Max Normal

I'm in. Live nearby and can provide a small PA if needed.

1 hour ago, deepbass5 said:

Can we have a date and a venue then you will know where you really stand.

I am interested but dates are key here, half those listed may drop out on a particular date, but twice that may opt in on another. It'll 2019 soon

We should probably pick a town first? I guess the majority of people in Hampshire live in the Solent area, but those travelling might want it more mid Hampshire (like Basingstoke).  If people wanted South Coast, I could probably rustle up a few ideas around Southampton.

2 hours ago, hiram.k.hackenbacker said:

I think my SLO took around 9-10 months from paying the deposit to arrival. 

In their defence, every time I had contact with the Merchant City Music and/or Strings & Things they were spot on. They always came back to me quickly with a definitive reply and not some wishy washy fob off excuse.

Hang tight. It will arrive soon enough.

Thanks! And yes Strings and things have been superb with their comms.

1 hour ago, Sibob said:

I had a US Lakland built to my spec (ie not something you find as a ‘standard’ US model on their website), 3 months

My ACG is currently estimated at 10months.

I imagine with Musicman, it’s not the build that takes time, it’s the queue you’re in for something non-standard.

Si

Yes I suppose you are probably right. That would however class everything that you can choose on their website as "non-standard". I'm still psyched to get the bass but it's just a heads-up for anyone choosing this method of getting one.  For the record, I only had one luthier-made bass before, a hand made one-off headless set neck 5-string and it took just 6 weeks!

1 hour ago, TheGreek said:

Did you pay extra for getting one built to your spec? What did you have in your spec which takes 10 months to build it?

It goes back to "what do you get for paying extra?" and "was it worth it?"

No you don't pay extra, you just get to specify the colour, fretboard wood, neck type etc that you can get already on shop models. MM don't have a custom shop.  Was it worth it?  Definitely, I really want this bass so that's why it's not a whinge.  If I'm going to drop that much on a bass I want it in my spec. I particularly wanted an SLO special which are a bit harder to find than a standard neck model.

1 hour ago, Sibob said:

Have you asked them?

Did they advise a build time?

Si

Yes i have been in contact with the Uk distributor. MM are pretty tight lipped about it. When I first asked it was 3-5 months.

This isn't really a whinge  just a PSA really for anyone thinking of buying using Musicman's online configurator.

If you do, make sure you have about a year to wait before you expect to see it!  You are probably better off getting one off the peg unless you need a specific configuration like I  did. It's not due to the rosewood fretboard either as they haven't applied for the export licence for that yet.

I wonder what the problem is? Musicman getting really popular? Short-staffed? Shortage of hard woods?

6 hours ago, Happy Jack said:

Can I just express a doubt about holding this in Southampton?

There's not much point holding a bash in a big town or a city - it just makes the traffic worse and the prices higher. In addition, both Southampton and Portsmouth can be a bit of a bugger to navigate if there are any traffic problems or big summer events going on ... it's all that water, y'know.

Hampshire has some lovely smaller places which are just as easy to get to, and where our custom may be more welcome to the venue.

Think Winchester, Andover, Alton, etc.

I'm also a bit puzzled at the idea that we might get 10-12 people. Nik's Shoreham bash a few years back attracted more like 30 IIRC.

 

Agreed. I'd like to throw this place into the mix as a possbility.  They often host musicians, and very good beer and coffee too!

https://www.steamtownbrewco.co.uk/

6 hours ago, Jimryan said:

I’m in

Same here.

1 minute ago, MacDaddy said:

Southampton  

I'm in Eastleigh. The Concorde club and the Railway club were the venues I was thinking about. I work at the uni so there might be something available there too.  Any other ideas?

12 hours ago, Silvia Bluejay said:

@Max Normal try having  a word with @silverfoxnik and see if he's up for joining forces? I can do the pre-bash publicity and social media (as well as the after-bash blog) for this event, but I'm too far to do the legwork, I'm afraid.

Ok will do. Not sure where people would be wanting to host it, but I have a couple of venues in mind.

Just now, gjones said:

I used one, at a festival I played at a couple of years ago. I wasn't particularly loud onstage but the amp, through an Ampeg 8x10, sounded epic. 

Yes that's what I thought! Hmmn, the missus is not going to be pleased.....

On 17/03/2018 at 15:30, skidder652003 said:

An SVT-CL and a 401 HLF, will it cut it at a pub gig? You're kidding right?!!

I hope i don't sound patronising but you do know to make sure the amp is connected to the speaker before you switch it on?

oh and answer to the last qustion, the CL anyday...if you've not used one before you're in for a treat!

Haha! Yes I do, I have been using valve and tranny amps for many years, I used to have an original 60's Orange with a 4x12 and a 70's Marshall valve head with an 8x10 may years ago before I switched to Trace.  Been a modern (hybrid) Ampeg man for the last 10 years or so but this my my first CL.  The advice I was asking was for a particular gig and the reason that I asked is that when I plugged the CL into my SVT HLF it really did not sound as good as the SVT3-Pro at home volume, so if my question was not clear, will this cut it for a smallish gig without lacking punch as I can't crank it.  My sound is important to me and I didn't have time to take it to a rehearsal so I didn't want to risk it for 1 gig. As it happened I took the 3-pro as it's a known quantity, but I have a few festivals coming up in the summer so the CL will get an airing then.

Not a newb and I didn't come down in the last shower, was just looking for some quick advice from those in the "know" so I didn't spoon my gig with a mushy bass sound.  Ultimately I'm a bit worried that the HLF is not the best pairing for this amp, it being a ported cab and all, the last CL I used was with a sealed 8x10 and it sounded much better.  Prob a bit much for pub gigs though.....

I just acquired an SVT-CL head and I have a Paddy's day gig tomorrow night in a medium sized pub.  Usually I use my SVT3 pro and I get plenty of punch, cut-through and dynamics at pub volumes.

From experience, will this amp cut it at pub volumes or will it sound flat due to not being cranked enough?  Would you take the CL or the 3 pro?

Cab is an SVT410 HLF

Thanks for your advice!

Actually, I take my opinion back, I just opened a sealed pack of them now and there are only 3 strings in there! D'Adderio string takewaway

On 12/03/2018 at 16:01, MacDaddy said:

5 months since the last post. Is this not a goer then  

I'd be interested too. Would even help with the organisation. I'm in Eastleigh.

D'Addario EXL165 nickel rounds all the way for me on my Musicman basses. Nice zing without being too metallic, kind on the fingers with a nice slick feel, relatively long lasting and nice string tension. Always used Roto steels until a couple of years back when I tried these and never looked back.

Nothing flash, but that's a proper bassline.

Nothing new, I remember valve amps always picked up the local taxi firm in my old local venue.  Was very common for "just dropped at the Louis Armstrong" to blast out of the stage during a guitar solo....

My tip for BV's:

First get the bassline off pat so your hands can play by themselves and you can dissociate your mind.

Then I learn the notes of the BV's by playing them as a pattern of notes on my bass.  That way I can remember them as a bassline and always remind myself of what i should be singing.

For LVs and BVs, some notes resonate with your chest, some in your throat, some with your sinuses, find out which notes are resonating which part and imagine you are singing through that part of your body.  Sing through your nose and mouth at the same time. If you struggle to hit the high notes, imagine you are singing through the top of your head or your frontal sinuses.  If you need dirty bluesy sounding vox, tighten your vocal chords.

Practice and Fishermans Friends will extend your range.

2 minutes ago, BigRedX said:

As a punter I don't think I'd want to see ANY originals band play for 2 hours. I'd find it unbearably boring. Even bands I've liked for years that have 4 or 5 albums (at least) of decent material to draw upon, would be hard work after the first hour.

Yes, bands that are not so well known tend to go on a multi-band lineup or at least have a support act where I am.  For example one of the popular originals venues in Winchester has 3 bands on a gig night. The variety is great and it's never boring.

Did you get the crime number and go back to the pawn shop where the lad bought the bass?  They have a responsibility here.  It's well known that places like this pass on a lot of stolen goods and they are supposed to get an ID and address of the person selling. If the toerag selling the bass has used a false ID, at least they can get a description, and he might well be known to the local plod.

According to citizens advice, you are liable for a full refund if you buy stolen goods from a shop, so the lad you met on Facebook should get this for you.

Let this venue go. The fact is only crap bands will play there if they are not paying, probably a bunch of inexperienced teenagers and their mates.  Real music fans will avoid the place for both of the aforementioned reasons and the pub will go into decline. If you want to make an income as a venue, the term "speculate to accumulate" is very relevent here, very few decent acts will play for nothing.

So far as payment goes, in my experience having played in both, most original bands sell tickets and and charge an entry fee on the door while covers bands get paid by the pub. If they are any good original bands will make money eventually, at least cover their costs.

6 minutes ago, Barking Spiders said:

fear ye not, you'll probably be quite surprised at how quickly your can progress . Scott Devine does this beginners stuff well.  To my ears and many others slap is meant for funk and it should be used to propel dance rhythms. Slapping at high speed without swing doesn't cut the mustard if the ladies can't shake their booties to it. 

Signed up to Mark Smith today as Scott's website is down for maintenance (I'm on strike so a good time to work on my music!). Seems pretty good, gone back to basics and found lots of bad habits already so it's already worth it.  I'm completely self taught up till now but for slap watching an expert seems pretty important. Hopefully there'll be a lesson that helps you keep your rhythm while distracted by shaking booties!

25 minutes ago, dood said:

Pop to The London Bass Show this week. There will be no shortage of folk showing you they are better than the next person at slap bass lol. #ProudToBeASlapFreeZoneAtLBGS

Lol, I know, sometimes slap bassists can be a bit like guitar "shredders" who just widdle up and down arpeggios at lightning speed, but having played lots of different fingerstyle stuff for years, getting good at slap I will be a more rounded bassist and musician, I don't need to try and impress anyone at all it's about the music. Besides, I love music from the grunge and funk-rock era and driving slap basslines from the likes of Flea really work. I want to play good slap basslines, posing with flashy slap solos is not of interest to me.  Slap seems to require a level of control and dsicpline that some other techniques don't have too, so it can only be good for timing and timbre in general.

My lifetime goal is to be able to play absolutely anything on the bass. I know I'll never really get there, none of us will, but decent slap eludes me right now, and this is an annoyance.