Jean-Luc Pickguard

[quote name='philw' post='219798' date='Jun 16 2008, 12:49 PM']I got to play a bass cello at the LIM show on Thursday and very nice it seemed too - although in the show environment it was pretty hard to make any serious judgment about its sound. One thing surprised me however - I found it quite difficult to play. I use different left-hand fingering techniques - one for electric bass and one for upright bass. The bass cello, in having the scale length of an electric bass but with the orientation of an upright, resulted in my left hand getting tied hopelessly in knots as it lurched randomly between the two fingering techniques. I'm sure, given a little time I'd get used to it, and electric bass fingering would make most sense, but I hate to think what would happen to my upright bass technique.

Of course all this is a touch academic - I don't have the £2.2k I was quoted by House Music (The Bass Centre) at the show.

Phil[/quote]
I tried that one there on Saturday. It felt completely different to my NS CR-5M and even though the scale was similar to that of the Dean Pace I had before the NS, I was all over the place on the basscello. Probably something I'd get used to it I had one, but it certainly helped to stop me gassing for one

GONE!

I'm not a warwick fanboy, so I'm probably not qualified to comment, but it doesn't seem any worse than other warwicks.

Some bits off the top of my head from my experience:

The engineer will probably ask what the plan is when you turn up. If you ask him to guide you on a plan of action, he may do what's easiest for him rather than what's best for the band, so have a plan. Also I found it often wastes a lot of time if there isn't a designated producer whose decision goes if disagreements arise. The bass player is probably the best candidate in a lot of bands due to fewer ego issues and being able to listen to the song rather than just their own part.

Listen to the kit and bass/guitars after he's placed the mics. Don't let him point the mic roughly in the right direction and hit record. Listen to a quick test recording & move the mics if necessary. Its better to track with a great sound than have to fix it in the mix later.

Two days isn't a lot, but you should be able to get four songs down without too much trouble. Possibly more. I'd use the first day to get the tracks down and some overdubs - take home rough mixes to listen to overnight. Don't do too many overdubs the second morning - mixing always takes longer than I expect.

Bring coffee not beer.

You don't need a big rig to get a big sound.

Relax and enjoy it.

I tried one just like that in Wunjo. I think it was £300ish. I wanted to like it. I really did.
Still, it looks cool though.

But surely the dirt keeps the funk in the bass.

Sorry I can't be arsed

Another Schroeder user here. I use an LMII with a Schroeder 1212L. I'm very pleased with my rig. The cab is very light & compact but sounds absolutely massive.

Nor my cup of tea either, but this caught my eye:

Its called the nomad, but I wonder if they really wanted to call it the gonad.

I have a finger rest (like a thumb rest, but on the treble side of the strings) on five of my vintage style fenders just for the 60s vibe, but never use them to play thumb-plucky style. I do use chrome pickup covers over the strings on my precisions and jazz which I like to rest my hand on jamerson-style (the word [i]style [/i]used in its loosest sense) to play.

The J-Retro I have is very quiet. Maybe yours was one of the older ones, I think John improved the noise levels on later ones and can modify an older one to bring it up to date.

The orange onedoes look lovely

Possibly a bit of a neck-divey shape though

I guess a hollow body might help though.

[quote name='GreeneKing' post='214197' date='Jun 7 2008, 09:06 AM']I've just had my Warmoth P routed to fit in a Darkstar pickup. Not that there was anything wrong with the Wizard Thumper that came out but I'm curious to see what all the Darkstar fuss is about

This is a one way trip so I have a really nice Wizard Thumper doing nothing here if anyone wants to make an offer.

Peter[/quote]
PMed

Map on the gigs page of the web site:
[url="http://www.o5b.co.uk"]o5b.co.uk[/url]
We're on at 9pm
Anyone that comes up & says hello will get a free CD if I remember to bring any

Damn! Saw the thread too late
[quote name='chris_b' post='212893' date='Jun 5 2008, 12:54 AM']Hope they edit out my cockup!!![/quote]
I'm doubt they'd show it before the watershed

I'd use Thomastic JF 324

I'll be going - I just got an email that I have won a pair of tickets from the Arts Council

[quote name='spinynorman' post='212665' date='Jun 4 2008, 06:41 PM']There's a guy on eBay in the US sells these as NOS parts. Loaded bodies and separate necks. They're quite expensive for non-Fender parts. I bought one of the bodies - it looked good and was generally ok, except the pickguard was not cut exactly around the neck pocket, the screw holes in the neck pocket were drilled off-centre, and the neck pocket itself was too deep for the standard Allparts neck I had. But I managed to work round that and the result was a decent bass. The pickups were really rather good, compared to a Mexican Fender, say.

The doubt I have is about the Signature story itself. All the Harmony Central reviews are of parts you can trace back to the same guy. I can't find any reference anywhere else to a Signature guitar co in Cranston, although there was one in Canada that didn't make basses. I even contacted the chamber of commerce in Cranston and they hadn't heard of it. The only part of the story that checks out is that the date stamp in the neck pocket was 1989.

So, maybe it's all true and this company disappeared without trace, and maybe the people who presumably bought complete instruments between 1988 and 1992 never trade them on the web anywhere, but it seems suspicious to me. That doesn't mean they're bad basses, just I wouldn't now pay more than an SX for one.[/quote]

The logo on the signature guitar line that was associated with Alex Lifeson is complely different to the logo on the ebay ones.
[url="http://www.geocities.com/signatureguitar/"]http://www.geocities.com/signatureguitar/[/url]

[quote name='beerdragon' post='211853' date='Jun 3 2008, 03:28 PM']Someone on Basschat does/did t shirts. cant remenber who now. maybe do a search.[/quote]
Scroll up - he's posted in this thread with a heads up

Last time I got some It was from a computer fair. These days I use a canon inkjet to print directly onto (printable) CDs or use lightscribe.

If you want to buy online, how about these?
[url="http://www.medea.co.uk/buy/pressit-kits-labels-c-30_50.html"]http://www.medea.co.uk/buy/pressit-kits-labels-c-30_50.html[/url]
100 labels for £12.80

Reminds me of:
[url="http://www.rondomusic.com/product932.html"]SX Bass[/url]


I wonder if they're related...

I get a very satisfying sound out of my Beyer DT150s.

I'm using a Tascam MP-GT1 for silent practice

Would soapbars help with getting an extra clean sound?

That's crying out for a "shreds" style overdub.

[quote name='Crazykiwi' post='210632' date='Jun 1 2008, 05:45 PM']I gig regularly with my Akai Deep Impact. Patch 1 gets used for Chaka Khans 'Ain't Nobody' and the chorus/breakdown in Outkast's "Hey Ya" uses Patch 9, the Moog squelch.[/quote]
I don't know what I was thinking when I sold my Deep Impact