself a bass CDLT , it’s exiting getting your first one and great fun when things start coming together, it might take a little while but with practice it will definitely come. I’ve got this book which I’ve never used, and it’s got the CD with it unplayed, if it’s any use to you to get you rolling, your welcome to it for nothing 👍3 points
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The stainless fretwire comes in straight lengths and so I radius it a couple of inches tighter than the fretboard radius: Then my standard method of: - run lightly along the slots with a triangular needle file to take off the edges - de-tang the ends of the cut-oversize wire - thin bead of titebond - hammer left, right then centre - clamp on the radius block - move onto the next Here's the basic kit: I've double-sided-taped the board to the steel fretting template to moderate the bend a touch. Stainless is tough stuff. I had to stretch this out over a couple of sessions with some hand-resting in between. But, all done: Next job is trimming the overhang to 1mm and rounding the ends before fitting the binding. With recollections from apprenticeship days of stainless work hardening, just got to work out the best way of doing that...3 points
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Whenever I’ve lent my rig I’ve told the people using it of the rules, no blowing it up, no drinks to be put on it. I have walked on to the stage mid-set to remove a drink that was on my amp.3 points
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Chris Wolstenholme pics ASAP please LOL3 points
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I bought a Hohner B2 fretless in the 80s which had the first dot on the fourth fret.....apparently there were more than one marked like this.3 points
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Added a US 44-64 to my current Lakland herd the other week. This picture will probably change over the next month or so, depends whether I can find a Hollowbody shortscale in black anywhere haha. I did have a US 44-64 previously, which was lovely, but I wasn't overly keen on the sunburst (purely personal, it was a fantastically finished bass), so sold it. When this came up, I've always had a thing for black/black/maple, so was crying out for some Steel roundwounds, love it: Si3 points
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Not sure how I managed to break that URL, paul_5 has posted the correct version of it. I think all the ones who mentioned acoustic bass said they used flats on them. I may get some flats for the acoustic bass I never use. Also, Steve Bailey made the point that none of them mentioned damage to fretboards as anything to do with their decision of which string to use. If anyone tells me my playing is out, I'll just tell them it's village tuning.3 points
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That reminds me of the start of Back to the Future! 🤣3 points
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I normally play fender jazzes but I had a Yamaha 414 that I really liked, and after some great advice on the Yamaha thread I went for a 1024 , and it came today from Derry, after a little play my first impression is , it feels great and sounds superb, especially the P pickup with the tone rolled back , I don’t remember the 414 sounding this good, but it was a while ago, overall a really nice solid bass , it’s got rounds fitted which are a bit twangy for me , but labella flats are going on it soon 🙂 not very good pics , it’s dull and wet here 🙂3 points
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I was thinking the same... I swear 98% of Basschatters are from t'north3 points -
Found another hour or two so sorted the bolt-on setup. All went smoothly on that front. In the saga that is my love-hate affair with routers, my neck pocket was an almost perfect fit..... until I wanted to clean up one corner and my router decided to take a sliver off with the bearing itself 😳🙄..... how the heck Still happy, and nothing major but it just shows that even if you make a template the router can still bite you in the behind. Highlighted in yellow for your viewing pleasure 😂3 points
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Update: Yesterday afternoon I took @joeystrange‘s advice and contacted the place in Nottingham that I thought my bass had been sent to. Amazingly, they had it - so I drove over there this morning and picked it up. What a relief. I don’t know how Interparcel and Parcelforce ‘conducted a thorough investigation and concluded the parcel was lost’. I told them where I thought it was and the guy in Nottingham said they had called Interparcel last week to say they have it! It honestly beggars belief. I had an email last night saying Interparcel were paying out £900 on the insurance. After a bit of soul searching, I’ve just told them I’ve found the bass so not to pay out. I’ve asked for reimbursement of my travel costs and some compensation but I won’t hold my breath. Anyway, the happy ending is I’ve got my bass back. I’ll be putting it back up for sale soon, so if you see a 5 string black and maple P bass in the marketplace, it isn’t stolen!3 points
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I ordered one of those new Charvel PJ's last week and it arrived safely today. Upon opening it however, I was shocked to see that it was the metallic lime green version, not the blue one. The shop had clearly messed up. Well, when I say that, what I mean is I ordered the wrong one...2 points
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Thanks all for the lack of interest 😂 Having used this over the past week or so with the Noble pre I’ve realised that It would be monumentally stupid mistake to sell it as it’s bloody brilliant. Again thanks all 😁2 points -
I've had my Yamaha SLB200 for a little while now and I think it's possibly the nicest EUB I've played - both in terms of the tone and playability. Not long ago I put on some synthetic evah slap strings and I think it gives a fairly convincing old school tone. Here's a short video example. Any other SLB200 users out there? I'd love to know if there are any mods that can give an even more convincing double bass sound.2 points
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I see your two & raise you this -2 points
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I still want to find somebody who makes Black frets - can't believe that they're not available. Dragon's Den anybody?2 points
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Me neither. It doesn't matter like singing with IEMs and you can easly adjust for it. I just mentioned it because of early on the thread. I mean, to be honest in our band sometimes the singer doesn't come in in the right bar, let alone a few ms late2 points
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I guess it’s the privilege/burden of headlining a multi-band event! Similar to @Steve Browning I’m fairly relaxed about people using my gear. Not least because when I was young and starting out I often relied on the generosity of others.2 points
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Nice gear or not, the principle is the same. Some folk are precious about sharing, others less so. It helps if one knows the other bands, including their style of music. It's very often, for small affairs, run by non-professionals, that there's no space nor time to change a whole backline between acts, so sharing is far more practical. We (as a band...) have often been in both positions, as headliners and support acts, and have no issues with sharing. On the other hand, I play drums 'lefty', so would normally insist that my set be used, even as support band, and that others switch the hi-hat and snare/floor tom to suit them, as my kit is probably the best there on the night. 'breakables' are not shared, though (cymbals, snare, bass drum pedal...). For amps, our bass rig is up for anything (200w Hiwatt valve amp, 2x15 HH cab...). Our First Guitar is rather more difficult, as it's a complex MIDI-driven Mesa 2-90/Triaxis rig, so unless the guitar just wants one, simple straight-through sound, he/she is going to have to have their own pedal board, and not touch the amp at all. We have no qualms about our gear being 'high-end', as we'll be there at all times anyway, and it's all robust, tried-and-tested that has already given us satisfaction for decades. A little charitable spirit for such events helps, too.2 points
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I changed to full range cabs in the early 80s but up to that time and after a never ending gear quest for a decent sound, the Acoustic 370 paired with the 1x18 301 cab was streets ahead of anything else I had come across. Effortless, big sound and surprisingly easy to move with its tiltback castors and handles. Unless there were stairs.2 points
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I popped it into the chat but I think it was Jaco who mentioned it at the time in some interview or another - you need to look at the fingerboard as just another consumable like strings, batteries etc. Most fingerboards have plenty of meat in them to be able to stand a few cycles of wear and re-flattening before they might need to be replaced. I think a lot of folks panic because the wire wrap in roundwound strings marks the fingerboard very quickly but after that initial rush, they wear very slowly. New fretless learners also have a tendency to make it worse by applying sideways vibrato a-la guitar or fretted bass rather than lengthwise like violin, cello or double bass. This makes the scratching much worse and also more visible. You quickly learn! + 1 on the village tuning - Manring was in stitches!2 points
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1) Take one of these = 2) Add two of these in the same box - Put the two cabinets of this joy one on either side and play something gentle like Cher 'Believe' at full tilt using a 200watt Ormat ........... ................ nice .................... 😎 (For the avoidance of doubt, the speakers are G18c Celestions rated at 100watt each and the horn is a 3cell Vitavox with a SR1 driver, rated at about 45watts)2 points
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My current setup.2 points
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