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dangerboy

⭐Supporting Member⭐
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Everything posted by dangerboy

  1. As someone who plays a thru-neck aluminium bass (and sometimes an all-aluminium hollowbody) I can assure you that materials make a big difference to sound. Pickups, string etc are more important, but there are certain sounds you'll never get without the right wood/metal.
  2. Pots come in two shaft sizes - metric is 6mm and imperial is 6.35mm. I often try and put the wrong knob on the wrong type of pot. Axesrus carry both types and will tell you which is which before you buy.
  3. Anyone fancy a nice bit of analogue delay in a snug little sparkly green case? The pedal's in great condition, and the paint looks untouched. I'm not sure why it looks like there's a scratch in the picture. There is no scratrch in real-life! The only downside is some ugly velcro and glue (from previous crappy velcro) on the bottom. Comes with original box and box candy. Looking for £80 collected (from London) or £85 posted on this one.
  4. Jag on hold for ahpook, then.
  5. I thought that in at least one of my three new bands I would be playing guitar. Turns out that I need to play bass in all of them. So why have I got these bloody guitars? First up, an Indonesian Squier Tele Custom in black. Plays well, looks good. Few minor marks but nothing to get upset about. Looking for £110 collected or £125 posted for this one. Second a Japanese Fender Jaguar in sunburst with a red torty plate. The serial number places it as a 96-97 model. Fitted with Seymour Duncan Quarter Pounders front and back for glorious tone. A few more scratches than the Tele, but again nothing that anyone but you will notice. Comes with the fitted DiMarzio quick-release strap. I picked the scratchplate up second hand to replace an original that a previous owner crudely painted white, and it has two screwholes in weird places. I haven't used them, because I didn't want to drill any holes in the body. ON HOLD. I'm in North London, but work in Central London, so I'm easy to meet for handover.
  6. SOLD!
  7. Why don't we put on a London basschat originals gig between us? I have a couple of friendly venues, and I'm sure others do too. Let's cheer these guys up!
  8. What do you sound like? Good London gigs are put on by bands, and are in specific genres - they're not pay to play and some people you don't know who are into your kind of thing will be there. That's the kind of gig I try and play.
  9. I wouldn't rule it out completely. I like to play the odd gig like this, to tighten up our live performance, to meet new people, and because I quite like antagonising people who weren't expecting a band like mine. I guess the important thing is to manage your expectations accordingly.
  10. I reckon you'll just be playing to your mates, then. Looking at some of their previous gigs, it's hard to see much curation to get bands that work together (in order to build a crowd that stays to watch all the bands). Here's a typical line-up: XYM aka Da Yorkshire Rapper (hip hop artist with a Yorkshire flavour) Outcry (pop) Tranquilizers (fragmented pop with depth and energy) Tarantula (dub Reggae/Hardcore)
  11. You tell us the promoter and we'll tell you if it's a good idea. Lots of 'red flag' names to watch out for!
  12. Sorry, no case. It fits in some standard gig bags, just about.
  13. Still here - price now cut to £130 with single-coil pups. £100 if you want the originals put back in.
  14. BIG MUFF GONE. Pulsar still here.
  15. According to G-K the only difference between Backline gear and their normal gear is the country of manufacture, so theoretically this should sound fantastic and be built like a tank. YMMV, however.
  16. Time for all the nasty nicknames for amp brands. So far we've had: Crashdown I'd like to add: Horrible American Rubbish That Keeps Exploding What else have people got? (I have no problems with Ashdown or Hartke btw - they just don't do my sound easily)
  17. Even more interest! Still not sold.
  18. There are a few people nibbling around these, but no-one has bitten-down hard yet. So, bump!
  19. Interested in a sale at all?
  20. A couple of things I'm not using... First off a black russian big muff. This has had a bunch of mods done to it, some by Technophobia Analog Audio Solutions (in Nijmegen, Netherlands) and some by yours truly. It has no battery cover, but thankfully the adaptor socket means that you don't need one. It has the following changes: 3PDT footswitch for true bypass 9V input for a power supply 3-band EQ - hate the mid scoop of a normal Big Muff? Dial it out! Noise gate knob Switch to take last pair of clipping diodes out of the circuit - this opens the sound right up and makes it more gainy and less muffled Feedback switch - transforms the pedal into a noise generator with pitch controlled by the sustain knob Purple LED All of which means that this is a Big Muff that you can tweak to get rid of all the little things that have ever annoyed you about a Big Muff. Or you can use it to make crazy noise. SOLD SOLD SOLD SOLD SOLD Second, a Pulsar. This is a fantastic tweakable tremolo, and the mod here is a second speed footswitch, allowing you to either keep two speeds on tap, or to tip it over into sounds that are almost ringmod-esque. £40 collected. £45 posted.
  21. [quote name='Linus27' post='565810' date='Aug 11 2009, 12:04 PM']I am just wondering if gigs are worth doing these days, or not as many as the old days. Just seems to be less of of scene these days for original bands. Do you think thats because of the recession, lack of money, health and safety shutting places down, lack of venues, to many bands and not enough places to play etc??[/quote] I would say that this is because you haven't met the right people yet. In terms of the stuff I'm into there are a big set of promoters doing interesting gigs. I know them, talk to them, I've usually put their band on, and that's who I would approach for gigs. The scene might be small, but it is tight, if you know what I mean. What kind of stuff do you do?
  22. [quote name='rasher80' post='565761' date='Aug 11 2009, 11:12 AM']It's tough alright. I'm in the position of being both in a band and running a monthly night in Manchester. We are struggling ourselves for gigs, Manchester's "indie" scene is massively overpopulated with bands, and as such, unscrupulous promoters use the local scene as a cash cow, fleecing bands' fans and mates whilst doing no promotion. We avoid these guys but they are widespread, meaning it can be tough. Ws also started our own night in response the the so-called "pay to play" gigs that are almost ubiquitous nowadays. Bands come to our monthly night, which has a great mix of comedy, music and performance poetry, and take 100% of the door. We do it for free because bands shouldn't get nothing for playing a gig. However - you wouldn't believe how difficult it is just to make sure the nights run smoothly. Every month without fail we have someone let us down. One band's guitarist left and they didn't bother to tell us until we sent them out the soundcheck/stage times a week before. We thought that bands would want a gig and we'd be over-run with gig requests, but more often than not we have to chivvy and chase people to play![/quote] +1 to all of this, but substitute London for Manchester! At Duel in the Deep (the experimental rock night I run with my friend Seb) we ignore a lot of the mails we get from bands on the grounds that it costs us money to put people on (we take nothing from the door), so if we're not into your music, why should we put you on? We get LOADS of email from bands who are completely unsuitable (ie they play metal, landfill indie etc) and never reply to them. To get good bands that will work together, we have to investigate, locate and chase! I think the thing to remember about emailing promoters is that either: 1. They are in it to make money - if you can't guarantee them money, they don't care 2. They are in it for love, and love is subjective - they might not like your music We put on 1 or 2 out-of-town bands a month, who usually don't bring in many people. This means that basically the other bands are subsidising them, but we do it for the love (and to help good bands out).
  23. Why not follow the tried-and-tested major label route? Find someone who looks the part and is easy to manipulate. Maybe the son of a label executive's friend, for example. Train them up to a basic standard. Done.
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