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Showing content with the highest reputation since 25/03/20 in all areas

  1. 13 points
  2. 9 points
    Modern singlecuts..... Euuurrghhhhhh...... Bodies like toilet seats *cough* MM Bongo *cough* Multi-string 'basses' that have more notes in the baritone,treble, alto & soprano range than actual bass notes available
  3. 9 points
    For sale is a three week old Fender Roadworn JMJ Mustang in the newly issued black colour. It has been played probably for less than three hours, so is in factory fresh condition. It comes with the padded gigbag, replacement black pickguard, tags and labels etc. This was opened in the store for me, so wasn't even on the hanger when I went in there! These retail for £979 new. I'm seeking this three week old one for £850 and will post for an additional £25 insured.
  4. 7 points
    Dear fellow Basschatters, these are crazy times: For this reason I've made my latest book available for the next few days as a FREE kindle download. Follow the link to access it. Hope this helps. Stay safe. https://www.amazon.co.uk/dp/B085PV6MGK/ref=cm_sw_r_cp_awdb_t1_km0FEbQZ1JTGM
  5. 7 points
    Selling my Devon Classic Generation 4 Plays like butter and sounds even better. Here are the specs: Specs Model: Devon J5 Classic — Gen 4 Body: Chambered Ash, rear-routed Top: Quilted Sapele Pickguard: Clear Acrylic and cream pearloid Neck: Graphite reinforced 3-piece Maple Number of frets: 22 frets, 35” scale Fretboard: Rosewood Headstock overlay: matching body Finish Body and Neck: Satin nitro finish Hardware color: Black Bridge: Hipshot A, Aluminum, 19mm Tuners: Hipshot Ultralite, 1/2” posts, lollipop Strap Buttons: Dunlop Pickups: Nordstrand: DC5 set with single-coil, series and parallel coil-tap switches Electronics: 4 knobs: Nordstrand 3b with stacked volume/tone, pickup blend, stacked bass/treble, mids with mid-frequency push/pull, active/passive switch. Nut: Bone Weight: 9lbs 10oz
  6. 7 points
  7. 6 points
    With Tom's African Bass Mk2 getting pretty close, it's time to start thinking about the next full build. And I'm a bit excited about this one. But first, the sack-cloth and ashes stuff. "I solemnly swear that I will try to concentrate on the true and original instrument, that is called Bass (hallowed be its name), and I confess that I am a weak and miserable sinner to even contemplate drifting to the dark side but... "...but, heck! This is going to be FABULOUS!!!!!!!!!!!" Does anyone remember this SG-influenced neck-through build I did a few years back for one of our band members, Pete? : And those with REALLY long memories, anyone remember this own-design I built for myself in Yew? Well, both guitars are still in use. Pete & I are still playing (or were until the recent lockdown!) - him lead and me vocals & sax. And at one of the places we regularly play, another player - Matt - has started making pickups. And for his first attempt at humbuckers I offered the Yew guitar above as the test bed. So Matt has been playing it for the past few weeks. Matt has drooled over Pete's SG for some time. But he was also a bit bowled over by how good Yew can look once it's been carved and varnished. So the new project is an SG-style guitar made for Matt....made with a Yew top. And I just happen to have a book-matched set that has been languishing in my shed for years : And I'm excited because - although you have to be very careful routing and sanding Yew because it is pretty poisonous - I found it a nice wood to work with...and this is going to look FABULOUS And, let's face it, it's not like I'm going anywhere else over the next few weeks...
  8. 6 points
    It’s all about connecting what you see when you’re playing to how it sounds. The more complete that connection, the better you will improvise. It’s not a book recommendation but here’s my tips from (now past 30 years, playing, that came as a shock when I counted!) You need something to improvise over. Jamey Aebersold play-alongside, loops from something like GarageBand, (I was going to say other musicians but that’s out!) because when you start it’s vital to hear how the notes you’re playing sound over the chord. Start building a library of licks. Many musicians turn their nose up at licks but these are the building blocks of improvising and are valuable pointers to melodic ideas. Develop your ear. A wise person once said “you’re paid to think fast, not play fast!”. This ties in with the first point of relating what you’re hearing to what you’re playing Be specific and structured when practising. It’s all to easy when you start improvising just to noodle, which may sound good in isolation but over a proper piece of music it rarely works well. Take a basic standard or a blues and improvise using only two notes. Get as much mileage as you can out of those two notes. The move onto just chord tones (and be disciplined to stay only with chord tones, it really forces you to know what the chordal harmony looks like on the bass If you hit a note that sounds bad, stop. This seems counterintuitive as when performing you’d never stop playing if you hit a bum note. This is practising and you need to explore why that note didn’t work in that context. Then work out how you can make it fit (every note can fit somehow!) Take melodic idea you like and work them out. Transcribe if you can read/write, or just do it by ear. The most important thing is to learn how to play the idea freely. Then see if you can adapt that idea to a different chord or progression - the beauty of improvising is that often just changing one or two notes in a line will make it fit over a completely different chord. Avoid starting ideas on the first beat of the bar and the root note of the chord, at least when staring out. Bass players are hard-wired for root-5th so you need to break out of that mindset as most melodic content is nothing like a bass line - unless it is a bass line, of course! As you get better, try playing ideas that go through chord changes. A sign of a less accomplished improviser is someone who stops each time the chord changes. A good exercise to develop this skill is the continuous scale exercise: start at the lowest note that first the first chord, then play 4 notes per bar/chord. When you get to the second chord, keep ascending and go to the next available note from where you are (it’ll be one fret or two frets). Keep going until you run out of notes, and go back down again. It forces you out of the root on the one mindset, too. Conversely, develop ideas that have wider intervals. Many bass players tend to play very scalar lines, one note aft the other, whereas more interesting ideas have larger intervals. Practising exercises using thirds, fourths, fifths, sixths and sevenths, especially if you start inverting pairs of notes e.g. in C, play a descending major 3rd on (E, C) followed by an ascending third in the next scale tone up (D, F) and repeat: E, C, D, F, G, E, F, A, B, G, A, C, D, B, C, E and then back down again starting from the same high E. Develop phrasing. This means singing an idea and playing it. Try taking a breath between phrases - if your struggling to breathe then the phrase is too long. Think of it as a conversation rather than a monologue! Learn some Charlie Parker lines. You can take an 8 bar solo from a standard and it’s like study in its own right - he came up with so many great melodic lines, and you’ll get a thorough grounding on chord tone playing plus bebop scales and chromaticism (again, it doesn’t matter whether you have any theory knowledge; it helps but it all about the sound of a line) If you really don’t like a style or genre, don’t bother with it - use your valuable practice time on stuff you do like. Quite a bit above references Jazz but much of it applies regardless of style. Remember however there are little gold nuggets to be had in any style Finally, start slowly and precisely, don’t rush playing or fudge the timing. You can play a wonderful solo with just a few notes and impeccable timing and feel; but it’s all to easy to be too busy or vague rhythmically, and even good melodic ideas will fall flat. Less is more! Hope this helps!
  9. 6 points
  10. 6 points
  11. 6 points
  12. 5 points
    Next job - use the template to cut the pickup pocket (after carefully measuring to make sure it was central and square). And check again before cutting...
  13. 5 points
    This one. Bought new in '88, been with me ever since.
  14. 5 points
    I can say that I am so hooked by this MM modell, that everything about me playing the bass gravitates towards the two Bongos I earn. I played and earned grat basses and (in all honesty) better basses in terms of feel and craftmanship, but... you know, the bongo has a spell on me. I was curious if ther's anyone who like these instruments as much as I apparently do. Let's start a chat. Thanks!
  15. 5 points
    Got a magnifier for my iPhone so for a bit of fun I thought I’d have take a few close ups of my flats, first we have some super smooth Dunlop flats (which I like very much) then some TI flats which are about a month old, o was surprised how wide the windings look close up, and how much gunk is already in there, then some super smooth DR Legends, then Rotosound Jazz 77s, interesting how you can see the tool marks on these...
  16. 5 points
  17. 5 points
    My new MusicMan Cutlass. Sounds, feels and plays fantastically well
  18. 5 points
    It's been a productive day. Amazing how much you can get done when you are ordered by your Prime Minister to stay at home. And it's amazing how much you can procrastinate about the decorating when you know you probably have thirteen more weeks of the same (so its rumoured) with a guaranteed no-one coming to visit in that time for any other reason than one where the decorating won't really matter anyway... Got the Yew and Sapele to their final thicknesses, the Yew cut out and also found a 6mm splice of Purpleheart for the neck! Here's the Yew, ready for final jointing (that will be just a skim on the handplane) and gluing together: Those who have seen my previous build threads will know that I'm a bit weird in that I will file and sand the top to its final outline and use the top itself as my routing template for the body once it has been glued on. My logic (and remember I simply tell you what I do and absolutely not that this is how it should be done) is that way, for the finish rout of the body outline, I don't then have to let the router blades go anywhere near those decorative horn tips because - for me, at least - that is the road to misery Tomorrow's job will be to assemble and glue the neck blank...
  19. 5 points
  20. 5 points
    I forgot about this site! David Neely (Hollywood) did this refinish, for me. Lake Placid Blue fretless Yamaha BB5000 (1987 Taiwan). I have two white MIJ BB5000s.
  21. 5 points
    One of my hundreds of happy songs and posted here because I was listening to the album earlier tonight.
  22. 5 points
    Love the shape of a thunderbird headstock with its gorgeous trim.... And I've heard them get some stick on here, but I'm also a fan of the g&l headstock......
  23. 5 points
    Sister had to get clippers out as barbers closed, came out ok i recon
  24. 4 points
    Or aesthetics in general, for that matter.
  25. 4 points
  26. 4 points
    Branding on the body. Sandberg make some nice basses but those four dots mean I will never own one. And perhaps more controversially, tortoiseshell scratchplates. I always assume people like them because they invoke a particular era, because visually they make no sense - especially on a sunburst - gross! Highly subjective of course! Edit: I just thought of another one: those big long single cut bodies you so often see on higher end basses. I realise this one is not purely an aesthetic choice, but a horn does the same job, surely?
  27. 4 points
    Also cough. The only 4 string I'll ever need. NYC Will Lee. The longer I've had it the more I love it. The Will Lee switch adds a lot of extra mid punch and tonal options to the bass.
  28. 4 points
    The theme from Minder. Not cool but love it. (Dennis Waterman wrote the theme tune, sang the theme tune)
  29. 4 points
  30. 4 points
    I’ve decided that I’m going to do another neck thru build with a slightly different body shape I’m thinking of doing an Ice Tree Veneered top on it left natural It’s probably going to be Sapele neck and wings again possibly stained black I haven’t decided as yet I’m thinking black hardware would look best and maybe an ebony fretboard???🤔
  31. 4 points
    My 2013 MIJ Mustang is the one I pick up to noodle. It’s featherweight, sounds really loud unplugged and means I can wonder around the house without smacking into doorways. Its my only short scale bass but I find it very playable and comfortable. I never liked the dark tort guard so swapped it for a white one and I’m happy now (important consideration when playing at home as i constantly keep glimpsing myself in mirrors and windows!)
  32. 4 points
    Just joined this forum and wanted to say 'hello' to everyone! I'm a late starter at this game - always wanted to learn bass but never got around to it until now! At the moment I have a short scale Harley Benton (sometimes you think you might like to learn something then discover it's not for you - didn't want to spend too much to begin with), but I like the Sire Version 2 Marcus Miller P7 with its precision body and thinner jazz style neck. I am learning with a pick at the moment, but think now after a few lessons that I'd like to learn to play without the pick too.
  33. 4 points
    Officially the happiest song of all time.
  34. 4 points
    Today I got my tiny, tiny, tiny Genzler combo delivered. I just had to put it on top of my Genzler BA 12-3 Slant cabs, but it won't sit there. Oh no! My plan is to use it with my upright bass (and electric for small gigs) instead of using one amp and a two channel preamp for electric and upright. One rig for electric and one for upright, no fuss... Anyway, it is kind of cute... It is really small... 😋😋😋
  35. 4 points
    You make him sound like a fluffer! 😂
  36. 4 points
    Agree. For some reason though I only like this format on Stingrays, on other basses it just looks wrong to me.
  37. 4 points
  38. 4 points
    You had me worried there, I thought it was Bono doing a coronavirus charity record or something.
  39. 4 points
    This is my main gigging bass these days an Alembic Europa. All maple body with maple and purpleheart neck and ebony fretboard. A really versatile bass and a pleasure to play .
  40. 3 points
    Seem to have acquired another that needs some love and attention. Lockdown project it is then. Anyone got a scratch plate? 😂
  41. 3 points
    Any pretend Fenders - that is, basses with all the features/shape of the original but not. Appreciate they may be better built / higher spec / more upmarket / expensive / boutique, but just make the whole thing more original. I’m looking at you Sandberg, Sadowsky, Lakland etc etc.
  42. 3 points
    Theme from Stingray, Thunderbirds,Super car,The Munsters, Addams Family,Beverley Hillbillies etc. Guess how old I am.I know not cool track s from cool bands but clever catchy tunes never the less.The good old days when all we had to worry about was what time the ice cream man/lady was turning up. Oh and Rickets, diphtheria Ringworm Measles, but no Corvid 19. Strangely though as a child the whole world was put to rights with the sound of music from a Warner Brothers cartoon intro or the famous 1960's version of Batman. Sorry if this doesn't quite fit the original post just feeling a bit nostalgic whilst on lockdown. Stay safe folks.
  43. 3 points
    Ooh, I won the day. Yay me! Do I win £5?
  44. 3 points
    I suppose that's down to the individual. I had a few one to one lessons a few years ago and absolutely hated it. For me it was a total waste of time and money. It just felt really awkward and I really didn't take anything in. I personally learn much better from online tutorials where I can rewind and restart the video as many times as I want, and learn at my own pace, in my own time, without feeling like in being watched or examined. I highly rate Mark from Talking Bass. For me his lessons are the perfect balance between pushing you along, and breaking things down into bite sized chunks. Plus they're excellent value for money. I'm not taking anything away from one to one lessons or tutors, but everyone learns differently.
  45. 3 points
    What am I doing... GASing for the same bass I’ve been gassing for for a while ... 😤
  46. 3 points
    Indeed! I much prefer the look of a ‘paddle’ headstock and dislike small pointy ones. I know it’s a bit lame to show your own here but it wasn’t until I noticed how the ‘V’ logo fits with the shape of the headstock (particularly the top) that I realised how nicely it’s designed. The ‘scoop’ also mirrors the shape of the horns of the body. Clever and nice looking imo.
  47. 3 points
  48. 3 points
    Normally when you try and compare two basses people say 'yes but different woods, different finish, different fingerboard etc make more difference than the pickups' So here's a way to show how the 60's and 70's spacings sound very different ON THE SAME BASS! Sadowsky have a pickup with switchable 60s and 70s spacing. Watch this vid. The text is wrong, but the first sample is 70s, the second is 60s and finally a parallel mode. As you can hear, the positions sound quite different!
  49. 3 points
  50. 3 points
    Played a gig years ago In Islington. Loud band - two guitarists. Was about to load my Markbass head and 4 x10 into the van before we left and my guitarist told me that the promoter was supplying ample backline. Turned up to one of these........

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