Huge Hands

Liked this.  Thought his Moog sound and solo was very reminiscent of Sean Martin who he used to play with in Snarky Puppy.

Also good to see Captain Birdseye grooving along in the audience..... 

That is lush.  I didn't know AGC did painted bodies.  GLWTS.

I recently bought 5x Gotoh GB707's from these guys:

Swift delivery with no issues.  They are based in the UK, so might be able to help if the model you want is not listed?

https://www.gluedtomusic.com/

NB:  I am not affiliated in any way.

I used to play in a covers band (not tribute) where someone would pick a song to do.  We liked to do obscure stuff, not the obvious hits.  I would usually roughly have heard the track before but not recently and we would turn up to rehearsal and jam our way through it a few times.

I would only then go away and really listen to the original to see how the lines I came up with compared to the original.  It wasn't just me, most of the band worked like this.  It meant that often we would come up with our own arrangements that we felt were better.  Other times, I would realise I had been overplaying, and the original bassists lines fit the song much better.  Sometimes the band member who suggested the song would moan I wasn't playing the iconic riff, so I would learn the original and play that.

I know this approach would wind a lot of  bands up, but we were all fairly democratic and happy to spend the time and it really worked for us.  We used to do a killer version (IMHO) of St James Infirmary in the style of House of the Rising Sun.  

My argument was that in the old days a studio bassist would usually have played on record, but a different touring bassist would do his version and then evolve it out on the road.  In some cases, the later live versions were much better so why stick note for note to the recording? (I do admit some were much worse!)

I don't know if this helps at all, but the large concert band I'm in use something called Muzodo.

They use it to log gigs and send out availability requests, not sure about the set list bit.  The language of it suggests to me it was designed for brass/concert bands rather than small rock gigging bands, but you never know.

I'm not an admin, I just respond "yes, no or maybe" if I'm available so that's as much as I know about it, so can't comment on interoperability or anything, but it might be worth a look if you don't get any better responses?

EDIT for corrected spelling of app.

I bought a cheap Harley Benton 5 string ex-deco that sits in my lounge.  It is great for quickly picking up and working something out if an idea comes into your head, or a song on the TV, or the missus starts warbling and you want to play along.  If I want to practice properly, I plug in my gigging bass - as the body size and strings/string spacing make the feel a lot different - as others have said..

It came with cheap zingy brass strings on it which would make horrible finger noises when trying to move around the neck.  I put black nylon wrapped Roto 88s on mine, which are great but feel like the brake cables @jbu09 was on about.

I tried to pedal some bass notes under a violin duo/flute trio thing as my DB was out for repair, and it couldn't even be loud enough with those in a small church setting, so wouldn't advise gigging acoustically, but it is great when noodling by yourself on the settee.

I recently has a tuning post snap on it, but that's another thread - all sorted now.

I've lost gigs because I'm 6'3" overweight and ginger, and stuck out like a sore thumb against their backdrop of cool rock tight jeans and shades.  Shorta***es!  (I also refuse to wear stereotypical bass player hats).

I recently got asked to turn up to help audition a drummer for a new band because the bass player wasn't available for that night.  I was told it would be jamming 12 bars, but he started shouting out classic rock numbers at me that I'd heard plenty of times but never/rarely played.  It was seat of the pants stuff!  Shame I can't commit due to upcoming surgery - as they offered me the gig too!

Ok, I know it sounds like I'm talking to myself on my own thread, but I thought I'd update for reference in case anyone else is thinking of doing this. After a bit of measuring and looking at the various site specs, I plumped for a set of Gotoh GB707 tuners.

The bushings were a much more snug fit but everything went in easily without any problems or modifications once I'd found a 15mm spanner to get the nuts off.

I've attached a couple of photos. The tuners look a little on the wonk compared to each other - they are all in the original holes, so the originals were the same! The string windings have been tidied since the photo - this was my attempt to put the same strings back on to test without messing about! Although they fit through the same headstock holes, the winding posts are a lot wider too, so gives a sense of much better quality  

All in all, it is £50 of tuners on a guitar that cost me £70, but I'm happy with it and it means my lounge bass still lives.

There you go....hello? Oh yes, that's right - I'm talking to myself.... 😀

For anyone else that may be interested in this, I found this site:

https://www.stewmac.com/Hardware_and_Parts/Tuning_Machines/Electric_Bass_Tuning_Machines/

I think they are based in the US, meaning it would probably involve import taxes so probably won't buy from here, but each item has a full measurement drawing for the tuning peg.

Time to get the old ruler out!  

5 hours ago, tauzero said:

Or try Warwick - https://shop.warwick.de/en/Parts+for+Instruments/Parts+for+Basses/Machine+Heads and look about halfway down the page at the Warwick machine heads. For example https://shop.warwick.de/en/Parts+for+Instruments/Parts+for+Basses/Machine+Heads/Warwick+Parts+-+Warwick+Machinehead,+Left+_Bass+Side_+-+Satin+Chrome at 13 euros a pop. I'm not going to pull the machine heads off my HB acoustic to check, but they look compatible.

Thanks @tauzero.  They certainly look the same.  I liked the idea of the Hipshots with the open gears, but a set would probably be more expensive than the bass itself! 

As there are a lot of tinkerers on here and everyone is obsessed with telling me to change the hardware on my Sire, I figured someone would have done this!

I might take a punt on the Warwicks.  Probably still more than the bass cost me, but probably worth it to keep it going.

2 hours ago, KiOgon said:

There should be something here: https://hipshotproducts.com/collections/bass-tuning

Thanks Kiogon

Their 3/8 Y ultralites look about right.  I was kind of hoping someone might have done the same to the same bass to confirm they will fit etc before I take the plunge....

Hi all,

I should add that I spotted that you can buy HB replacements at Thomann - I'm not looking to put the same ones in if I can help it - was hoping to get something better built.

Anyone?

Good evening fellow basschatters. 

About 4 years ago I bought a B stock Harley Benton black 5 string acoustic from Thomann. I strung it with Roto 88's and it just sits in my lounge for when the occasion takes me.

Tonight, I picked it up and the G-string wouldn't tighten, only slacken. All of a sudden there was a twang and the string went slack. I thought I'd snapped the string or core, but I now realise the tuning peg is broken. I can turn the wound peg over a quarter turn with my fingers with no resistance and it won't turn in the tighten direction using the cloverleaf equivalent (handle?) 

My question is - has anyone upgraded theirs? What did you buy? Did they fit without any fettling?

Apart from this, I only own Fender style basses so am used to huge cloverleaf things - I don't have a box of spares that will fit this.

Any help would be appreciated! I'm happy to spend a few quid on some new tuners to keep it going.

53 minutes ago, lemmywinks said:

There's been quite a few complaints about the bridges on all models, IMO they're the worst part of the bass albeit functional to a degree but there's definitely some design flaws there. There's been snapped intonation screws, general intonation issues and poor break angles when stringing neck through. There's probably a reason their basses for their home market get Hipshots.

 

Also if you're gigging with the bass regularly then those tuners need to go. Never had a problem with the battery box on mine and would prefer it to something I need a screwdriver to access any day of the week.

Ok, I always say this, but I say it again - I think the stock tuners are great on mine.  They may look a bit more "halfords silver spray" than metal, but I find I often get mine out of the gig bag and it is still in tune - much better than any Fender or other more expensive bass I've had. I'd advise people try them before they start spending cash on other tuners.

 My bridge is fine, but I don't string my flats through the body, so not best to comment on that.

55 minutes ago, chris_b said:

The Barefaced Two10 also has a switch on the back. It is just another step in the set up. Plug in the speaker cables and then make sure the switch is correctly set.

I use 4 ohm, 2.67 ohm and 2 ohm amps. It's just a simple thing to check I'm using the correct amp with the cabs I want to use that night.

Must be on later models - I have two early ones (were known as the Retro 2x10 back then) and there is no switch.  You had to get a loom fitted to change them from 4ohm to 12ohm apparently? 

19 minutes ago, mikel said:

I beg your pardon, drummers never have unnecessary or irrelevant opinions, and certainly not when a member of a three piece.

You obviously haven't met the last drummer I played with then.....

Regardless of authenticity (I can't afford that kind of cash to be ripped off anyway) there's something about a Precision in LPB with all its covers on that just makes something happen in my trousers (in a good way).....

On 12/02/2019 at 22:46, Ricky 4000 said:

I see the full reunion documentary is on YT, and without adverts. Enjoyed that. 👍

 

Thanks for that, really enjoyed it.  As much as I think he shows his silly show off side/arrogance for sitting cross legged like that and posing with a lute, I can't deny he is a fantastic bass player and singer, especially as he can do them both together so well..

I have to admit I have also often pulled those facial expressions when a drummer who loves the sound of his own voice keeps piping up with unnecessary and irrelevant opinions in every break in rehearsal....I feel his pain....

A tale of two polar opposite drummers for me. 

The first, I met and then played with for about 11 years through various bands and lineups.  I classed him as a brother, and my best mate, but he was massively unreliable.  He was a hopeless driver/navigator and always underestimated how long it would take him to get to a gig, so would turn up after soundcheck (and sometimes after the start time of the gig) and we'd have to move everything around to get him in.  He was left handed, so could never just sit on/borrow other drummer's kits without causing a load of hassle that takes time, especially if he's late.  Initially, we started telling him to get there half an hour before everyone else, then we gave that up and I would pick him up/drop him off with his drums just to ensure he got there, even though it was well out of my way.  When our latest lineup started to gain traction and was getting offered lots of gigs, he would be too scared to ask his wife for the night away from looking after the kids, so would mess us around for weeks until it was too late.  The music had a lot of start/stops, and he would forget them from rehearsal to rehearsal. The guitarist, who wanted rid, talked the band into realising he was letting the side down and that if we wanted to move on we should let him go.  After the guitarist let him go with a two line text, I was left to deal with his emotional wrath.  After a drunken text in the middle of the night telling me the band with the new drummer was rubbish, I sleepily let him know what I thought of him around why he only had himself to blame.  I should have held my thoughts til the next day as he has refused to speak to me ever since.  I do regret this as he was a really good friend (and could groove like a bad man when he wanted to).

His replacement was much more in tune with the type of music and ultra reliable (was always first there by hours, not minutes) but I just couldn't get on with him.  He had a weird jabbering kind of way of speaking, as though silence was something to be feared but then often joined in conversations and killed them stone dead with his odd replies.  He also had a way of totally switching off and ignoring you if you tried to suggest something he didn't like, and then siding with the guitarist on any band discussion to keep the balance of power or whatever.. I always felt he didn't think bass was relevant to the music, and they could have done really well without it. 

In the end, I had to leave due to ill health, The guitarist is the only one left from the original 11-year group and I miss playing with him, even though he can be ruthless with long term colleagues when he want to be!.

P.S.  The second drummer once recommended a keyboard player who was equally as odd.  He seemed incapable of playing chords, and then if given a solo just seemed to wiggle his fingers as fast as he could regardless of what keys he pressed, which meant all solos were at the same speed, regardless of the song.. He also got massively nasty when fired after only 2 rehearsals and one gig.  He had a decent keyboard though, and apparently played with loads of bands in the area....

I sometimes think the best things are found by ignoring rules or what should be, so I would never stop someone trying it.

However, in a band setting, I think adding reverb would not help the clarity of the bass from cutting through the mix, and if your playing is fast or busy, you could just end up with a boomy mush.

1 minute ago, fleabag said:

All's fair in love and  click tracks

"....they did it their waaaaaayyyyyyy...."

3 minutes ago, fleabag said:

We dont use any clicks at all. We have the luxury of having a drummer with great timing and tempo, so its like the other musicians have our own click track just using the drummer.

But whatever works for everyone. It doesnt matter whether you use one or not.

Some bands don't use it solely for timekeeping - they have extra instrumentation or vocals tracked to give a bigger or different sound.

I used to do sound for cabaret shows where the normal drums, bass, keys, gtr house band would gain a trumpet/sax and trombone for solos/the look, but there would be much more brass tracked to give that Glenn Miller/Frank SInatra big band feel. 

There might also be sound effects such as police sirens or stings for the show's story too, which would then lead into a song.....

2 hours ago, stingrayPete1977 said:

I'm sure I've found a few extra notes when I play upright bass, I just need the rest of the band to follow suit! 

I found those ages ago.  I want royalties......

1 hour ago, Al Krow said:

Well clearly their suit was entirely without merit and they were awarded $5.3M because someone was having a bad day. 

Indeed.  I love Pharrell/The Neptunes, but as soon as I heard that rhythmn I assumed he'd sampled the Marvin Gaye track. 

I hope you don't mind, but I've just copy-pasted this from a post I wrote in a similar thread recently:

As a former drummer, I tried it for the first time in a studio setting back in my uni days.  I thought I would need to hear the click really well and got them to turn it up and up - til it was almost bashing my ear drums across my head into each other!

Suffice to say, it wasn't great playing or a great track.  A few years later, when working as a live sound engineer, I spoke to one of the pro drummers about it and listened to his click during a rehearsal, it was much quieter.  He had it at a level where you barely heard it, then if you started falling behind/speeding up, your brain would suddenly notice it and concentrate on it.  When I then tried it a year later at these sort of levels with my own band, it worked really well for me.  When on time, the click almost disappears and you are able to enjoy the music.  As others have said, depending on what is on the track, you may not need to hear it [the recorded backing track parts] at all, especially if it is washy strings or effects.

I'm saying this because in my opinion, some drummers will never get their heads round playing with a click.  Some may just need some adjustment on their levels and then get it fine.