hiram.k.hackenbacker

I think I would have carried it around the corner and sat on it in the shade whilst I waited for a taxi. Good find tho 👏

1 hour ago, Nibody said:

I still have it though sadly rampant spondylosis means it’s a case queen sadly. Bloody nice bass too.

Yeah, it's a nice bass that one. Sorry to hear you're not able to play it at the moment.

1 hour ago, dmccombe7 said:

Best move i ever made. Few things make me say that.

 

Pros :-

1. i never get any interference.

2. it doesn't affect my tone

3. transmitter battery is charged via USB either from mains or any other source. Receiver is mains powered.

4. simple to use, literally plug and play, its honestly that easy.

5. built in tuner saves setting up an additional pedal.

6. battery can be charged any time in its cycle, can be used direct from box. You don't need to fully charge first or run flat and recharge several times.

7. if for any reason Tx fails or battery runs flat, the pedal has a jack input you can use and still have the use of the tuner.

8. i get approx 10-12 hrs use from the battery

9. if you forget to turn Tx off it automatically switches off after 1 hour if not being used.

10. it transmits 3 frequencies at same time and if the selected one fails or picks up interference it switches over fast enough you wont hear anything.

 

Cons :-

1. cable from Tx to bass is very thin and may get damaged after a few yrs of use. I intend buying a spare cable.

 

I plug it in and totally forget about it to be honest. Its also built like a tank both pedal and Tx. Its just the small cable thing that lets it down a bit.

One other personal opinion i didn't really like the belt / strap clip but i was always gonna use my holster that's fitted to my strap.

Highly recommended IMHO

 

Dave

Another +1 for all the above. I had two angled jacks cables made doe the transmitter before I even used the one that came with it. Made by OBBM I believe, before he stopped doing them.

46 minutes ago, joeystrange said:

@dmccombe7 I’m considering getting the GLXD16+ in the near future. Just wondered if you had anything to add to your initial comments after a couple of months of use?

Get one. You won't be disappointed.

I've found the clips on the transmitters to be very solid indeed, although I don't clip them to a strap, I clip mine to my belt or back pocket. Never had it come off yet.

38 minutes ago, cetera said:

Monkey Music?

I think they were in Victoria Road as I recall. The studio we used (The Whopping Conker) wasn’t far from that on the other side of the road.

I've heard her sound an awful lot worse than that IoW clip.

** PRICE DROPPED TO £2250 **

ALSO, IT IS LIKELY I WILL BE COMING TO MAINLAND EUROPE SOON, SO IF ANYONE NEAR BRUSSELS IS INTERESTED, THEN I COULD BRING IT WITH ME.

I was one of a few on Basschat that pre-ordered this limited edition model after @cetera (a Spector endorsee) instigated it's production in early 2022.

The original options for finish were black gloss, white gloss and tobacco burst.

Gary kindly looked into getting some made in my preferred finish of Ultra Violet and Spector agreed.

Here is the Basschat thread regarding the Euro X.

I believe there are also some photos in the Spector thread.

There are only a few of these in existence in this finish (and I mean low single figures) and they sold out immediately.

I ordered it so that I could have a something for a hair/metal type band that never came to fruition, so it has not been used.

I now have some other projects on the go which means this is unlikely to see the light of day.

This bass has not been rehearsed or gigged. It is as new as the day I received it.

It comes with a Spector branded gig bag and it's adjustment tools in a white envelope (still sealed).

I also have the Spector box it was delivered to me in.

The finish on the bass is stunning and really awkward to capture due to it's mirror like properties. I've done my best.

Specification:

• Body: Maple - Refined X shape
• Top: Genuine Figured Maple 
• Neck: Maple 
• Nut: 1.64” 
• Fingerboard: Rosewood 
• Headstock: Black
• Inlays: MOP Spector Crown
• Frets: 24
• Scale Length: 34”
• Radius: 16”
• Hardware Colour: Gold 
• Bridge: Spector Locking Die-Cast
• Active Tone Controls: Spector TonePump (which is adjustable via a trim pot)
• Controls: Bridge Volume, Volume, Treble Boost, Bass Boost
• Pickups: EMG P.J
• Easy access battery compartment
• Weight: 9lb

Collection would be preferred or delivery via man with a van can be arranged. I don't want to send it via any of the horror story couriers.

42 minutes ago, Eldon Tyrell said:

Hope you will find a buyer here in the UK. I recently sold a Stingray Timmy C to a buyer in the US. Well, the local depot here in the UK wanted to know if I had a CITES license. I could convince them that there was no need for one. I also had to send them the commercial invoices again as they somehow had managed to lose them. I only found out about the "missing" commercial invoices after checking the tracking info online where it said that they were waiting for the forms and that they had contacted the seller (i.e., me). Well, they obviously did not contact me and I had to chase them up. 

Then the US counterparts asked me to fill in a toxic substance control act declaration (TSCA, I guess because of the fretboard glue!), a manufacturer's affidavit (actually this should have been filled in by EBMM but I put in the info myself and I also attached the original invoice from EBMM. Interestingly, after some googling I found out that a manufacturers affidavit is normally used for shipments over $10,000.00. Well, the Timmy C is a great bass but not not THAT expensive ; -), and a foreign shipper declaration. The buyer was also asked to fill in an import declaration and a TSCA form (importer single entry). Looks like these checks came into place as the bass returned to the US where is was made and because the value was above $2500. All in all a lot of hassle, costing me time and energy. So, in short, my advice to you - if someone from the US wants to buy one of your bass that was made in the US (like your Old Smoothie) and that is worth more than $2500 (yours would be slightly below that threshold but I am not sure if shipping costs are part of the value, which could potentially get you over the threshold), then kindly decline it (unless you don't mind filling in several forms and spending lots of time emailing custom officials and people working in depots ; -).  

Yep, been there. Not an experience I'm in a hurry to repeat.

24 minutes ago, NancyJohnson said:

 

Possibly not...it's 10gb.

 

You sent me the live one.

I’ve only got a few. Zappa and Alice Cooper. It’s definitely an enhanced listening experience for me.

I really should look into other artists/titles. Would love to hear Seeds of Love in multi channel.

Which basses do you consider to be your ‘good sounding’ ones?

1 hour ago, neepheid said:

Do you have to understand?  I hope it doesn't keep you up at night.

Not at all. It just makes no sense.

There is an inherent risk in having only one bass with you at gig. We could debate the level of that risk at length, but I think most would agree there is an element of risk.

That risk can be mitigated against with the type of gig. You could probably get away with a quick string change in pub, but that may not extend to getting the test meter out and then the soldering iron etc etc.

You could also argue that if it's a multi-band event, if your bass goes down, there will be others there that could dig you out of a hole. Although judging by the 'would you lend your gear' threads that pop up here from time to time, I wouldn't bank on it.

To me, the 'I've never broken a string' argument always seems similar to 'I've never had a puncture' whilst driving a car. We all know it can happen, and it rarely does (although I've had two this year already - both potholes - £350 each time), but you would be a bit silly heading out without a spare (although I don't carry one as they're all run-flats, hence the £350 a pop).

Going back to my original post. You're playing a theatre gig where several hundred people have paid £20+ quid for a ticket and there are no other bands on the bill. For whatever reason, your one and only bass goes non-functional mid-gig. What do you do? The feeling of dread that it may ever happen is (almost) completely removed by having other(s) to hand.

I haven't read all the posts here, but it seems to me that those who have had the unthinkable happen tend not to want to have that experience repeated and those that haven't seem happy to let it happen.

I sincerely hope those who have never had it happen don't experience it, because when it does, it can be horrible.

4 minutes ago, Supernaut said:

You OK hun??

Yes, I’m fine thanks for asking.

I just cannot understand why, if you people have more than one bass, why they wouldn’t take it.

2 minutes ago, Muzz said:

Can we have Dead Battery, or does that fall under 'Electrical Fault'?

I think that comes under ‘operator error’. Give yourself a slap upside the head 😂

@Dan Dare you’re going to have to tell your band they are wrong.

Follow where the singer is going.

I’ve had more amp problems over the years than bass problems, but the few I’ve had with a bass would have been disastrous with no back-up available.

My head just does not compute why you would not take a spare with you if you could.

The one that sticks in my mind is one of the soldered joints on the jack socket on one of my J basses came apart.

However fastidious we are about checking our instruments, I think most, if not all, would have struggled to foresee that happening.

13 hours ago, Supernaut said:

One. I've never broken a bass string in 20 years of playing. 

Well, I wish you the best of luck continuing your record, but for those of us that have had something go wrong (and it's not just strings), I can assure you that once it does, you'd be a fool not to rethink the back-up plan.

Of course, the degree of foolhardiness is dependant on the level of gig. I'd look pretty f***ing stupid as the bass player at an 80's theatre gig (as I often am) where there is no support (therefore no other bass players/equipment) and my bass went down for some reason. The only option, without a back-up, would be to stop the show and attempt to rectify it. If I can't, the show is over.

A yardstick is, would @cetera turn up to a Leather & Lace show without a back-up. No, I don't think he would.

If you're happy attending the occasional jam night or some other gig where there are several other basses, yes, you can mitigate against that risk, but it's not really in the spirit of the bassist role IMHO.

3 hours ago, Linus27 said:

1978 to 1989

 

Start with The Police releasing Outlandos d'Amour in 1978 and then moving through into the 80's with early U2, Simple Minds, Madonna, Tears For Fears, New Order, Duran Duran, Talk Talk and finishing with New Order Technique.

 

Highlights being,

1978 - The Police Outlandos d'Amour

1979 - The Police Reggatta de Blanc, Supertramp Breakfast in America, The Clash London Calling, Joy Division Unknown Pleasures

1980 - U2 Boy, The Police Zenyatta Mondatta, 

1981 - Duran Duran Duran Duran, The Police Ghost In The Machine, U2 October, OMD Architecture & Morality

1982 - Simple Minds New Gold Dream, Duran Duran Rio, Michael Jackson Thriller, Prince 1999 and

1983 - Madonna Madonna, Tears For Fears The Hurting, The Police Synchronicity, U2 War, Heaven 17 The Luxury Gap

1984 - Simple Minds Sparkle in the Rain, Sade Diamond Life, U2 Unforgettable Fire, Madonna Like a Virgin, Thompson Twins Into the Gap, Howard Jones Human's Lib, INXS The Swing, Bryan Adams Reckless, Talking Heads Stop Making Sense, Prince Purple Rain, Frankie Goes To Hollywood Welcome To The Pleasure Dome.

1985 - Inxs Listen Like Thieves, Simple Minds Once Upon A Time, Talking Heads Little Creatures, Sade Promise, Sting Dream of the Blue Turtles, Aha Hunting High and Low, Tears For Fears Songs From The Big Chair, Dire Straits Brothers in Arms

1986 - Talk Talk The Colour of Spring, Peter Gabriel So, Queen Its a Kind Of Magic, Janet Jackson Control, Paul Simon Graceland, New Order Brotherhood, Pet Shop Boys Please, Bon Jovi Slippery When Wet, The The Infected

1987 - U2 Joshua Tree, GmR Appetite For Destruction, Pet Shop Boys Actually, John Mellencamp The Lonesome Jubilee, The Smiths Strangeways Here We Come, The Cult Electric, Inxs Kick, Marillion Clutching At Straws

1988 - The Sugarcubes Life's Too Good, U2 Rattle and Hum, Tracy Chapman Tracy Chapman, Talk Talk Spirit of Eden

1989 - New Order Technique, 

Erm. That’s 12 full years of music.

13 hours ago, How1 said:

If you had to pick one, what would it be? Not necessarily 60s, 70s, 80s, 90s specifically - just a 10 year period that you’d pick for really good music. 

 

I’d say mine was 75 to 85. You’ve got punk/post, the birth of rap, new wave, some really good 70s rock, stuff like The Blockheads, electro, roots reggae…the list goes on. Pretty interesting times.

I’ve had the same conversation with Mrs.H recently and ’’75 to ‘85 was almost exactly what I chose (although you’ve nabbed an extra year there rather than a decade 😎). I went ‘75 to ‘84 and it captures some great artists for me, from the end of Gabriel’s tenure with Genesis to Frankie’s ‘Welcome to The Pleasuredome’. Then there’s punk, a good chunk of disco, the birth of electronica and some absolute classic rock. Also covers my first ever gigs, the classic Motorhead line-up (although I also love Phil & Mikkey), the heyday of Rush, Zappa in his prime….I could go on.

The thing is, having watched the gig, what was going on in the crowd and the weird reaction of Kerr didn't quite marry up. There were pockets of crowd that seemed properly into it at times, just not necessarily all of the crowd all of the time. That's what you get on a multi-band, you're never going to please all of the crowd as they're there for different reasons. In fairness to them, Thatcher did seem to want to make the effort with the crowd, although I can't condone his apparent alcohol abuse in front of a family type audience. I think they'll look back at the Dundee gig one day and realise they could have handled it far better.

1 hour ago, Rayman said:

Some years ago I saw Andrew Levy with Brand New Heavies. He was using some kind of active jazz type of bass for a few songs, but it just wasn't holding up the low end. A few songs in, out came the Precision and boom, there you go, instantly better. Just got me wondering, if something that sounded great in a small room might not always work in the sheds?

Sounds like he forgot to change the amp from passive to active.

I keep coming back to look at this. I don’t NEED it, but it sure is purdy!

I wouldn’t say I dislike any of their material, it’s just I find they are a bit of a one trick pony. The fact that Mike Kerr is essentially doing everything apart from the drums doesn’t allow for much variation from what he’s playing. Quite limiting IMHO.

I’ve not seen them myself, but they came on with a bit of an attitude IMHO….

https://www.bbc.co.uk/events/ed8wxj/play/p0fctznf

34 minutes ago, borntohang said:

In mitigation, RB are about to start a headline arena tour this week. Having been in the same position where you're about to do your biggest ever shows and then bomb in front of somebody else's midday festival crowd I can at least sympathise with them being tempted to throw a small paddy. I got on with it though because I'm a professional (and also was getting paid my session fee either way). 😜

I have no sympathy with them whatsoever. You get on stage and perform to the best of your ability and be thankful for it every time.