Leowasright

Phil Rudd.

Lock it down (drums and bass) and make it so tight no f**ker can get in....................

Everyone thinks he plays simple, and he does, but i recall playing the Black Ice album to my old drummer who spotted loads of bits Rudd did that he couldn't play.....

That aside, Neil Peart is probably the greatest living rock drummer by a long way.

Moon is (or was) incomparable.

If you play with keyboards, there is some justification, but if you play with two guitarists, I wouldn't bother, because it's got to be simpler to have all the instruments bottoming out at E musn't it?

[quote name='warwickhunt' post='556868' date='Jul 31 2009, 10:15 AM']I agree. I liked the look of these when they came out and had one appeared locally I would have been interested... which makes me certain it is 34" as I'd have dismissed it had it been short scale (no offence to shorties ).[/quote]


Thanks guys, if it is 34" I'm mystified how she gets her small hands around it then.........the bass that is.

I've come across someone who has a Patrick Eggle New York IV. She's small so it suits her because the body is small.

Does anyone know if it's a 30" or 34" scale instrument?

Many thanks

[quote name='Jase' post='528487' date='Jun 30 2009, 11:41 AM']When....Nobody leaves you any room to set your gear up at a gig.[/quote]


Know the feeling. I now have to set up my cabs under the two guitarist's cabs.

Also, when you understand both the drummer and the guitarists, but they do not understand each other!

And finding out the guitarist thinks the band has improved since you joined, but has absolutely no idea why.

[quote name='Bill Fitzmaurice' post='522859' date='Jun 24 2009, 07:25 PM']Not a bad amp, if you've got efficient enough speakers to work with only 100w. The Fender speaker, however,is absolute trash. The pictured model looks to be early 1970s. I don't know if they did a reissue, or if they did, why. It was a 2nd tier rig 35 years ago compared to an Ampeg V4, let alone an SVT.
The Bassman 4x10 is a great guitar amp, useless for bass outside the studio. A pristine '59 is probably worth more than what you're driving, but only to a guitar player/collector.[/quote]


I have a Bassman 100 I originally bought in about '87, but it only came back to me again this year. It's plenty loud enough for most pub gigs and practice, and at the moment the Hartke is sitting on it's side next to the amp rig, silent. I'd buy another or a 135 if I could find one. Enough said?

If you're getting the 4x12 as well, I think it's a decent buy. you can always swap out the speakers for more efficient modern ones.

The bass and the drums always should be the firm foundation and fabric onto which the guitar (and keyboards) and vocal paint onto. This is why the bass player and drummer need to fit together and gel.

That means to me that the bass should not overcomplicate the structure of the song too much.

My current band had a bass player before me who wanted to widdle slap and solo all the time. They suddenly found the band "improved" (their opinion) when the bass player changed. I simplified a lot of the bass lines; one down to 4/4 8th notes on one of the original songs. This was not because I couldn't play what had gone before, but I felt a simpler line fitted better.

Also, if you have two guitars, I feel the pocket into which you fit is smaller. This was proved when we lost one guitar for a gig due to illness, and this meant I had to fill 70% of the void.

James Jamerson never played complicated, and always stuck with the rhythm and the melody of the song he was playing on. Neither does Herbie Flowers. Adam Clayton and Cliff Williams and their like should be applauded for their adherance to what bass should perhaps really be about.

I like rock, but one of my favourite bass lines is the dead simple one in "Pure Shores" by All Saints, it sets the whole song off, and allows all the sound effects and the girls' vocals to flow over it.

Pop should not be complex.

John Paul Jones's Fender Jazz

Or a 65 Jap reissue Jazz, which cannot be gotten here

But I'd really like Kossoff's Les Paul (OFF TOPIC)

[quote name='budget bassist' post='516390' date='Jun 17 2009, 01:26 PM']nice one, black on sunburst will always look better than tort, and that's a fact love the burst on the middle one[/quote]

Funnily enough that's one of the two "cheap" basswood bodies. The tort is alder.

Enclosed are pics of Fook You, Fook me and now Fook me again.......

I had slimmed down to two, but I had a moment of weakness.

The two black pickguarded ones were the two I'd settled on for gigs, and I got rid of the USA S-1 i had and a Mex.

But now I have a the tort one as well.....hmm.

The bottom one has US/Jap reissue pickups, the middle has US standard pickups and the latest has USA original ones as per the Geddy Lee model.

One happy bass player, and one less happy wife....

Now for that gold top Les Paul.....

I'm listening to Kim Wilde's "Kids in the USA" right now.

What a lovely driving line there is threaded throught the song that (i think) her brother wrote.

Love the alps, been to Zermatt and Saas Fee during the summer in 2006 and 2008.

Recommend the walking.

Alpine Horns are cool.

*****Posted Today, 07:22 PM
I go by the rule that whatever wattage the guitarist is, you need to at least treble it.

If only just to put him in his place *******


They complain no matter what you do. I normally use a Hartke HA3500 (350W), and they moan I am too loud. I used my old valve Fender Bassman 100 at rehearsal a few days ago, and apparently, I was too loud.......
I am up against a Marshall 60W and an Orange 120.

I dont know anyone reasonable in portsmouth, Steves amps in godalming are good but its a fair way from you.
[/quote]

This guy is near my friend who lives near Aldershot, so may be the #1 option.

Good news overall, the Bassman now seems to be in a stable condition to now be usable.

Better news, I got a 1981 MV Marshall 100 from my friend for £200 as well.....

Now to a Hiwatt....

Thanks to Dave Hall.

This is why I'm looking for Hiwatt vinyl.

I'm actually going to clone my 1968 DR103 I sold in 2003, because I can't replace it with another old one now.

Did go for a 1971 this week, but it had gone before I could get to SE London.

I'm going round in circles on this.

I want a reasonably large amount of the black "basketweave" type vinyl/vinyde covering used on Hiwatts, up to and including a whole roll.

I have looked and looked on the net for people who supply this stuff to the retailers to no avail. Somebody must manufacture/ specialise in this stuff!

I know where I can get cut lengths form the US, but there must be a closer/bigger source!

Anyone in the know?

Thanks

All I can say is that when I bought mine for £260 in February, the band immediatly thought my bass sound was superior and more punchy.

[quote name='Crazykiwi' post='420465' date='Feb 26 2009, 10:32 PM']I sold one of his basses through The Gallery recently. It wasn't a Stingray though.[/quote]


Was that the black Sabre I saw somewhere?
Touched by under rated greatness....

Dave,

I made the repairs this morning, replacing the big caps.

I have to say that when turning it on after the work, it was so quiet I thought it had totally died! New caps has eliminated virtually all of the noise in the circuits.

It sounds like it always did, but with less backround noise than it ever had. Tight, bell like, but a different bell to say a Hiwatt. Oh, and bass is good as well!

There is clearly still some valve microphony going on in the preamps, but I will address this by replacing them all (6L6s as well) after I come back from 1 week of holiday.

I think job nearly done.

Many Thanks for the advice thus far.

NB, Do you know of someone that fixes valve amps around Southampton? I used to get Mick in MM music to do it, but they have long since sold the shop and retired. I suppose I ought to get the bias looked at once new valves are in.

David Hare

A Cliff Williams MM Stingray!!!!!

Of course, in tobacco sunburst and maple neck/board.

Or Fender could replicate his approx. '62 sunburst Precision with repaired scratchplate (the controls and jack are on an added metal plate).

I wish he could have a Jazz, but I've only seen him with one once in footage from about 1981.

I must say it is getting better as it recovers (drys out) from it's garage storage.

I am currently waiting for the replacement big caps to arrive.

Ta,

David H

I'm making up a new set of pots for my Jazz, the only thing is I am not sure what the value of the capacitor on the tone pot is????

Ta to anyone who knows.

Mustang.......

One of the main reasons I play a Jazz is that I can damp the E and A strings over the top of the neck. Even with fairly big hands, I find this harder to do on a Precision, and clearly one of the reasons I don't want to try a 5 string piece if silliness.

Seems straightforward to me. If you play with guitarists, who also bottom out on an E, you do not neet a lower tuning at all.

If you play with keyboards, there [i][/i]might[i][/i] be a case to use BEAD.

In my case, I play with two guitarists, so I have no need at all.

And I don't want a 5/6/8/12/ *other insane number of strings* string bass.