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Showing content with the highest reputation on 22/09/19 in all areas

  1. 7 points
    Barefaced bass speaker cabinets have been around for over a decade now and, although more people know about them than ever before, they are nowhere near as well known as the more mainstream manufacturers. You may very well be reading this and wondering who I am to be writing this. The honest answer is, I’m nobody special. I’m an ordinary bloke who plays bass in some bands, I’m not a signed artist, in a touring band, in a band of any great popularity and I’m certainly not endorsed by anybody. I wanted to write this because, to be honest, I thought it might be helpful for anybody who wants an opinion, not only about the cabs and BF’s customer service, but also to read about my experience. I should say here that I’m only talking about the bass cabs, I’m not a guitarist and have absolutely no experience or knowledge regarding the new BF guitar cabs, which is why I’m speaking purely from a position of my own experience. So how did I hear about Barefaced cabs and what made me take the plunge? Like many musicians out there I was becoming more and more fed up with having to lift, drag and carry large and heavy gear. I’m also blind and although I’m more than happy to manhandle my gear, it often ends up being another member of the band or a roadie loading the cars etc. Since losing my sight I’ve always been very conscious of this and over time strove to make my gear lighter and easier to manage, in particular the cabs. I’ve been playing bass for just over twentythree years now and, like thousands of musicians around the world, I have always sold or traded in unwanted gear to help fund new purchases. The cabs I’ve used over the years are a good example of this. My first serious gigging rig was a Peavey 2x12 combo and a Hughes and Kettner 1x15 and man they were heavy, the combo in particular was a nightmare if you didn’t pick it up at exactly the right angle. Over time a moved to using an amp head and cabs, which of course made things lighter. It was at this point I found Gallien Kruger amps and fell in love with the 1001RB head which I used for several years before switching to a 1001RB II for the increased head room and power. This was an important time for me as it’s where the biggest changes in my cab set up took place. For the first few years I ran a GK Backline 4x10 and a GK Backline 1x15 with my original 1001RB head. Once I’d invested the money in the head my budget was limited for the cabs, so I went with what I could afford and that matched reasonably well with the head. After a few years I wanted better quality cabs that were smaller (the Backline cabs were massive). I got a really good trade in deal with the Backline cabs for a GK RBH4x10 and a GK RBH2x10. These new cabs were actually slightly heavier than the Backlines but they were infinitely better for sound, were very well matched for the 1001RB II head and were physically quite a bit smaller than the Backlines, which of course made them easier for moving and loading. It was once I had these cabs that I started noticing in practical terms how much easier having a smaller footprint on the stage made the logistics of playing gigs, particularly in small to medium venues with limited stage space. I appreciate that nearly every bass player reading this will have gone through a similar moment of realisation, I mention it here simply because it was the physical practicality of it which really hit home. It was around this time that I basically decided that any cabs I were to buy in the future would always be lighter and physically smaller than their predecessors where possible, and all without the loss of any sound quality etc. Fast forward a few years and I was switching to a GK 1001RB II head and was thinking about switching cabs again. By this time I was playing in a 7 piece rock covers band and a 4 piece metal band. I needed plenty of volume for both but stage footprint was also starting to become increasingly important, particularly in the rock covers band. By the time we had a drum kit, bass rig, 2 guitar rigs, keyboards, all the musicians and 2 vocalists on the stage, we were almost needing to sit on each other’s shoulders! So, I ended up going with a 4 ohm GK Neo 4x10 which allowed me to run the 1001RB II head to its full potential for larger gigs and a GK MBE 2x12 as my small gig cab. Both were great cabs in their own ways. The Neo 4x10 sounded awesome but was quite big and reasonably heavy, although not as big and heavy as any other 4x10 I had previously owned. The MBE was light enough to be carried easily, was only about 20” wide and was loud enough but I did always miss the sound of the 4x10. I must have had these cabs and been gigging with them for a year or so before I stumbled across something about Barefaced speaker cabinets online. Apparently BF cabs were compact, ridiculously light, ridiculously loud and their sound quality was fantastic; the only downside was that they were expensive. Any musician who is reading this will know exactly what I’m talking about as I describe that I read everything I could about this awesome new gear, fantasising about owning one but at the same time knowing that there was no way I could afford it and anyway, the stuff I had was okay. Yet over time I read more and more about it and my mind started working over scenarios where I could sell this, trade that or sell a kidney to raise the funds. Ultimately I decided that I really wanted a Barefaced cab as, from what I’d read, I believed that I could have the small stage footprint and lightweight portability but still have the clarity, punch and bone crunching volume that I required. It took me a couple of years to work up to getting my first BF cab and I don’t mind telling you, I was really quite nervous about it. The reality was the the cabs I was using were actually very good and I was about to need to sell them to get one Barefaced cab purely based on what I had read online, all without ever having even tried one out. I must have read through the entire Barefaced website about twenty times before I finally emailed them to ask for their advice. I was relatively sure I knew which cab would be best suited to me, I had narrowed it down to two possibilities, but I really wanted to get their input as I didn’t want to drop all that money on something only to find that it wasn’t right for me. As it turned out, of the two cabs I’d narrowed it down to, Alex from BF actually recommended that the cheaper of the two would be a better match for me. That cab was a SuperTwin and holy cow was I in for a surprise! So, the cab......any good? Before I even start talking about sound, I want to talk about build quality. I had read that there were some quality issues with carrying handles and rubber feet coming off which did concern me a bit initially. I soon realised on investigating further, that those issues were happening in the first and sometimes second generation cabs and that BF had made design tweaks and/or hardware changes which eliminated those issues for the newer third generation cabs. The SuperTwin is a third generation cab so naturally my concerns went away. There were, and still are in fact, some reports of the covering peeling away from some of the 10” models, but I understand that BF have managed to sort this out now. Not only that, but they will send out repair kits to people who encounter that issue. I have never owned a 10” model so can’t really comment on that at all. What I can say is that the build quality of the 12” models is fantastic. They are incredibly well put together, tidy, compact, incredibly stiff and incredibly light. The SuperTwin has tilt back wheels and a pull handle on the top so you can pull it along but also has a carry handle on each side. It’s actually very easy to manoeuvre with the wheels anyway but even if you need to carry it up stairs, it’s so light it’s perfectly possible for one person to lift it. No need for two people to each take an end of a massive heavy 4x10 any more, brilliant! I now also have a BigBaby2, which is a 1x12 cab and it is awesome. The stage footprint is only about 19” wide and it’s so light I can pick it up with one hand, I can literally have my amp head in its bag over one shoulder, my bass in a gig bag over the other shoulder and the BB2 in one hand if I want or need to travel light, it’s just brilliant. It’s clear to me that Barefaced put a great amount of craftsmanship and pride into their cabs and rightly so. Not only that, I’m 100% certain that if something were to go wrong with one of my cabs and I were to contact BF, they would either send me a repair kit (if it were something I could do myself) or would take the cab back and fix it as long as I hadn’t done something stupid like playing through it under water or something. Bringing the thunder. When you read through the Barefaced website there’s a ton of information about the science of the cabs, hints and tips about how to get the best from your cab, technical information aplenty etc. To be honest, it’s all rather a lot to take in initially but, what immediately impressed me was how much useful and practical stuff was available. They talk about frequency response, power handling, dispersion etc and they are all terms we are, if not familiar with, will at least be aware of. Naturally I was very interested in the physical size and weight of any BF cab I was thinking about buying but then I found myself thinking more about things like clarity and dispersion and how getting what, on the face of it, would be a smaller cab with less speaker area to move air, might affect those factors. Like most bass players out there, I not only wanted my bass to be heard by the audience but I also wanted to hear it clearly myself. My GK cabs, the 4x10 in particular, were actually very good and could certainly move some air, but I did used to find that at high volumes I would start to lose clarity on the deep lows and being a 5 string player, I felt this was quite important. The first thing that struck me when I plugged the SuperTwin in for the first time was how incredibly clear the sound was. I actually ended up adjusting the EQ on my amp a fair amount to dial in the tone I wanted. This was because the EQ settings I had used with my old cabs really needed to compensate for their shortcomings, the SuperTwin however was much more responsive to pretty minimal EQ tweaks. I really felt like I was hearing my playing and my bass properly for the first time and it was clear, loud and punchy as hell. This was reinforced by our drummer who, at the first rehearsal I used the BF at, said something like, “Holy stinky poo man, I can hear every note you’re playing!”. What I hadn’t really appreciated at that point was that the dispersion qualities of the cab were making a huge difference, not only to what I could hear, but what the rest of the band and by extension, the rest of the room/venue were hearing. When I asked him about it, the drummer said that he had always been able to hear the bass, feel the rumble etc before but he couldn’t really hear the actual notes I was playing, but with the BF he still got the rumble but could hear the notes cutting through. I think the thing that impressed me the most however, was that even when playing loud heavy rock/metal and playing down on the E and B strings, the Barefaced never farted out, never lost any clarity and showed no signs of being anywhere near its limit, all in a smart lightweight package that I could easily carry and that took up way less stage space than any other cab I had ever owned. I also didn’t seem to need to push my amp as hard to get the sound and volume I wanted/needed, which I felt could only be a good thing. Shortly after getting the SuperTwin I had the opportunity to buy a pre owned BB2. I honestly couldn’t believe my luck, particularly as the guy selling it had it from new and had only owned it a couple of months. He was selling it as he couldn’t get on with the fact that he could hear absolutely every nuance of his playing. It perhaps should be acknowledged that not everybody wants absolute transparency from their cab, some players like a more coloured tone. That’s what makes us all different though; imagine how dull music would be if we all sounded the same. I was ecstatic with my SuperTwin but it’d be fair to say that the BB2 absolutely blew me away. It’s only just over half the size of a SuperTwin, can easily be picked up and carried with one hand, has a single 12” driver, can handle up to 800 watts of power (it’s an 8 ohm cab) and has a fully adjustable tweeter crossover built into it. As I don’t really use tweeters I did wonder if I shouldn’t bother to buy the BB2 but ultimately decided to go ahead as it seemed too good an opportunity to miss. Man, am I glad I did! Several weeks later I was reading the information on the BF website and saw that it was perfectly possible to use the BB2 (and the SuperMidget in fact) as a high quality PA speaker by turning the crossover all the way up. Needless to say, I had to try it. Well, I can tell you that it absolutely can and it sounds killer. I tried it with music running through a mixer, with my playing bass along with the music through the mixer, guitar, bass, electric drums and vocals through a mixer and it all sounded crystal clear, with no hint of it farting out and that was with only one BB2. I imagine with 2 you would have a PA set up for practically every situation. The BB2 quickly became my go-to cab, not because the SuperTwin wasn’t amazing, it was, it is the best cab I have ever played through for consistancy of tone and volume, but the BB2, particularly in small to medium venues could do the same and it was practically half the size and two thirds the weight, plus it has the flexibility of being used as a PA speaker when needed. Ultimately I decided to sell my SuperTwin, the truth was that I had only used it for 4 gigs and 1 rehearsal in the year that I owned it. In contrast, I used the BB2 for every rehearsal and all but 2 gigs since getting it. I think I would have kept the SuperTwin if I were in a bigger band which played more medium to large gigs rather than the small to medium gigs I mostly play, but it’s gone to a good home and I know that it’ll deliver no matter what it is used for in the future. I now play through a DarkGlass AO900 head and I think it’s worth mentioning that, both the SuperTwin and the BB2 handle distortion with ease and sound great. If you like those DarkGlass tones I’d be very surprised if you were disappointed with the sound you got from a Barefaced 12” model. I’d buy that for a dollar (10 points if you get the movie reference). You often hear things like, “Barefaced are good but they’re bloody expensive” or “I’m not sure the expense is worth the returns”. Obviously the perception of value is completely subjective and almost everybody is going to have a different opinion, so I’m not going to say categorically that Barefaced cabs are worth the money and everybody should have one. At the end of the day we all have different criteria as to what constitutes the best cab for us, different music tastes, different playing styles, different budgets and or course different expectations. So all I’m going to do is tell you what I think and feel about my BF cabs based on my own experience. Yes, they are expensive. However, when both new, the SuperTwin (2x12) was approximately £300 more than the GK Neo 4x10 and all things considered, I would choose the SuperTwin over the GK if I had the funds. Although very good, the GKs sound quality wasn’t as good as the SuperTwin, particularly at high volume, the clarity all the way through from deep lows up to high end frequencies was significantly better on the SuperTwin, the dispersion was also significantly better on the SuperTwin. The SuperTwin is much lighter and easier to move and crucially, its footprint is significantly smaller. When taking all of those things into consideration, for me, the Barefaced is well worth the extra money. If I were to compare the BB2 (1x12) with my old GK MBE (2x12), the Barefaced would win every time. When new, the BB2 would be approximately £350-£400 more than the MBE. The sound quality of the BB2 out performs the MBE on every level yet with only one 12” driver, the footprint of both cabs is about the same, however, the BF is much smaller over all and can be carried in one hand, the BB2 is also lighter. The BB2 has a built in tweeter crossover and can very comfortably be used as a PA speaker, the MBE cannot. For me, the Barefaced is worth the extra money when taking all of this into account. None of that is to say that either of the GK cabs were bad, far from it, they were very good cabs, I used them for several years and both were very reliable. It was more to help communicate my thoughts regarding the value of Barefaced cabs. The one thing I haven’t talked about is the fact that all Barefaced cabs are hand made to extremely high standards by a small team of dedicated folk, they aren’t produced on a mechanical production line in a factory as many big brand speaker cabs are. The guys at Barefaced are also incredibly customer focused and always do their best for the owners of their products. Even when you purchase a cab from them it’s more like a chat with friends about gear (friends who know their subject inside and out) and their communication as not only prompt but friendly and helpful too. That, on top of the performance capability, portability and weight saving of BF cabs makes them well worth the extra cost for me. Well, that went on a bit longer than I thought it would! Thanks for reading and I hope, if you are considering buying a Barefaced cab, it has been helpful to you which ever way you are leaning.
  2. 3 points
    Not sure if I want to do this so i reserve the right to withdraw. And its really hard to price trade wise. Ive asked Martin Peterson how much it would cost to build this spec and its a little over £4000 (if this was a Sadowsky NYC I would be asking over £3000, work that one out) Price drop as I'm after a bass.!!!! Its a Sei Jazz bass, a lot of us know how well Martin makes his instruments.Totally hand made. Swamp ash body, Birdseye maple neck/headstock. The book matched olive wood top has flame and all sorts of burl. Its a lovely piece of wood, Brazilian Rosewood fb. Matching electronics cover on the back. The neck dots are surrounded by nickle which is a nice touch, Martin Steamed the Olive wood around the arm rest. He sunk the bridge into the body by 3mm for better resonance. The detail he puts into his basses are so cool. Ive seen and played others Sei basses and they are mind boggling in there detail. Brass ABM fully adjustable bridge.16.5 to 18.5 mm I believe, could be 19 mm not sure. Its the best bridge I've ever had on a bass period. USA HipShot Lollypop tuners. John East Deluxe Uni preamp. Bartolini B Axis pickups. The B Axis are a lot more aggressive and brighter than the usual Barts.. Its light weight at 8.9 pounds.. The B string is monstrous. Super taught. For a 34" scale bass its as good as any Lakland 35" ive ever played, really punchy. Its super comfortable body wise, with a very slim shallow neck.( if you want mm specs just ask) Labella steels on at the moment. It sounds like a modern Jazz. The East pre gives it lots of tonal options. Set (imo) right it is a beast of a Jazz Bass. Lots of growl. But passive its quite a polite instrument. Trade wise I'm after a Neuser Cloudburst, Mike Lull, Moon J, Xotic, GB Spitfire, Devon, Shuker, most J basses are welcome, sexy tops are more than welcome. 5 string only. Like I say I am happy to keep this gem. But its the GAS. Not sure if you have heard of it. No Fenders please unless its a Marcus Miller 5.
  3. 2 points
    I’ve just got this from Jon . And thoroughly enjoying my first Shuker experience . its a lovely built bass and weighs only 3.7kg..
  4. 2 points
    Formed a band from the ashes of a previous project and did our first gig last night. A wedding in deepest darkest Zummerzet. Lovely room, good natural acoustic, decent stage, I got to sort the pa for a full band kit, bvs, keys guitar the lot, which was a first for me. Sound was great B&G were lovely people dancing from the off. A great debut.
  5. 2 points
    Fab. Seen PC on numerous occasions, first with Squeeze followed by Mike and the Mechanics, then solo stuff and then as keys player for Eric Clapton. Great singer and keyboard player and a lovely guy. May be a bit AOR for some people on here but he’s had an amazing career since first charting with Ace.
  6. 2 points
    It will be interesting to hear what the others feel. For me, I come away reminded to always use Switchcraft jack sockets and to take great care soldering. I can't imagine how it would feel if silence suddenly descended...
  7. 2 points
    I don’t shop anywhere now , I just contact @obbm and he makes me anything I want, all top quality fittings and cables , job done 🙂
  8. 1 point
    Full disclosure: This bass was sent to me by Glarry Music. We were in discussion about advertising and I wanted to try the product beforehand. They sent me a bass to try in return for a review on Basschat. The Glarry GP bass retails for an incredible £72.99 with free shipping. Yes that's right - this bass costs about the same as an effects pedal or a couple of packs of strings. It can't be any good, surely? Maybe OK for a beginner? I had to try one for myself to see just how bad a bass in this price range would be. Glarry GP in bright yellow I have had a few Precision style basses over the years, and my first bass was a Squier Affinity Precision Bass (now apparently only available as a PJ) in blue. P basses are often associated with beginners; they're cheap, simple and fit in with all sorts of music. That's why many seasoned players end up going full circle and purchasing a more expensive 'boutique' Precision years later. Someone new to playing bass may not have much money to spend, not knowing whether they'll play for long, and with so many other demands on finances - so one might assume a cheap bass is the way to go. I'm going to argue this can be the case, but with some exceptions. The paintwork is flawless The bass arrived in a triangular cardboard box with a styrofoam insert holding the bass. Included are wrenches for the bridge saddles and truss rod, plus a 1/4" jack lead. Although the lead is cheap and rather thin looking, it's a nice addition. Indeed, Glarry sell a pack including an amplifier for £104.99. This looks like the ideal starter kit, doesn't it? Immediately upon picking up the bass, I could see how well finished it appeared to be. The bright yellow paint was even and flawless to my eye - and the fit and finish of the accoutrements seemed every bit as good as I expected. The body is incredibly light, making the neck feel heavy, however as a whole the bass only weighs 3.05kg with the balance point being around the 15th fret. After tuning up I decided to have a quick play to see how it felt 'out of the box', which is how many beginner players would use the bass. I don't remember ever thinking about action or truss rods when I started playing; it wasn't until much later that I started to tinker and get any bass playing better. As some have pointed out, those hard won early battles against high action and poor setup allow us to later appreciate a finer instrument and may even help develop our playing early on, but with budget basses being so well made these days, it's hard to argue now that someone should put up with something poorly setup. The trouble is how the player would know that their instrument can do better. The attractive headstock As such, out of the box, I found it difficult to play. The action was quite high and there was some back bow to the neck, choking out the first two frets. The strings supplied were steel rounds which felt about 0.045 standard gauge - they felt a little rough and there was some 'chorusing' on the E string which I've had with dud strings before - however, the bass was playable; it had a decent output and I'm sure a younger me could have lived with it like that, no problem. Often at Bass Bashes I play someone else's bass and find the action way too high for my tastes, so I think my own preferences should be ignored from this perspective - I should think someone more used to a higher action would have found it perfectly comfortable. I did wonder if it would be helpful for the bass to come with a brief setup guide, but that could appear daunting and I suppose most people would be able to find out some basic tips online if they were so inclined. My own worry would be that some people might not realise and it could put them off playing. The tuners are where the cost cutting is most evident Let's start with the top of the bass and work our way down. The headstock, bearing the quite stylish looking Glarry logo is unfinished maple, as is the back of the neck. It's generally smooth to the touch but has a very slight roughness, though the back of the neck feels great. The tuners are fairly poor quality - after a little grease they started to work more positively but they are quite rough and stiff to turn, especially when stringing up from scratch. Once you're in the right ballpark they seem to hold the tuning well and adjustments are easy and accurate, but their stiffness really gave me a workout as I strung the bass up and down whilst I adjusted and dismantled the instrument. I should have bought a motorised winder! The fretboard is a dark rosewood. It's quite a thick slab and it looked very dry, with small pieces of fluff stuck in the grain from where it has been presumably wiped down during construction. I gave it a liberal application of Planet Waves Hydrate which really helped the look and feel of the board. The neck itself is quite rounded and fairly deep which took a little getting used to but familiar to many with a 42mm nut. Worth mentioning is the fretwork - it's extremely tidy!! No high frets I can detect, not yet at least - and although the fret ends are cut a little roughly they can be easily addressed. Before - a bit dry! After - looks much nicer! Action post shim showing fret ends The neck joins the body in a conventional bolt on fashion. Here, there's a plastic spacer between the neck plate and the basswood body and a four bolt arrangement. I found the neck pocket to be too deep, so I ended up adding a shim to lift the fretboard up, allowing a lower action. Even by normal standards, with the bridge saddled flat on the floor, the action was quite high and I noticed how close the fretboard was to the surface of the body, almost more like a neck thru design. I'm not sure if this is normal or whether mine was cut a little deep, but I added a shim of about 2mm to bring the action into line. I should note that I also had to file the saddle of the G string down another 2mm in order to get a super low action - again, not something everyone would need to do. Neck with shim added I restrung the bass with Ernie Ball Cobalt Flatwound strings, 0.040 size, which instantly made it feel better and reigned in some of the uneven response from the round wounds. Worth mentioning though that the rounds that came with the bass are for sale at only £6.99. The Cobalt flats alone cost more than half the price of the rest of the bass. Worth mentioning and also noticed at this point was the nut - it was quite rough and had a few sharp edges which I removed with a knife and some sandpaper. Otherwise it seems to be cut just right and functional enough. The nut before tidying up New strings The precision bass pickup is a thing of great mystery - there are so many types, overwound, underwound, alnico or ceramic magnets, vintage or modern, poles or blades, you name it. The pickup use here is actually perfectly acceptable - it has a good even response which is particularly snappy in the treble range and though I think it lacks some low end, the output is decent and it has a truly authoritative sound. The pole pieces sit quite proud of the cover which I don't like the feel of because I keep touching them, but I've seen others which are flush with the cover so I'm not sure which is most common. The height of the pickup was a little bit low, and the lack of foam underneath or springs on the retaining screws means that can't be adjusted easily, and I'm not taking the strings off again to add some springs until I have that motorised winder! Electronically all seemed in order - it’s a simple wiring harness, the soldering looked quite neat and the pots are freely rotating and with a nice amount of resistance. However, after reassembling the bass (I removed the pick guard and removed the debris in the cavity and sandpapered off a few rough edges on the plate itself) I found the tone control no longer worked. After some poking about with a screwdriver I found the cap on the tone pot had one leg touching the wire to the volume knob - the post are quite small and the legs are quite close together. I probably bent it a little bit whilst removing the plate, so I bent it back into position and all was fine again. I'm not sure that would have been a problem otherwise. The Glarry P bass pickup The guts and wiring - would benefit from a little extra shielding And finally, the bridge. A classic 'bent tin' affair, with five bolts at the back but also an extra two at the front corners. The saddles are free to move side to side of course, but once strings are under tension it's stable enough. Adjusting the intonation was fine, but as mentioned I did have to file down the string slot on the G string as those barrel saddles are quite tall - but I've had to do that on all sorts of basses, not just cheap ones. Otherwise it's business as usual at this end. The bridge after adjustment My overall impression? I now have a super playable and excellent sounding bass which is great to look at, comfortable, light and CHEAP! I definitely recommend that you buy one if you're confident with doing setups or just want to have a play around - even for the painted body alone you can't say fairer than the price. Others have pointed out how these basses could be the ideal testbed for modifying, but personally I think it's just great fun playing such a cheap and cheerful instrument. Would I recommend one to a beginner? I think so, with a caveat - honestly I think once set up properly these make superb basses for beginners or otherwise, but they really do need some fettling to make them more playable, which ultimately might mean a beginner sticks with it. The trouble, as mentioned, is getting a beginner to realise that they should put some cash aside for a setup when they buy one - however with a test sample of one bass, I'm not able to judge how well setup there are generally. As mine had a little backbow on the neck I think a beginner would be reluctant to try and adjust that themselves. The sound? well, I know some magazines and reviews give a star rating but I don't think it's possible to judge the sound with stars - all I'll say is that this bass sounds great now, with good strings it has all the snap and clank I like from a Precision. You could say it's a little 'poky' sounding, but it has a really nice character and I really do like the treble response of that pickup. Soon I'll add some sound clips to the post but in the meantime, please ask away if you have any questions! Cheers ped
  9. 1 point
    All this about racism and sex in songs, but we haven't mentioned any songs about murder? Eg: I shot the sherrif Foulsom prison Blues Bad like Jesse James Hey Joe Ruby (he didn't, but he wanted to) Delilah (almost for got this one) Bohemian Rhapsody etc etc. Surely even in todays "Snowflake" environment murder has still got to be still worse than sexism or racism?
  10. 1 point
    Keep it coming, guys, I will point the powers-that-be in this direction at the correct time. I went there (from Sudbury Hill, Harrow, NW London - 40 minutes, mostly on the Piccadilly, so an easy ride both ways) without expectations, just with my mind open. So here goes: On the plus side, and without the need for a press pass, as a normal punter I met and talked to several bassists I had hitherto admired from a distance, from John Patitucci to Ariane Cap, to Tony Butler, as well as seeing and chatting to many others I already knew in person. I also had the opportunity to speak to designers, engineers and luthiers (Mark Gooday of Ashdown, Dave Boonshoft of Aguilar, Alex Claber wearing his guitar cab maker hat, Tomm Stanley of Stonefield, etc.). I managed to play a couple of lefty basses that had been brought to the show 'especially for me', after I banged on about their absence at previous years' shows. I saw and chatted with a lot of friends I only tend to see in person at shows like this. It was good to catch up. On the minus side, It took me quite a while to find my way around the venue yesterday, and even longer to find the bass-centric stands I was interested in. It would have helped if bass booths had all been gathered together, perhaps surrounded by the companies who sell both guitar and bass stuff, with the guitar-only companies occupying the rest of the room. The noise, mainly from guitar players but also from the usual bass slappers, was a nuisance. Also, there was spillage between the auditorium and the seminar rooms, despite the wall insulation. This didn't used to happen at Olympia. The noise also ruined most of the interviews and seminars being held in the Luthier's corner, which really should have its own room with, you know, walls and stuff. Several exhibitors who had been at all previous LBGSs decided to give it a miss this year, which was a pity.
  11. 1 point
    If you have your own workshop, things show up in different light. Then you are able to cut the costs. Usually the components and tools tend to cost some more, than the Joe Average thought before starting the project.
  12. 1 point
    Warwick Teambuilt German Idolmaker Bass. Black satin factory relic. Hardly used. Few months old. Handmade to order in Germany. All documents and kit included. Active four string. These basses take 5 months to make and are order only. Retail around 2700 I believe so grab a bargain. Was delivered to the guy I acquired it from in April. I have only noodled on it a handful of times ,so still in mint condition. It has gold aged hardware, custom aged satin finish, active MEC 2 electronics, passive MEC vintage humbuckers, the neck looks like wenge (not maple as it says in the spec sheet) Mahogany body and comes with factory rockbag, tags, certificate of authenticity, accessory bag, manual and leather pouch. It’s basically brand new as it has hardly been played . I was told It took Warwick about 5 months to make this, I think the only proper full fat German one in the UK. Controls are volume pickup blend bass and treble with push pull active passive The two toggle switches select between series-and parallel-wired humbucking modes and a single-coil
  13. 1 point
    Price drop £2600 Up for sale is this beautiful Modulus Quantum 6 String Bass. It is in absolute mint/new condition as if it came directly from the factory with original hardshell case, tools and paperwork. It plays amazing and sounds as clear as a bell. No dead spots, no neck moving etc. I am just more comfortable playing 18-19mm spacing and that's why I am letting this one go again. Not an easy decision but I have to be realistic in that this bass needs to be played and I cannot afford an expensive instrument like this one to just sit in its case. The bass is located in the UK, shipping worldwide is no problem. A new bass like this from Modulus with these options would cost somewhere between 7000-8000 Dollars. I got it from a collector who never played this one. I also only played it a few times at home and realized quickly I prefer a wider spacing. So it's pretty much an unused bass. It came from a collector who never played this one. I also only played it a few times at home so it's pretty much an unused bass. She is currently strung with Fodera Nickels 120-40 and sounds amazing Located in the UK Brighton East Sussex will happily ship worldwide Here are some specs: Chechen Top Gloss Finish Alder Body 35″ Scale Length, 24 Frets 17mm Spacing Gloss Finish Neck Phenolic Fingerboard Ying Yang Inlay at 12th Fret Side Dot Inlays Fretboard Dots Bartolini Soapbar Pickups Aguilar OBP-3 Black Hardware
  14. 1 point
    Thats what I was thinking I’ve not really heard anything bad against Harley Benton’s Thanks mate I’ll have a look at that later I think if I’m gonna buy one it will be a Harley Benton not unless anyone can recommend any other brand that does a 5 string P that would be worth a look.........😀
  15. 1 point
    Just returned from the show. I found it disappointing on a number of levels. Firstly, poor acoustics due to the cavernous roof. The venue is quite bright and airy, but really not suited to a music show. The stands seemed to be dominated by the bigger manufacturers, and there was nothing that really floated my boat, but I accept that I don't really have what might be called 'mainstream' tastes! I don't know what it costs to have a stand at a show like this, but a bit more variety and a few more oddities would have been nice. Perhaps the smaller makers can't justify the outlay if it doesn't guarantee increased sales. Despite being combined with the g**tar show, it actually felt smaller than previous years, but that could perhaps be due in part to the scale of the venue. It would have been nice to see more home-grown, niche manufacturers. In past years, you could pretty much be certain to come across a good number of the unusual, different or interesting. This time, it seemed like it was just all the usual suspects, nothing that really stopped me in my tracks. I did have a nice cuppa and a slice of chocolate cake, but I was still in and out in less that an hour. It also didn't seem that busy. The organisers are certainly going to have to do better to get me to go again next year.
  16. 1 point
    Oh, I could swear that I saw a message somewhere "stop by the 'Basschat' stand to say 'Hello' and get your free Basschat lanyard". Maybe that was from another year...
  17. 1 point
    Fella over on Talkbass is over the moon with his PJ-75 VW, £50 over your £100 budget 😞 https://www.talkbass.com/threads/i-own-a-harley-benton-club.1123735/page-321#post-23095149 i owned the 4 string PJ HTR a few years back. TBH don't remember much about it,that's not a negative cause I'd remember if it was crap 🙂
  18. 1 point
    Definitely don't want to do this as its probably the best amp I've owned ( and I've owned many top amps). But I can't afford 2 amps Ive just joined a established doom/stoner rock band that are incredibly loud! (one guitarist has 2 4x12 cabs) and although the handbox amp performs excellent volume(its loud, like trace Watts) wise for pretty much any live band..... I just need a bit more extra juice for the 8x10. Id wager this is probably one of the lightest non digital amps going? (pure transistor thump) with 3 preamp valves that actually do something.... Its the closest I've got to an all valve sound with any none full tube amp, the core sound is simply awesome! Very warm and puchy sounding, it may not have a mid knob but this has lots of mids in the natural sound of the amp that feel bang on the money eq wise. If you wanted to boost the mids (perfect amount when flat eqd imo) just lower bass n treble a touch...... Always punchy anywhere. And with the option of overdrive and bright boost the R400 is very versatile.I think there is a build wait on these from Poland atm? This is the new version, only 6 months old and never been gigged ( only rehearsal)....... Its immaculate, for full disclosure one of the caps in it failed(can happen in any amp) but was swiftly sorted by handbox and is 100%perfect now. If anyone wants to go lighter than their valve head without the comprimise of sound this is it. Any 300w valve head would be good, ...svt,marshal vba, laney etc (no orange though as don't dig em) not too fused about cosmetic condition as long as it works fine, also consider a svt preamp with powerful amp. Any trial welcome or a halfway meet with a video demo to show all is A OK.happy to post but doubt many would want to post their valve head. A few links. The new price to buy this version is quite a bit more expensive now than is suggested at the start of the basschat thread BTW. But happy to adjust towards a amp if needed https://www.talkbass.com/threads/the-handbox-amplification-thread.1218706/ http://www.handbox.pl/R-400-MINI-HEAD-p142.html
  19. 1 point
    Well, its a theory, but it doesn't make any sense to mark all the notes of C major with the exception of C. and D, instead incuding C#.
  20. 1 point
    Strange that we all admire 10 year old's that can play bass well, but not those that can make them........😎
  21. 1 point
    ☹️ Just to repeat what I said in another post, if these had come up a couple of weeks ago I’d have bitten your hand off. Glwts
  22. 1 point
    I have finally been able to use it at big band rehearsal. In the mix the core tone is deeper than the DG, and the Ultralow 40hz control is brilliant for removing flub in what can be a very boomy room. I usually play a Precision with this ensemble, but I used my Berg Superlight. At the start it was a bit too mid scooped - not a surprise with a jazz type - but a tweak of the mids sorted that. I might get the footswitch so I can easily switch in the semi-para EQ for an easy change for slap. It was really punchy and had a great piano tone to the attack when played hard, and fattened up when played with more finger on the strings. When using the DG head I usually have the B3K on all the time at a low level. I purposely didn’t bring any drive with me to force me to learn the amp. Signal chain was bass, tuner, ThorpyFX Fat General Compressor, amp, Barefaced One10. Loved it!
  23. 1 point
    Looks like a fab price for such a quality instrument! I’ve always held Pedulla’s to be right at the top of quality tree and the tone in the vid only reinforces that
  24. 1 point
    At the suggestion of @GisserD, I’ve set up a Patreon account. If you feel like supporting me in what I’ve been doing here then I’d be most grateful. Thanks. http://www.patreon.com/Quatschmacher
  25. 1 point
    Bands/Artists I'm digging at the moment: Blackberry Smoke Tyler Bryant & The Shakedown Jared James Nichols Govt Mule & Warren Haynes The Highwomen Amanda Shires The Bros Landreth (plus solo stuff from Joey Landreth & Ariel Posen from the band) Black Star Riders Stone Mountain Sinners The Record Company John
  26. 1 point
    First of all great advice from BFM. you need to re-do this with the same size cab to make sense of the response below 200Hz 'ish as the cab is as important as the driver . Above that look at the published responses. Is it the neo magnet? yes and no, you are looking at very different drivers. The BP 102 is really designed as part of a multiple driver and probably sealed cab. it's got a heavier cone (mms) and a softer long throw suspension for deeper bass, though a sealed cab would raise this. all this lowers the efficiency, it is less loud than the other speakers which wouldn't matter in a multiple driver cab. The basslite has a more powerful magnet and that is what is affecting the bass response. The increased magnetic power increases it's efficiency but also the electromagnetic damping of the speaker which rolls off the bass response. It'll respond well to being in a smaller box than the BP102 as the damping will be coming from the magnet and won't need to come rom the cab. It's the extra magnetic power that matters not the material the magnet is made of. Which will you prefer? well you won't know unless you build them all but this is my preference. The BP102 has a 'smiley face response baked in, it'll sound like an Ampeg. that bass peak is because it's an underdamped speaker but in the box you have the peak of that bass boost is quite low. I personally don't like excessive response below 50Hz, sounds great in the bedroom but playing live it just creates mud for the whole band. Have a close look at the upper peak of the Celestion. the vertical scale is 10dB on the graph and for the Eminence it's 5dB, that's going to be a big peak and a nice aggressive sound if you like that. Celestion calculate Xmax differently to eminence by the way. Eminence would rate it higher so the Pulse would be less excursion limited than your graph shows. They all have that upper range peak though, the heavier cone of the BP102 may be contributing to a smoother breakup mode but it's probably more complex than that You might also think about efficiency. The Pulse is loudest and the BP102 the quietest by 2db up and down from the Basslite. you'll hear that 2db difference and definitely notice 4dB. 118db midrange efficiency is going to be a bit short in a band situation but you might get away with it in the rehearsal room. You won't with 114dB.
  27. 1 point
    Ondt Blod from the very far North of Norway. They take hardcore, metal and melodies which would make Brian Wilson blush and somehow make it all fit together seamlessly. Natur is my favourite album from last year by some distance. https://ondtblod.bandcamp.com/ KXM, which consists of Doug Pinnick from King’s X, George Lynch from Lynch Mob/Dokken and Ray Luzier from Korn, have just released their third album, Circle of Dolls, and it’s another top quality slab of modern rock. A great band which only exists for a few weeks every couple of years but has released three superb albums. https://kxmmusic.bandcamp.com/releases
  28. 1 point
    Sorry, ‘adult ( or album ) orientated rock’, a lousy phrase coined in the US I believe. I first heard it in the 70s, when referring to soft rock bands like Foreigner, Boston, REO Speedwagon etc etc.
  29. 1 point
    That's exactly what I thought, even the pickup looks similar with the polepieces sticking out the same way. I still have one. They were £60 at the time. Mine got defretted (frets removed by myself in 20 minutes and then had a luthier friend of mine plane the fingerboard properly, filling the fret slots with sycamore veneers) and I put a DiMarzio Model P in it (decent and inexpensive pickup, comes often in the market place used). It actually turned out better than my fretless MIJ Fender Precision, beautiful maple unline board... and the Fender is long gone. Instruments in this price range are best seen as something to spend some time working on, or simply as a platform for modification. If you enjoy doing that kind of thing, you'll have fun and can end up with something decent. If you just want to play the bass, it'd probably wiser to save and spend a bit more. To be fair, you can't possibly expect great quality at that price...
  30. 1 point
    It's the 25th Anniversary of Monster this year...I love that album. Regurgitating the thread slightly and appreciate where the OP is coming from, however, I would argue Leaving New York is a great album...drastically different to those before very morose, and I'd suggest the band themselves probably realised they'd peaked and reached their shelf life. But their later albums would still wipe the floor with half the stinky poo coming out today. My favourite R.E.M. song of all time has to be Country Feedback.
  31. 1 point
    I’ve said it before and this is one of the nicest super-Jazzes I’ve ever seen. Are you sure you want to do this? I’m not convinced any of the other basses you’ve mentioned will be better, and I’ve played examples of all of them except the Neuser and the Devon. If you’re unhappy with the sound there are myriad options available for change. One thing I will say, I’ve had the Labellas on some of my Seis and always ended up changing them out; never got on with them. I don’t know if you’ve tried other strings, although I would assume you have. If you do decide to go ahead, best of luck and I hope you find what you’re looking for.
  32. 1 point
    another Lag found in seattle US a few years ago nicely built should've kept it but didn't get on with 5 strings at the time cheers
  33. 1 point
    Thrilled. This is what they're built for - I love seeing my builds played Great gig today, Neil. I was on a tight time schedule so didn't have chance to catch up after you finished but the Daz Kelly Band just goes from strength to strength. Bass sounded great, too
  34. 1 point
    Looks like it's a no go for me.
  35. 1 point
    Sue Ryder comes to mind here. Anyone remember those?
  36. 1 point
    UB40 split and became two, as if one wasn’t already too many.
  37. 1 point
    I’m exhausted just reading that. I do whatever I usually do through the day, then put my stuff in the car and go to the gig.
  38. 1 point
    Steady on old chap. @chris_b may not be know for his tact and diplomacy, but what he’s trying to say is that although you haven’t had your usual rehearsal, it shouldn’t make you unhappy. I would see this a positive. Get through this gig with an extended soundcheck. Next gig, trim it down a bit more. Before you know it, you’ll be rocking up at a big gig having only the previous gig to fall back on. Unless you have a substantial amount of new material, this should be the norm. Personally, the last gig with my 80’s band was 6/9. The next gig with them is at a large theatre on 5/10 with no rehearsals in between. Ultimately, you want to be at ease with that kind of situation and I think you’ll be all the better for it.
  39. 1 point
    Hooray! Two saves in one topic. Respect.
  40. 1 point
    Hi folks! May well live to regret this decision, as this is by far and away the best rig I've ever had! But I'm moving in a slightly different direction at the moment, and looking to move this on to a new home. Ideally I'd like to sell them together, for ease and because they pair so well, but if split in looking for £675 the AG700, and & £650 for the Vanderkley. Aguilar AG700 - 700w class D head, really sounds incredible, by far the most 'full' sounding Class D amp I've used. Clearly very versatile, but has a slightly warmer character to it than most class D amps I've owned, and more presence across the frequency spectrum. Wide variety of sounds on offer, but it's virtually impossible to dial in a bad tone! It's in great condition, and will come in a Gator mixer bag I use to transport/protect it. Vanderkley 212MNT - 600w 4ohm cab (although will comfortably handle more power), made by the fantastic Marc Vanderkley in the Netherlands, Lightweight and astonishingly loud for its size! I spent a long time trying all the top cabs when I bought this, and it beat all the competition for me. Its a very neutral cab, and you will get out exactly what you put in, at the highest possible quality. Not that I've had to test it, but the speaker cones are waterproof too! In fantastic condition, comes with fitted Roqsolid cover, plus an isolation board I made to fit it perfectly. This really is a killer rig, tone and volume in abundance. I have played outdoor festivals without DI on a couple of occasions! If you're in the market for a compact, huge sounding rig, this is well worth checking out. Thanks for looking
  41. 1 point
    EUROPE ! I now have a Fender cardboard box as well as the case, so I can open this sale up to our European members, HOWEVER, a deal needs to be like this. Buyer pays £1000 GBP into my bank account, by bank transfer. This reduced price is to help EU buyer with courier costs. This is a BARGAIN!!! people are asking a grand for some Fender Japan basses. Remember this is AVRI, FSR. Have a look at used prices for STANDARD AVRI's. When the payment has cleared, buyer then arranges & pays for their own insured courier. Buyer tells me what day bass will be picked up. Buyer deals with courier in the unlikely event of any issues. These don't come up very often, may be a long time before another comes up. You need to trust me. My embarrassingly long feedback suggests you can, cheers, Karl.
  42. 1 point
    This is my '64 I purchased used as a boy in 1971. I have shared a very long ride with it and would never part with it.
  43. 1 point
    So true. "Have you got a spare lead, Dan?" "Yes thanks". "Er, can I borrow it?". "Where's yours". "Haven't got one". "Why not?". "I don't need one". "Because you know I carry one?" "Ummm" (shuffles feet). "Here you are". Later, at end of gig. "Got my spare lead?" "I'll just hang on to it until I get another". "Yeah, right. Let's have it." "Aww man. You're so mean" Etc, etc.
  44. 1 point
    Having to shim a neck to that extent out of the box is something Glarry may wish to address with their CNC machine!
  45. 1 point
    Just completed today. A reclaimed oak & mahogany 4 string through neck bass with a Rocklite fingerboard . Gotoh tuners Kent Armstrong PUs and pre/ Schaller bridge. Small offset body weighs in at a very well balanced 10 lbs . Made from rails of an oak door and all parts provided by members of Basschat many thanks. Gary
  46. 1 point
    Did a great couple of gigs over the weekend: Fri, Punks Against Cancer at The Mulberry Tavern, Sheffield. Was a sweat bath in there, the bass speaker cab didn’t work (I had trusty Para Driver to help out), couldn’t hear much through the monitors but it was a good gig, and a worthy cause which we’re always happy to play. Sat, The Boulevard in Wigan. An all dayer so some (most?) of the audience had indulged in liquid shall we say. We were headlining and the gig was amazing, bodies flying everywhere (one guys head got split open quite badly during the band before, but he was back for our set) people up on stage, the general chaos of the gigs we do in the North West. Afterwards pretty much the whole audience came up to us and shook hands/hugged us and said how great it was. Pretty humbling really, we’re three blokes in our 50s making a racket, but it’s really nice to see the hard work we put in paying off. Also made some good merch sales, all of which go back into the band, furthering our opportunities.
  47. 1 point
    Bought this awesome bass this last week for £150 and it really is a belter. Nice set of flatwounds on it and previous owner had a bridge cover installed with foam etc. The Pick up is one of the best i've heard and I've own at least 35 basses from all the big boys in the last 20 years. Well recommended if you ever get the chance to buy one Looks like something from the back cover of 1986 Guitar magazine but I don't care. Mainly using it for studio work anyway! Just can't go wrong with a 'P' type bass.
  48. 1 point
    Surely it's based on context at that moment in time. Most, if not all the others, were about heterosexual acts which weren't out of keeping with thoughts at that period, 70s and 80s TV were fine with hinting at underage sex at the time but Relax was blatantly about promiscuous homosexual sex at a time when the establishment couldn't handle it, not in public anyway. They wanted a reaction and they got one.
  49. 1 point
    VERSION: HX Stomp 2.70 TITLE: Tip - Numbering your patches DESCRIPTION: If you don't like the format of showing the letters in the banks of patches - 28A, 28B, 28C etc. , you can show numbers instead.... IN DETAIL: Click :- File - Preferences - Pre-set numbering format and just change it to 000-125 Very simple tip, I know - but hopefully it will help somebody ....
  50. 1 point
    Yeah, Hans Peter Pilfer has lots of those....... *cough* Spector royalties *cough* 😂

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