NancyJohnson

1 hour ago, goonerjoe said:

 

To quote Peep Show:

 

"Do you have to live quite so relentlessly in the real world?"

 

It's a fair point though...

The colloquial 'we' spend an absolute fortune on 'improvements' on instruments; bridges, machines, pickups, preamps, nonsense about 'tonewoods', neck materials, frets.  And so on.  We worry about neck profiles and width of nuts.  Poly/nitro finishes.

Years ago, owned a Mustang bass.  To my delight, under the chrome pickup cover was a Stratocaster pickup.  It sounded perfectly fine.  This my friends was a turning point for me where aftermarket upgrades are concerned. 

The only reason to replace any hardware is if it's broken, missing or doesn't work properly.

Here comes the voice of reason.

For assorted reasons, swapped out a fair few pickups in my time, irrespective of the maker/cost etc, the end result is that all of them sound more or less the same. 

All this nonsense about growl, vintage warmth/aggression can be dialled in from your amp/outboard gear.  Any nuances from pickup to pickup will be lost in a full-band context anyway.  Your listening audience don't give a toot about your pickup choice either!

Go with the cheapest or the ones that suit your visual aesthetic.  Even better, support small makers, like Josi Warman.

This video popped up on my You Tube feed yesterday.  I've shown little interest in Harley Benton products (but I suppose at the entry-level price point(s), they're probably a decent option if you're looking to build/customise something).  Instrumentwise, I'm no fan of the headstocks, but they do mention a Firebird model, which could look nice if it had the bound Jaguar neck on it with blocks on it (that features in the 25th Anniversary models).

Anyhow, bass stuff is from about nine minutes.  There's a nice prototype EB2 style thing; the headstock looks decent (no bits missing), don't really like the look of the machines - cloverleafs might look nicer.  The travel bass is interesting!

3 hours ago, fretmeister said:

The AO type pedals and amps are far closer to fuzz than clank.

 

I used to get a good clank out of a V1 MT900 so I see no reason why the V2 wouldn't do it. I have not tried the X series stuff, but the drive section seems to be voiced a lot more similar to the B*K series than the AO.

 

Why not buy a X7 pedal and run it into the FX loop on your AO900? Or straight in the front with no drive on the amp? That would be a lot cheaper.

Or have a good audition of the X7 to see if the X series will do it - you can always return the pedal after trying it out.

I've got Ged2112 DI and a the Dug Pinnick stomps, have tried both into the effects return (with limited success tbh).  I suppose I'm not really interested in throwing ££ at more hardware.  Looking for a one box solution.

1 hour ago, hiram.k.hackenbacker said:

I’ve been using the Microtubes 900 v2 since its release and I couldn’t be more pleased with it. I had the original 900 before it, which was also a good amp.

I’m not sure swapping what you already have to the X900 is going to give you what you want though.

I’d be interested to hear the results of a side by side if you could get it arranged.

I think I need some dirt, it's a fundamental factor in the tone I'm chasing.  I ran a Sansamp RBI into a poweramp for years, the only reason for downgrading was that I was just sick of the weight of everything!  If Tech21 rolled out an RBI head (like the old VT Bass), I'd be in.

I've been running a Darkglass AO900 (into a pair of DG 1x12s) for about two years.  Absolutely no issues with headroom, weight, portability, although I would say it took some time to actually form any kind of bond with it and more than any amplifier I've owned previously, it seems to respond very differently to anything I plug into it (which is a bit of a b*llache).  It's very aggressive and I'll admit that the Alpha/Omega overdrive voicings are difficult to keep under control.  I'll admit I love what Darkglass are doing generally.

Now then, questions.  Should funds allow, I'm thinking of moving the AO900 and going with a Microtubes X900 or Exponent, from the online content I've watched (although very stylised) probably the X900 may suit me better.  I'd appreciate if there's any X900 users here that could offer a bit of honest input.  Desired tone for me is kind of Geddy Lee clank; the AO900 isn't delivering that, and I'm wondering whether the X900 will deliver something more controllable.  I'd like to do a side-by-side comparison.

Anyone?

I used to have a Mustang bass and it fitted a standard (Thomann) guitar gig bag. 

It fit nice and snug and honestly, there was absolutely zero need for any kind of neck padding.

8 hours ago, Geek99 said:

Try @NewtoneGB

he makes them right in my old back yard 

 

https://newtonestrings.com/?v=79cba1185463

 

he does short and medium scale also 

Jeepers.  That website is horrific, any interest in these strings dissipated seconds after opening that link.

We're on a holiday break, rehearsal this Friday afternoon; I've not played a note since the last one, nearly a month ago.

To be honest, I prefer not rehearsing every week, losing the desire in that, it's absolutely zero fun.  We all know the material backwards and I see little point in it.  Frontman uninterested in doing new stuff and pretty much forbids jamming.

1 hour ago, RAY AGAINST THE MACHINE said:

The 2 nicest people I met and queued up for were Bob Calvert and Jean michel Jarre . Was  among the last dozen allowed .

Metallica ; Cliff was the best . Lars was confused  by the test pressing I had of their first 12" single . 
Meeting Mercyful fate was very odd ; I rushed into shades to get the 12" and Mike pointed the band to me over on the table .

It was just me , and they all spoke in Danish . I got a handful  of signed stickers and left . 
Most miserable ; Alice Cooper !  The band were great , but he looked angry and didn't talk to anybody . I didn't realise until years later that he nearly died from hanging at the gig I saw at Wembley !  I guess that's why he was a tad grumpy .

I'm sure Geddy won't be like that  

 

I have Geddy's  book of Bass , but if his autobiography is on Audible I'd prefer that .   

 

Outside of music, most signings have been fun.  Jasper Fforde was an absolute hoot, likewise Ben Aaronovitch.  Bette Davis mentioned I was very tall, Nancy Reagan asked if I'd come far, Stephen King was thoroughly miserable and didn't even look up, Bill Bryson used to live around the corner from me in Egham recognised me and was very nice.  All better than being bitten on the arm by Tommy Lee.

On 23/09/2023 at 14:24, toneknob said:

Book presale link if anyone's interested https://www.amazon.co.uk/My-Effin-Life-Geddy-Lee/dp/0063159414/

 

I've had the book on pre-sale before it actually had a title (someone posted the ISBN online and boom there it was, 'Untitled Memoir').  The ticketing price is laughable; irrespective of your choice of bookstore - Amazon is retailing this at £27.00 (still too much IMO) - but possibly having to fork out another £80+??  Does this include drinks and canapes?  Nah.

I realise that Ged has god-like status in some areas of the bass playing community, but elsewhere, I can go and do an event with authors I want to actually meet and greet, for less than a fiver or free.  Ben Aaronovitch, Farnborough Library 31/10/23 - £2.00.  Jasper Fforde, free.

I've been asked for set lists a few times - this was times where I was doing 100% original sets; it was at the same place we used to play, a council owned arts centre in Bracknell, so I suppose they're just sticklers for officialdom and form-filling.  God know what the council have done with the forms containing song titles like 'Brain Eating Zombies', 'Mailorder Girlfriend', 'Suitcase Pimp' or 'Disco Tek Dancing'.  Probably using these to try and create a profile on us.

Elsewhere?  Nah.

Everything still available style bumpola.

I couldn't bear to be in a covers band*, I've seen a few too many and well, I find the whole experience kind of awful.  Everyone who knows me knows this is my stance.

*That said, detest playing covers too - but don't tell our singer.  Half our set is stuff that our he had some success with in the 1980s/90s, plus Suffragette City and Did You No Wrong.  I'd honestly prefer to do more original material.  Occasionally, I'll get a comment that something isn't right and I'll just mutter something about having no point of reference (mainly because I've not actually listened to any of it).

Take it as you may, if you don't like what I'm doing, then sack me; it's not like I'm making £££.  What I'm playing is a country mile better than what's on the originals.

3 minutes ago, Geek99 said:

I wouldn’t strip one. Historically lower quality bodies are used for solid colours 

But what quantifies 'lower quality bodies'?

The Flea models aren't plywood, they'll be jointed, maybe two/three-piece bodies; Fender don't pancake bodies.  Uncertain how they're glued, but there wouldn't be anything particularly horrific under the finish.

20 minutes ago, Duroc17 said:

I’m certainly warming to this but I’m also looking at a Flea bass and thinking with nitro finish could be easy to get the finish off and the 61 specs look great 😊 

The nitro finish should come off with (lots of) acetone and a cloth.  The fear would be what is actually under the nitro and/or what Fender have primed the [Flea] body with.

Personally, I'm really not a fan of these mass production Signature model guitars (did a gig years back where two different bassists turned up with Fleas), much better to make one in your own image.

35 minutes ago, Duroc17 said:

I have done but I’m not good with soldering as I have really shaky hands (due to thyroid condition) also I want the aged body look but again dying wood grain isn’t my forte. So I’d rather pay someone who’s already good at these things as I’m not confident I’d make myself a good bass from scratch.  The only ‘build’ I’ve done is take the bits I liked from two basses but soldering is a challenge for me 

There's a lot of good people on here that'll be more than happy to do the control plate, and to make it even simpler you could go with a quick connect mechanism to hook up the pickups.  Easy peasy.

You've mentioned elsewhere that you have '£900 waiting'.  This is easily doable.  Easily.

That's actually a prototype Gene Simmons Model III.  The Double Axe.  Limited run, 150 I think, $12k. 

Apparently he played something similar for a few minutes at a Wicked Lester gig in 1971 and Gibson's thoughts were, as everyone is harping on about the lack of Grabber and Ripper reissues, they'd just go straight for the money grab, because 'Kiss fans are stupid, have deep pockets and will buy any old crap'.

Have you not thought about just doing it yourself?

If you want a Fender Jazz bass in a specific natural finish; (many) parts are readily/easily available online, including wired control plates if you're not confident with a soldering iron.  It's really not difficult!

To my delight, Alkaline Trio's Agony and Irony (finally) appeared on Spotify in the last few days.  Took the opportunity to rejig/recompile my AT playlist to get everything in the right order and chuck in the Past Live, Matt Skiba and Dan Adriano solo projects as well.  Had it on shuffle all day.  Love it.

53 minutes ago, Wolverinebass said:

To be fair, the Bach version was much better.

The Gibson reissue was a dog.  See thread elsewhere.  I suppose - well, to a degree - I was just expecting to see an upsidedown version of the IV; light in weight, fast in neck and bright tonally.  I don't really care for alphabetical profile categories, but the neck was fat'n'chubby, tonally there was zero brightness, just mud and it weighed way more than the IV.  I used it for about ten minutes at a little gig just a few days after I got it and changed back to my old white Thunderbird for the remaining 30 minutes of the set.  Never used it in anger again.

I noodled on a modded Bach for a few minutes and it was everything that I wanted the Gibson to be.  Lovely neck. 

I don't know where Gibson's head is at to be honest and I'd say with some certainty that they clearly don't frequent the various bass forums online.  They're ultimately a Les Paul reissue business, or just lazy enough by putting Slash's name on anything.

From a Gibson bass perspective, players don't really want nonsensical Rex Brown or Gene Simmons Thunderbird IVs (or EBOs); there's clearly more desire for faithful reissues of the Thunderbird II, plus Rippers and Grabbers.  Hell, they missed a trick not making some 20/20s three years ago.  More colour choices needed, ditching of the three-point bridge etc. 

The only reason Gibson reissued the (frankly awful) non-reverse Thunderbird about ten years ago is because Bach had a lot of success with their model (which was pretty close to Gibson specs and ultimately customisable) and they could probably sniff some profit.

Pretty happy with the kit I own but circumstances/priorities elsewhere have overtaken the desire to acquire anything else.  In reality, I probably need to get rid of stuff.

Earlier this year, work reduced my days and my wife quit accountancy taking a less stressful (and lower paid) job; reckon compared to 12 months ago we're down about 35% on our take-home income.  We have a slow moving garage conversion project going on, so we throw £400-500 a month towards that; getting that finished overrides any musical purchases.

I picked up a late 70s Aria Primary Bass (pretty decent P-copy) in Gumtree job lot a few years ago.  £50.

It needs a lot of TLC, but fundamentally it had good bones and it's a decent player.

Early-mid 80s.  Band I was in had done two or three gigs, we played a lunchtime show at Richmond College, but did it right.  We hired in a decent PA and played a well rehearsed 45 minute set.  (I remember a girl in the audience deriding us - because we were doing it properly - shouting 'laser show' at every opportunity between songs.  Sheesh.)

By chance, there was an A&R guy there from Polydor, just scouting.  Polydor paid for us to do a demo in a strange house based studio in Surbiton (under £200) and we had a pre-signing meeting with the label; who said within a couple of minutes that they were only interested in our (female) singer.  We all decided that wasn't going to happen and walked away.  Band were effectively broken from that point on and we split up a few weeks later.  I do feel for the singer, even now, but she said 'no' straight away.

That was it really.  Never really came remotely close again.