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I managed after a long time of being skint to get my old Suhr Jazz bass back. There is a BC member that offered to buy this bass for me and he offered that I could pay him back which was such a lovely EPIC gesture!! It really was and it blew me away tbh. But the time wasn't right. His BC name is three and his name is Loz bless him. I don't want to bore anyone as I'm aware everyone is struggling but it's been brutal financially and we struggled to get to the next mortgage/council tax payment for a long long time. But we're now mortgage free so me got some basses a comin.!!. Debora doesn't know this yet.. 😆 Suhr Custom Classic J4 Swamp ash body. Maple neck. Suhr 2 band pre. Aguilar single coils.23 points
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Friday night (Halloween), played Grays Inn in Mastrick, Aberdeen with Nine Lives. Wasn't the best of gigs, file it under "alright". Oddly, the pub didn't seem to be doing anything for Halloween, but that didn't stop a bunch of people being in fancy dress anyway. Including me - who you gonna call? Neepbusters! Anyhoo, we were late starting because one table of folk who had finished their dinner wouldn't vacate the area for ages, leaving us a lot less time to set up than we usually have. Grr! Put me in a bad mood, ngl. But we got going about 10 mins late, and managed to get an OK sound from the get-go. It was busy enough at the start, but I suspect a lot of folk had kids and once they left, the place cleared out pretty bad. There were a few stragglers, but it was mostly dead, leading to a fairly meh gig. Oh well, still get paid, I suppose. Gear was the Sire Z7 followed by the Yamaha BB1200, into the ISO Standard modular bass rig.23 points
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I've been slacking again due to the venue we've just opened. I'll do a thread on that when I get time. On Saturday night we played the Lexington in Islington. Coming from Stoke we had to pickup a guitar that was left behind a few weeks before in Chessington. A total of 6 hours crammed into Vantanamo (named because I don't fit into the van, and so have to spend hours in twisted positions) had me pretty grumpy. Load in up a huge fire escape almost finished me off. The headliner was old friends Abdoujaparov, and I managed to relax while they sound-checked. The venue is very cool, classic old London venue. The set went very well, we won over some new fans, and I left the stage soaked in sweat. Ace gig! Then I had the pleasure of sampling the bourbon bar downstairs. Four Roses and Buffalo Trace were delicious. Here's a photo The next morning we were up bright and early to travel up to Katie Fitzgerald's in Stourbridge where we played a matinee show. Load-in time was 1pm. We arrived at 1:10pm. The owner who actually lives there let us in at 1:30pm 🤷♂️ The place was full of our fans singing at the top of their lungs and we loved every second of it.22 points
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Stood in with a blues band for a 45-minute support slot at a blues club. I don’t normally get nervous about performing but I was conscious this would be a more discerning audience than the usual gaggle of pub punters, plus the headlining band would probably be listening from the wings. As it was, I felt I acquitted myself pretty well, and we got good feedback from the audience. It was quite amusing when one of the sound techs offered me a hand onto the stage with my Barefaced cab, and I lifted it with one finger! I was surprised how many women there were in the audience. I expected a blues club audience to consist of 98% gentlemen of a certain age, but most of them seemed to have brought along their significant others.19 points
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Katy Hurt was booked to play a private event last night, run by the same people who run the Buck and Bull pop up saloon club nights we’ve played before. Big marquee at Tweseldown Racecourse near Fleet, 200 guests, line dancing, DJ, bucking bronco… standard UK “country” themed night. Since this was essentially a private version of the Buck and Bull event, no expense was spared. Pro PA and lighting rigs and engineers made for a wonderful experience, plenty of soundcheck time so the onstage sound was crystal clear and devoid of all the issues from the previous week. The only real downer was the marquee had no heating so it needed the bodies in there to make it warm, it was very chilly in the run up to there being a party in full swing. Our normal drumming options were all unavailable so I pinched the drummer (and my brother in law) from my pub rock band, and he stepped in brilliantly. Being a private party, the crowd weren’t quite the same as the Buck and Bull clientele, and never really fully got going (vs them being totally up for it from the second we walk onstage at a real club night), but we had moments of fun watching some of the better line dancers try not to trip over the less good as we ripped through our two sets of covers and originals. So yes, in some respects a mixed bag but I was home and in bed by 00.30 and throughly enjoyed the playing bit. Basses were my trust ACG RetroBs, via Laney Digbeth pre, Trace TE1200 and Barefaced Two10. Shoes were DC hi tops Hat was Cavender’s of Texas 🤠19 points
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Good gig. Second set wasn't so great. BL called songs we haven't played in years.No complaints and I was home by 7:30. Daryl19 points
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It was ok, but a quiet night 🙁 Those that were there seemed to be enjoying themselves but mostly superglued to their seats other than a few dancing girls. One guitarist down but we’ve done it before so no problem, just tailor the set to songs that didn’t need the second guitar. Sound was ok, and fine in my IEM’s. Towards the end on the second set I had a couple of really bad attack of cramp in my fretting hand. Possibly dehydration, and maybe the fact that I have missed a load of my immune suppressant drugs because of Covid a month or so back & two courses of antibiotics so my arthritis is starting to flare up. Picked up a Darkglass Anagram during the week and set up a quick stomp box preserve with Compressor always on and then Octaver, Chorus and Flanger controlled by the buttons. Went well but will need some experimenting. Apparently it was the pubs Halloween party so face paint and dress up Gear: FrankenJazz, Anagram, Microtubes 500 and Barefaced BB2.Status S2 in reserve Shoes: Barefoot (red and silver)19 points
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1973 Fender Jazz in Olympic white When I got this I was told it was the original colour by the deceased wife who also gave me a pic of him playing it in 1990 Upon closer inspection it looks to have be oversprayed as the original guard holes were filled in to accomodate the new guard, they obviously didnt match up So not 100% to its original colour but there are remanents of a darke white in the pocket, anyway on to the bass itself Apart from the guard that I got from the states that has been reliced some, not cheap these Various marks and minor dings but nothing nasty Tug bar is aftermarket, most of the screws are original, pots date to 73 , serial plate 424488 is 73, pickups are dated 73 I had saved pics of the pickups. but cant find them but I can take them out again for the new owner if wished Weight without the covers is 4.1 Kg's Frets in good condition, truss rod works both ways Some lacquer flaking to the neck but the neck is now completly smooth so you wont feel the flaked lacquer Some stiffness in the tuners but holds in tune well Good action and straight neck Fitted with broken in flats will be sent in a generic case, I have a later 70's case of the new buyer wishes to discuss, its the maroon velvet interior I have priced this keenly due to the refinish, all original would be about 3.5K Hopefully thats everything covered, courier is included in the price18 points -
I've finally accepted that the fine people at Fender are never going to call and offer me a signature model, so I've taken matters into my own hands: I've gone for a "what if Jim Root played bass?" kind of vibe. Allparts body EMG JX pickups LHZ preamp (just a fun experiment as they usually go in Spectors with PJ pickups. Sounds pretty good though. Way more natural and "woody" than I was expecting. The bass and treble controls are on the stacked pot in between the two volumes. It's in that position because I accidentally enlarged the wrong hole, but I quite like how it looks and have convinced myself that it's a logical place for it! Hipshot Kickass bridge and ultralite tuners. The neck is a Fender Player 2 neck. Lovely rolled edges, but came with lacquer all over the frets. I've done a level crown and polish, so it's all gone now. Tuned to BEAD. Discovering tapered B strings has been a revelation to me. It sounds and feels great, even at the standard 34 inch scale length. It's bothering me a bit that the pickup screws, jack nut and saddle springs are not black - might have to sort that out in due course!17 points
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Played Duff's bar in leicester last night with The Jam tribute What a great gig. Used the HW4003 thru the V4B. Mega17 points
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A couple of decent gigs….. loving the P bass and favouring the TC BQ500 & 4x10 at the moment. One night in Leeds…. and one in Stoke…. Both fun ones, and the new songs seemed to go down well.16 points
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Thanks to @Paulhauser for giving me the heads up on this stunning limited edition Spector Euro CST! Ordered and paid for last night and due next week... 1 of only 6 total made in this colour (3 x 4 string & 3 x 5 string). Ash body with Poplar Burl top, Ebony board with Abalone inlays, black hardware, EMG X pickups and DG Legacy preamp.... and that beautiful Purple/Black finish... 💜🖤15 points
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We organised a 4 band gig at Whiskers in Newquay on Halloween. It was a bit of a shambles, but turned out alright in the end. First up, the sound guy was meant to arrive at 5. He showed up at 7. We were expecting the first band to go on at 7:30... Everyone says that this guy does this all the time and it's to be expected. He runs on "Cornish time" 🙃 This doesn't happen in Bristol! Punters were leaving because it hadn't started. The first band finally started at 8:20. Then, you know, we're alll running late, you'd think the bands would try to keep to time, right? Nope, the first two over-ran by about 10/15 minutes. Changeovers were SO SLOW. I never understand why it takes some people so long to get off stage. Everyone says it's "Cornish time", we call it unprofessional. It was just as well that the venue had a 2am licence. We had planned that we'd be on at 10:10. Didn't end up going on till 11:45, finishing at 12:40. To their credit, a fair number of (very drunk by now) punters did stick it out and seemed to really enjoy our set. We even had our first mosh pit! I did struggle a bit with fret markers while wearing sunglasses for my costume though. I used to find it alright in the hip-hop covers band. There were also a few mistakes, but I'm putting that down to tiredness. I'd had a few late nights trying to finish mixing our new EP and then early mornings because I have a 3 year old! Gear was Dingwall Combustion -> Boss GX-100 -> Laney Digbeth DB-500H -> borrowed Vanderkley 210. Got some shonky phone videos too. WhatsApp Video 2025-11-01 at 11.21.17.mp415 points
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I picked this up cheap because it's in a bit of a state and I felt sorry for it. It's not a particularly common bass around these parts, so I figured I could get it back to being hale and hearty again. It's pretty dirty - the tuners are green in places and I had to wash my hands after stringing this bad boy back up - boak! But that's just dirt. The main issue with this bass is the neck pickup. The coil windings have been... interrupted shall we say. Thankfully most of the coil is intact, the break is pretty close to the beginning/end of the coil so I'm going to try to unwind it slightly back to good wire then solder it back up and see if that works, failing that I guess I'll need to get it rewound. A wee project for the weeks ahead. Its mostly cleaning and polishing, the pickup to attempt to repair, and maybe some finish repair on a couple of nasty chips in the neck finish. Dunno if it's worth a build diary, so I'll probably just document my progress here. FWIW, the remaining pickup sounded pretty decent in my wee Laney 30W combo in the office here. For all the dings/dents/scuffs/scrapes/lacquer cracks, the bones appear to be solid and it feels quite nice to play. I think with a bit of work this will end up being a fine counterpoint to my BB1200.14 points
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Another moment of madness, never mind. A November '63 Jazz. Refin at some point in early '70s. I believe it could have been CAR originally. Apart from that all looks good. I had it taken apart to confirm (photos to follow later on this week). Rusty strings, frets aren't great, sounds superb plus some provenance.14 points
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£1600 My last listing of this bass lasted about 24 hrs before sellers remorse kicked in - let's see how long I last this time. It's a stunning bass, but want is very different to need so I'm reluctantly listing this. My modded ‘95 Ray gets more attention as it’s a highly nostalgic bass for me, so as much as I like this Special I’m struggling to justify keeping it. Made in 2020, great condition, Ivory White with Rosewood fingerboard. Super comfy to play and sounds spot on - sound clip posted below. Weighs 4kg / 8.9lb. Comes with case and candy. Sound clip... - Preamp EQ is flat. - Strings are well worn in. - Played into Logic and Aguilar Plugin Suite, AG amp set flat, 2x12 cab. Link to my feedback thread Cheers 👍13 points -
And it is worth mentioning that apart from me costing @cetera some money this below cost ME some money and heading my way next week 😉13 points
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Just got in from my penultimate Spacewasters gig at the New Cross Inn, SE London, last day of the 3 day Psychobilly Freakout. Reasonable sized crowd for a 5:50 set - some people had done all 3 days! Played well on our 40min set, and in our new matching rock n roll bowling shirts looked the part too. Audience was very appreciative. Back line was provided, a TC amp of some sort into an Orange cab, was easy to get a good sound with my JMJ Mustang. Footwear was DM Dealer boots. I’m going to miss this gigging lark, but sadly it just does me in now.13 points
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Supported the Bluetones in Brum on Friday and at Hangar 34 in Liverpool yesterday. Great room sound in Liverpool. Absolutely freezing loading into the house at 3am this morning but nice to be still doing gigs like this occasionally, worth savouring13 points
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The Black Horse in Whitwick was the first gig in a few weeks and a good job too - we've all had man-flu during the downtime. Luckily I am just about over mine now, but it was pretty grim at the start and then spent ages slowly trailing off. Anyway nothing that a bit of performance adrenaline can't fix. Although I'd created events on Facebook the guitarist/vocalist didn't do any further plugging with a day or two to go like normal, because he wasn't certain we'd be able to play. So it was satisfying that we managed to fill the place on a dark, wet and gloomy Friday night. We played quite a few songs that we don't do often so that made a nice change too. The Stingish bass is becoming a mainstay now - it's just so lovely to play. Boss GT-6B multi-fx into the Big Muff that I'm still playing with (more fuzz, more fuzz!) and thence into the fabulous Rumble v3 500 combo. Some nice compliments too to round off the night. I think we only have one weekend kept free for the rest of the year now - the long run towards NYE has started12 points
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do you ever get the feeling that the best bass you have ever played is whichever one is in your hands at any given moment?12 points
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I’m selling my 2022 Empire ‘58 Journeyman Precision, finished in Aged White Blonde with a roasted Alder body and one piece roasted Maple neck and fingerboard. The description found on Empire Music’s site is as follows; “The Fender Custom Shop Empire 58 Precision Bass was designed in-house by our resident bassist and Director of Sales, Anthony Pecora. Based off of his very own 58 Custom Shop P with a few nods to the 60’s models, this bass takes the best from both eras into a player-centric package. We’ve worked closely with Custom Shop Masterbuilder Vincent Van Trigt to develop our exclusive Empire 58 Precision Pickup that can only be found in these basses. This pickup offers all of the responsiveness needed to fit any playing style and any genre while never losing the characteristic P-Bass growl and punch. Features like roasted one-piece quartersawn maple necks, roasted bodies, and a 60’s Oval C Profile provide a unique and comfortable playing experience centered around a vintage Fender tone and aesthetic. These basses are ONLY available through Empire Music!” I have been lucky enough to have owned many Custom Shop basses and this is my second favourite of all time (the favourite being the exact same model but in pearl black and a new old stock finish, which suits my bass ocd better and is a keeper!). I wanted a Custom Shop bass that was different from the usual stock but could no way even consider a Masterbuilt one. These Empire exclusives fitted the brief perfectly with a hand-wound pickup designed in connection with a Masterbuilder, a roasted body and a quartersawn roasted neck with a very comfortable 9.5 inch fingerboard radius and tall narrow frets. I understand from Anthony at Empire that they only ordered about 50 of these in each of the NOS, Journeyman and Relic finishes. Being a Journeyman finish it has plenty of checking to the nitro with a selection of nicks and dings but no severe rash of any kind. The neck has lost a bit of its sheen so is not quite as glossy as a new old stock variant and there are just a few bare patches on the fingerboard for an aged look. The tuners and other metal parts are of course aged accordingly. The action is nice and easy, even with some oldish roundwound strings on it. It comes complete with the G&G tweed case, paperwork, tag, wallet, strap and picks plus key for the case. The case is in excellent condition but has one slightly temperamental latch which does close and lock, with a bit of patience! I’m only selling it because I only ever play the NOS version. Postage can be arranged but I would obviously prefer collection so you can play it! Needless to say, coffee and biscuits supplied if you visit!12 points -
Baffle cut and cab screwed together,( will glue and screw when happy everything fits ) Back panel cut , just need to wait for when the neighbours are out to check for any buzzing or rattles .12 points
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Ok, I popped a set of TI flats on the jazz and despite the state of the frets, it plays and sounds absolutely sublime. Just needs a minor setup to suit myself, otherwise I'll leave it at that. The chap who I bought it from, acquired it 20yrs ago. Never gigged during that time. Howard Livett, the original owner bought it new when he was 16yrs old apparently. When I clapped eyes on this, it was a no brainer 🙂.12 points
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A couple of pics by the audience from Thursday...12 points
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I've been a bit worried walking home late at night with a £4k+ Dingwall strapped to my back so I got a cheap bass from a kindly basschatter to use when I know I'm going to be walking the mean streets of New Cross in the dark (it's not bad around here to be honest, it's just I've never carried anything this valuable around before). So, I met up with Paul walbassuk in a service station on Saturday (as I've done so often before) and handed over some notes in exchange for a bass (great transaction, lovely guy - huge thanks!) It's A BASS! First impressions. The output is HOT. I mean, you could power a light off it, very very hot. Heavy but comfortable. Neck is quite nice, but chunky baseball-bat like while narrow string spacing. Frets good. Nice satin feel. The finish is horrible. I HATE photoflame but hey. doesn't really matter. Tuners are fine. Bridge is fine. Action is high, will probably take that down a few notches. Strings are fine. Should have asked what they are but it doesn't really matter. Tone is pretty Musicman like, but blimey I need to back off the active. I mean, the centre detent is higher than I'd ever use for bass, mid and treble. Taking it down to bass 2/10, mid 2/10 and treble 5/10 and backing off the volume gets you a rather pleasant sound. This is just the job. More than adequate for any of my needs. BUT that means the one-in, one-out rule will be put into action this weekend. My '89 Stingray will be going on the market. I'll miss owning it, but I won't miss the bass itself.11 points
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The Hulla band played last night at a hoedown in the village hall where we rehearse, to raise funds to repair and maintain the building. Country and Western isn't my thing so I wasn't enthused by the setlist, and much of it was new to the band so the run up to the gig was a trail of rearranged songs, last minute set list changes and, frustratingly, a key change with 24hrs to go that meant I had to relearn a tricky bassline using open strings instead of the all fretted version. I always struggle with including open strings in a riff for some reason. All in all a good night. Well attended (we sold just under 90 tickets which meant the hall was comfortably full) the bar was popular and the bangers, mash 'n' beans went down very well indeed. From a bass perspective, most of the songs were quite simple but I have developed a liking for Johnny Cash as a result of learning three of his tunes. We tried to include as many line dancing type songs as we'd heard that a large contingent of the audience had been practicing their line dancing for the night. Sure enough, there were about 20 regular dancers for anything vaguely line danceable. Our backdrop was a series of old black and white cowboy movies on a projection screen and there were the inevitable cowboy hats. I used my Squier PJ into a Laney Digbeth preamp on the valve setting, with a touch of drive to add warmth. That went straight into the desk and I monitored using a Behringer P16 and wireless system with earpieces. I've changed the gain structure on the IEM system I use and it has resulted in a much clearer sound in my ears at a much lower level. For a couple of songs I played up the neck using the edge of the neck where it joins the body as a thumb rest. It gave me a nice thick tone for 'These Boots'. Highlight of the night for me was 'Rhinestone Cowboy', which I'd made the effort to learn the full bass part for and it gave me a new respect for the musicians playing on those kinds of songs. Footwear was a pair of ordinary black boots, cowboy boots not being available. Hat was by Amazon. Checked shirt courtesy of a local BHF charity shop.11 points
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Sei original headless 5 string bass… as you can see from the pics it is an absolute stunner. This bass plays beautifully… very rare to find Sei basses like this for sale. Feel free to message me… collection preferably from Bognor Regis though I could post if needed.11 points -
Hi folks Due to my ongoing arthritis issues that seem to not be improving, possibly getting a bit worse, the most reluctant sale of them all. This is a beautiful and flexible bass. This is the ACG version of the classic Jazz bass, the pickups are pretty much in the 70s position. Don't be fooled by the modest wood choice and appearance, this is a cracking Jazz bass that was produced in 2024. The bass has passive electronics with volume, Stellartone ToneStyler B10, and a 4-way coil switch, so now you have the following options on top of the volume and tone knobs: Bridge p/up only; both p/ups in parallel; both p/ups in series (particularly awesome); neck p/up only. The bass weighs in at 3.6kgs (or 8lbs in old money) so very easy to use for long gigs. It’s in great condition and will come with a good quality gig bag. Meet up of collection as I don't have any more boxes left. Work does take me around a bit so don't be afraid to ask if you're a bit further away. £900 or very near offer - it's worth every penny of that imho! I'll leave it up here for a few days but if there's no interest I'll sort out a commission sale. Spec: · Scale: 34” · Body: Black Limba with oil finish · Neck woods: 3-piece Maple with oil finish, carbon rods and asymmetric profile · Fingerboard: Rosewood · Radius: Flat · Side dots: White (might be aluminium but can't remember) · Bridge: Hipshot Type B black · Tuning machines: Hipshot Ultralites black · Pickups: 2 x ACG FB single coil (humbucking J type) · Electronics: Passive plus – Volume, ToneStyler 10 and 4-position pickup switch Here are some pics:11 points -
Popped out to see some old friends at a new venue - the Millhouse in Thatcham (near Newbury). Jam night, up for three songs including Let’s Dance / David Bowie. I love playing that song. Enough to make a howler happen at the start of the second verse haha I think I got too into the vocals 😂11 points
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Well the Cort GB Short scale bass arrived, I bought it from Jimmy Egypt in Glasgow last Monday and they set it up and posted it Tuesday, express 24, due to the ineptitude of Parcelforce it was delivered on Friday afternoon. I should add that the family at Jimmy Egypt were great chasing up the parcel and getting things sorted even though it was parcelforce at fault. I didn't get a chance to look at it Friday evening so not much time with it before our gig Sat, initial impressions were very good, the fit and finsh is perfect, fret ends smooth & lovely feeling roasted neck. The controls feel solid and have centre detent's for the eq knobs. bbot bridge is adequate and nut slots filed well. Tuners are smooth and do the job well. It was set up before delivery so just needed a few minor tweaks to get it perfect for me, the truss rod adjustment wheel at the heel of the neck is a joy and it was easy to get the action low with no fret buzz. The bass weighs exactly 7.5lbs and balances perfectly on the strap, it feels solid and the neck is comfotable, I did roll the fretboard edges as it is a fairly flat board with 15"radius which helps with the feel. The stock strings are not great so I changed them for a set of D'addario nickel round wounds. I used it for the whole gig, the Markbass preamp is great and the humbucker is like a small musicman pickup, positioned a little more forward from the bridge than a Ray. It has a 3 way switch for series, split and parallel, series is a big fat slightly edgey tone great for the rock covers we do, the split coil uses the rear coil of the humbucker and has a similar tone just a bit cleaner and brighter, the parallel is a clean tone with less mids. With the 3 band eq a lot of tweaking is available, I played throuh a Trace Elliot motion b preamp set flat into an Ashdown ABM600 again everything pretty much flat using the series setting on the bass and the preamp for minor adjustments for different songs the cab was a Laney 4x10 with Celestion Neo drivers. I was very pleased with sound I was getting, it was fat, powerful and smooth and sat well in the music and was easy to make small adjustments on the go. The black side dots are difficult to see on a dark stage so I will fit some luminlays For a bass that cost £299 the quality and spec are really quite amazing, I will use this bass a lot, it is an equal to my more expensive basses and the short scale is great for playability and the smaller pubs we play in.11 points
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I bought this in 1993 and gigged and recorded with it, but I've hardly played this bass in years so I'm putting it up for sale. This is, as far as I know, original. Someone said that it would have come from the factory with a black scratchplate but if you look at pictures of Kim Deal playing her identical bass you'll see that has a clear one too - I think it was the solid red painted ones that had the black pickguard but hey. It's well-worn. Plenty of dinks, bucklerash on the back but it all works really well and it sounds and plays amazing - last time it went to Bass Gallery for a setup and they said everything was good. Frets are in good nick. The volume pot has a slight crackle but it's sat in the case for months so a bit of use would sort that out I recon. Weight is just over 4kg according to my kitchen scales. Ideally you could come around to me in London SE14 to try it before buying. The price DOES NOT INCLUDE THE CASE as it's the only hard case I have but I'll chuck it in for an extra £75. I recently bought a new bass and have the big cardboard box so I can package it up very securely for posting but you'd have to arrange the courier and take the risk. I am not desperate to sell this, it's just that I have stopped playing 4-strings and have not played the 'Ray in ages so it's taking space and could be used by someone else. I asked the team at Bass Direct about selling it for me and they said they'd put it up at £1500 so I think £1350 is fair for a private sale. I'm not really interested in trades as I don't really want anything else but try me. I'm a weak man, but I have very little space for storage so big amps/cabs are not possible and I play 5-strings. Any questions just ask. IMG_4579.MOV IMG_4576.MOV10 points -
Well, no pictures (was I even there?) - we played in a local pub last night, it wasn't our gig, it was the drummers other bands gig, but their singer got a cold and she didn't want to sing - there maybe more to it then that, but not my issue. Anyway we could all do it so we took it over to not leave the pub without a band (and it is the pub we practice at). Easy enough setup, cramped but we have done it before so know our place, would be easier if the rest of the band didn't stand in the way chatting while I was setting up I thought I would mix things up - so I took the new rickenbacker, which shockingly only has 4 strings (at the moment), the XVive A58 and the XS-1 octave pedal, so testing everything I got recently. The XVive, perfect, no noise, no having to work around the noise the lekato that I had, absolute winner. The ric. Well, its ok, it wasn't cutting through that much, and obviously thee is the lack of string thing. I didn't realise how much I relied on the 5th string, so a few mistakes were made, quite a few on one song, but at least with brick in the wall, I played the whole thing an octave up with the XS-1 an octave down and it sounded pretty spot on. Some of the rest of the gig I played with an octave up, and mix down to give a bit of bite and it worked well. The second hand I went back to the Maruszczyk and it felt more comfortable and easier to get a good sound, I think maybe because the output is higher everything is set up for that, so the ric wasn't cutting it much. Still, it was nice to play, but I may leave it for the other group, where i can use it as a drop D bass, I think the loss of the 5th string is something that adds a complication gigging. Anyway, second half there were more people, more dancing, and everything went more or less ok, so pretty good, and actually ran out of time without realising it. Not a bad night, and we have another gig tonight, might try the same things, and see if I get the same result - maybe increase the input gain of the pedal.10 points
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I'm looking forward to this Saturday. I'll get a chance to hang out with a bunch of our local musicians. I'm glad we're going on first. It's a beautiful room on the marina in Port Washington. Daryl10 points
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Had our first gig at the Walthamstow Trade hall last night. Odd one. Great crowd, dancing all night. A few minor mistakes, and two big ones (singer couldn't pitch Valerie and stopped the song saying the bass player was in the wrong key lol). My IEM set up was problematic, but im glad i took a lot of extra gear to ensure I had what I needed. Hopefully going back next year.10 points
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I always suspected Julia Hofer was classically trained in some way, shape or form. Now I find out she's a Cellist like me. Interesting performance, too...9 points
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Bingo! “Bigredx mentioning Gus in a completely unrelated thread” was the last thing I needed for the Basschat bingo game.9 points
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My band played one of our two annual freebie gigs at the Globe in Somerton. We do these in return for them letting us use their functions room whenever we need to rehearse. Last night we were in the main pub area and as usual it got pleasantly crowded. Although all 4 of us are gig-hardened, the band is relatively new and it was good to feel that our improvement trend continues. The steps are small now but still satisfying. This turned out to be one of those rare gigs where you leave with such a buzz that you don't care whether you get paid or not. Everyone was up dancing - including the staff in between serving - and the whole place was bouncing. The sound of live music was pulling passers-by in off the street and the place was so full early into the second set that some folks who couldn't get in ended up dancing on the pavement looking in through the window (see pic). This was my first chance to gig my recently-acquired short-scale Wilcock Mullarkey and it delivered everything I had hoped for. Up there with the best in terms of playability, it sits perfectly in our 4-piece mix running through my Ampeg SVT-7 Pro head and LFSys Monaco FR/FR cab, even managing to cut through the powerful lows that our guitarist's new Strat puts out. Another important bit of kit in delivering this 'heft with definition' is the Always On HPF I recently got from Broughton Audio in Canada. My amp delivers 600w into my 600w-rated cab and I got the HPF to protect the driver from potentially damaging low frequencies. Much to my surprise, I find that this tiny box of tricks does as much for my tone-shaping as my bass and amp controls. Shame they don't sell in Europe but luckily I was able to get mine via a contact living in Canada. Fitting in musically and socially with the band, making good equipment choices, learning new stuff, connecting with the punters, improving my own performance level ... there's so much to being a gigging bass-player. I found it intoxicating when I started playing 50 years ago and I still do.8 points
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Well I did it! We went to view an AH300 tonight. I took my fretless jazz to try it and it sounded fantastic! Lovely condition, and it came with original manuals, sales receipt and the pedal board. Flippin' heavy though. Sadly my partner bought it for me for Christmas so no playing with it for a few weeks. ☹️ I have a couple of questions - did the 15" cabinets not have Trace Elliot badges? There's no sign it ever had one. Also the electro fluorescent front panel doesn't work, the seller said he thought it was deliberately disconnected, so that's something to look at. Any suggestions where to start with that? Anyway thanks for all the advice and opinions, I'm very happy with it! 😊8 points
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Selling my Super J Its passive with 3 pickups and a pickup selector switch and tone control. Sounds incredible and obviously a dream to play, great condition with just a tiny mark on the top of the headstock. Comes with the Dingwall case. No trades8 points -
Now about half way through. Holes and battens done. I've glued two sides and the bottom. Its now clamped very tightly. These are clamps I use from making the guitars, never thought I'd use them for real wood working. The only reason for stopping was the temperature was falling rapidly and the glue was thickening. So took the whole unit inside the house overnight. Not allowed to do things like this inside the house. Somewhat surprisingly most of the panels seem to fit. Not sure what happened there, normally I'd be out by 10mm or more Its pouring with rain here, enough for waterproof trousers, so I can build and glue in the garage (assuming it's above 5C) but that's it.8 points
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10CC are one of those bands that were so high profile during their time, but have been kind of air brushed from history subsequently. I remember well how important they were in their heyday, but they are seldom cited as an influence by musicians nowadays or feted in the mainstream media for their extraordinary talents. I think a lot of that has to do with 10CC being an unapologetically clever band. In their own way, they were a kind of Mancunian Steely Dan. Every track was an art project, and they tried to be playful and provocative with the pop music medium they were working within. Therein lay their downfall, because particularly after punk rock happened anti-intellectualism became the only acceptable stance for critics and the listeners they influenced. The fact remains however, that 10CC were a very popular mainstream band in the 1970's, just like ABBA and ELO. They had UK Number 1 singles when that was still a big deal. They were ever-present on radio, regularly on television, did big live shows, loads of people liked their music and bought their records. 10CC wrote great songs that really connected with people, not surprising if they've got people a songwriterwith pedigree like Graham Gouldman in the band, and they definitely deserve to be rediscovered and given the credit they deserve.8 points
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I've been dreaming of picking up the double bass for a long time, but had been writing it off for various reasons. So imagine my surprise when my wife organised this for a big birthday this week! Currently renting for a few months to see if we can live with it, but I now can't imagine a world without DB... it's so addictive and rewarding! It seems playing cello as a kid, and fretless bass for a long time has helped get me started, but there's so much to learn!7 points
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A day using the spray booth and I think I’m getting better lol. Walnut, Paulownia and Sapele.7 points
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For sale Nash 1963 Body Wood: Alder Neck Wood: Maple, Fingerboard: Rosewood Frets: 20, 6105 Nickel Nut Material: Graphite Self Lubricating Nut Width: 1.5" Neck Shape: Medium C Shape - 10" Radius Bridge: Vintage Traditional w/ Steel Saddles Headstock: Vintage Correct Tuners: Gotoh Vintage Pickguard: 4 Ply Tortoise Shell Electronics: Volume, Tone, (250K CTS pots Sprague Orange Drop capacitors, Switchcraft Jacks) Knobs: Aged Pickups: Lollar Handwound Finish: Nitrocellulose Lacquer Case: Gator Hardshell Case price : 1950€7 points -
Fender American Vintage 1958 Precision Bass. Serial number V1309879 - very good condition, a few scuffs/scratches/dings as to be expected. Three Tone Sunburst. Had this set up by a very experienced guitar luthier recently, so everything is as it should be, including new strings. Comes with all the case candy as shown in the picture, the case is in very good condition too, but there is no strap included. The first American Vintage series ran between 2012-2017. I bought this in roughly 2015. Selling as I've just got myself a custom shop!7 points -
As promised, photos of my new graft 4 J type which was delivered today from Alan. It’s a beauty!7 points
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Should you have 24000 € burning your pocket, it's not a delirious price for an original 1955 Fender Precision Bass in excellent condition and owned by Jean-Marc Haroutiounian (born in 1964, so he can't be the first owner), a French professional bass player known for his work with Michel Sardou. That said, it's at 22000 € on Reverb, meaning he certainly will accept the price they retail for, which is around between 15~18000 € depending on its condition. The ads are here: https://www.zikinf.com/annonces/annonce-2396807 Fender Precision 1955 - Sunburst https://reverb.com/item/881473307 points
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4 pages in and no one has said you need more than just one P bass - one with flats and one with rounds. You're slipping basschat, up your game. 😂 I was against P's for ages, just because they're a bit standard. Then I got one for a blues band and it just clicked, they sit in the mix pretty perfectly without much faff. I've now got 2 and am eyeing up a 3rd 😂7 points
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I managed to get some workshop time in today, and scrubbed the Tolex clean (well, cleaner, at any rate). Then I was able to connect the speakers, screw them in and replace the grille, which I'd cleaned with a carefully-applied pressure washer. I hooked it all up to two different amps and tried it out; oh my goodness it's loud! I also noticed that it made the differences between each amp very apparent, so I'm happy about that; it also gave a lot of definition in terms of the tone and volume controls on the (cheap plywood) bass. So far I'm very happy with it. Thanks once again to everyone who chipped in with advice etc; I'm looking forward to getting it into the practise room on Tuesday and giving it a workout. Cheers, JRK7 points
