BassBod
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Everything posted by BassBod
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I've used an SWR stereo 800 for years - not very powerful on paper, but always sounds excellent with the Goliath II. It does get hot, and has a noisy fan...but nothing you'd notice on a gig. I've also got an Alembic preamp, and it sounds really good run into the front of a Euphonic Audio 500. In fact it sounds great run through everything... One thing to watch though, the Goliath II or any other cab that has a significant mid-cut (most 4x10s?) means a re-think of the Alembic eq settings. You have to really crank up the mids to get clarity...and go lightly with the bass end...but you probably know that already! The best all round cab I've used is the EA CXL112. Not very big or heavy, very clear clean sound and works surprisingly well as a monitor on bigger stages. BB
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Thanks Marcus - it is a great bass for the ££. I thought about putting some lower spec pickups in to sell a bit cheaper, but its sounds so good I decided to keep the EMGs in. I could put a cheaper standard bridge on, and bring the price down a bit, but it would probably leave a "shadow" where the Badass was. BB Edit - checked my bits box, I've got a standard chrome Fender type bridge, so if I fit that instead I'll let the bass go for £225...collected etc. BB -
This is a Brandoni neck and body, with oil and wax finish (a few years old..nice and mellow). Gotoh reverse tuners, badass bridge and EMG active pickups and pots. The only Fender part is the scratchplate. I believe the alder body is japanese in origin, as is the maple/rosewood neck. [attachment=9037:DSCN1139.JPG] [attachment=9038:DSCN1136.JPG] The neck has been defretted (by me) and inlaid with maple fret lines, and given a thin "superglue" finish to protect it from wear. It also produces a brighter growlier sound. Currently strung with Status plastic flats. The gig bag is included (a light Brandoni labelled bag, with grey fuzz lining). [attachment=9039:DSCN1137.JPG] [attachment=9040:DSCN1138.JPG] It plays fine, sounds fantastic. The only potential issue is the neck holes - these are a bit worn, so if the neck is taken off again they will need some filling to make a tight fit. Currently it feels solid. Good news is there is a cutout under the scratchplate, so you can adjust the rod without taking the neck off (why didn't they do that in the first place??). Yours for £250, collection only please (just outside Bristol, M4 J18) PM or post any questions, BB
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Worth mentioning that the "highest profile" job I've auditioned for didn't involved any reading - not even chord charts. You just get a phone call, a time and place, and a CD posted to you by the management. Then you don't so much get judged on your playing, but everything else (sound, gear, looking for cues, coping with key changes..) as well as looking the part, getting on with people etc. It seems to me that music is increasingly illiterate. The older jazz guys are the only people I know (other than theatres) who ever use standard notation. Knowing your way on Pro-tools and being comfortable recording to a computer screen is far more important it seems. Its a dodgy old game...but fun, sometimes. BB
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Another comment on the reading. I can read, but not really well or quickly. I was a lot better a few years ago, and its true - if you don't keep doing it you fall back pretty quickly. I do a lot of dep work and hardly ever get dots to read, most of the time its a basic/scruffy chord chart to interpret or complete busking. I have done a few shows over the years and these are the only situations where I would say real reading skills are needed, and even then you can get the book in advance (if you ask!) and work through it. I'm surprised I don't have to read more often, but also quite grateful. One day I'll get back to it because it does give you more confidence when you take a call or walk into a new situation. BB
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An understanding family is a must. Unless you suddenly make loads of dosh..but that hasn't happend yet! One other thing that may not occur to people thinking about this - I've really enjoyed playing many different types of music, on many types of bass, but if someone gave me loads of ££ today to go and do "my thing" I wouldn't have a clue what I wanted to do. I don't even know what music to listen to for enjoyment anymore. I can appreciate most things (still don't get opera) but I've lost focus on "my music". Time for a holiday? BB
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An Old Horse Comes Out- Well, gig photos anyway
BassBod replied to Old Horse Murphy's topic in General Discussion
More out of the shed than the closet..... BB -
Nice and unusual pair! I'm always interested in the Bolin basses - how are they to play sitting down? I've never really understood the design (with the additional strap hanger...I thought Ned was a great designer??). I almost played one once, but didn't have the time...should've been late. BB
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An Old Horse Comes Out- Well, gig photos anyway
BassBod replied to Old Horse Murphy's topic in General Discussion
[attachment=8962:DSCN0988.JPG] Now that's a proper man's pink jassss....can't say it goes out that much BB -
I've miked my Clifton EUB sometimes for recording - to get some fingernoise and slap. Works pretty well when mixed in with the bassy sound of the Gage pickup. I've also still got the old Fishman BP100 pickup stuck to the bridge. This has got a lot of toppy edgy fingernoise on it that I hate in isloation, but if I can I record two tracks it can be mixed in (with most of the the lows eq'd away) to give a good "up close" effect. I'd only bother in small group settings. With more instruments in the mix the subleties get lost, and its back to thumpy bass.... BB
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I currently make half a living, but I get free childcare too...but basically what Jake says. I would also stress that learning to "play" jazz is the most useful skill. Its about feel, good sound, playing with different musicians all the time, and playing the part required (rather than how Entwistle or Flea or Jaco would do it). Those are transferable skills that all musicians respect and recognise. You don't have to be the best, but you do have to get the job done well, whatever the setting. I've met loads of players who are only interested in one style of music, and have never tried or listened to anything else. I could never work with that mindset. Above all be honest with yourself - have you got the interest? If you want to drive a nice car....think carefully. BB
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I'd try SMART - I think he pops up here sometimes. Distributors can sometimes arrange a demo, or at least let you know how long it will take ot get one. I think with the this one, I'd risk a purchase unseen. They've been around for a while and Bob Gollihur still sells them! I bought my Clifton having tried one for a few mins a year or so before hand, but I didn't even have interweb access then and there was very little choice. Glad to say ten years later I'm still very happy with mine, although I do get nagged sometimes about playing something acoustic (even though it would always be plugged in....) BB
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I was going to say that...but, I don't like jumping into people's for sale threads... As a reference, I put up my Raven Labs DI last year for around £120 (I think) and got zero interest. I'd seriously suggest selling something else - the RL units are all great. BB
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The best EUB case I've seen was with a Chris Larkin Blen, (in Norway..or somewhere bright and cold). It was a simple trunk, but made out of some sort of fibreboard, like drum cases used to be. Not very heavy, but great protection - although it was a bit of a coffin. My Clifton's flightcase was a lot heavier. I think the best bet is to have a gig-bag made to fit - may be call some makers (Shuker, Larkin, Clifton) see who they use? BB
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I emailed EA today with a question on my (secondhand) iamp500 - got a reply (very helpful, honest and detailed!) within about an hour - I was amazed. So anyone else with "issues"...worth a try? BB
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Its also worth remembering that there are plently of people around with the readies to pay these prices, or V&R and the like wouldn't exist. I'm definatley in the low income bracket....so I'm happy to look. BB
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I'm a freelancer/gigwhore, so I'll do anything that pays (!) but I'm always very careful to sound-out all potential bookings (weddings, dance clubs, resturants, even barn dances and the (very) odd bluegrass festivals) to make sure its a sensible mix. I've done a few that were completely wrong (blues gig, with one blues fan and a lot of bewildered friends!) and you learn pretty quickly.... BB
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I sometimes visit the V&R in Bath, usually to use the services of their excellent tech (Mr Manners, down in the basement). They are there for the investors and serious collectors, not scruffy skint musos like me. They're always polite, let me try things out etc but I'm never going to pay their prices in this lifetime. There are sometimes items that aren't given daft prices (less collectable things like musicmasters, heavily modded stuff) so its worth looking out for "players" instruments that collectors wouldn't want. I checked out a Fender Jaco relic (the expensive one) and it was nice, but the body "work" was very fake looking. They wanted £2k secondhand. I've put together a fantastic Bravewood Jazz from leftovers here on BC for something like £600. Thats more like my world... BB
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PM me? Not far from Keynsham... BB
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Oh..forgot to say you don't have to worry about distortion much, just adjust the internal mic gain (only three positions) to suit the environment. The internal mics seem very good (and can "emulate" SM57 or Neumans...but I've no idea how accurate these are). BB
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I use the H4 - its very good, provided you take a bit of time to learn how to handle uncompressed Wav files. I think the Cubase that comes with it is far more than you generally need, so I use Audacity to edit recordings and produce CD's. I think I'd buy the H2 now (it wasn't released when I got mine). BB
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Just a thought - but I'd love to hear a Jasss bass fitted with Alembic pickups and circuit. My Epic is sooo active and clean, it could almost be passive. Sounds great with flats even. So that's the way I see it. Passive is generally nicer, but active can be great if its really really high quality....oooeer, that might upset a few people? BB
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I've always kept an Aguilar DB924 handy - very like the original Sadowsky preamp (without the DI). Can make a good passive Jbass straight into a Marcus /Will Lee/ Vic Bailey soundalike...and you don't have to put circuitry and 9Vs into the bass. I normally prefer Fenders passive (with nickel rounds or flats) but sometimes you just need that active slam... BB
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I've liked every (well maybe 3!) Sadowsky I've touched, but I'd prefer a passive one, with the external footpedal preamp. The best I've owned is my current Bravewood, made out of other people's leftovers...but feels and sounds just like an old jassss should. BB
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From the bassbod archive... [attachment=8687:DSCN0731.JPG] BB