Belka

14 hours ago, peteb said:

 

Why, did Rutger claim to have played on loads of hits with famous performances by other well known bass players? 

 

Funnily enough, although I very much doubt that Rutger would have claimed this himself, there are some songs which are commonly attributed to him that he didn't play on. A guy called Mike Watson (who is actually a Brit, not a Swede), played on SOS, Mamma Mia, The Winner Takes It All, and Super Trouper, amongst others. An American session guy whose name escapes me did Voulez Vous.

We had a corporate gig last night right at the end of the Grand Pier in Weston-Super-Mare.  Fun gig although a lot of hanging around as we had to load in at 4:30 with a first set start at 8:45. Our dressing room was next to the dressing room of another 'act' - 'The UK Pleasure Boys'. All I can say is that judging by the way they choose to position their Santa hats I'm we didn't have to share with them.

First try out of my new (to me)  5 string and it performed superbly. It's sometimes not until you look at the photos that you realise what a nice rig you have.

43 minutes ago, 40hz said:

Genuine question, because I can't tell - is this played straight faced, or is he a supremely talented musician electing to use a comedy persona?

More of the latter I think - it's definitely a persona (Donny Benet is not his real name), but I think he's serious about the music.

Aside from the nice basses (I can see a vintage Smith in the video posted above), he has a collection of rare vintage synths and drum machines, so all those early '80s sounds are really authentic.

This is superb - great song with a sublime bassline.

It sounds like a late '70s Jazz to me - have been chasing this tone for a while.

11 hours ago, cetera said:

Long Train Running was sung by Tom Johnston in 1973, not Michael McDonald - who didn't join the Doobies until 1976.

I know - only a fool would believe Michael McDonald was on Slow Train Runnin 😉 I was trying to make the point that it would be a brave singer who attempts coverts to McDonald era Doobies.

15 hours ago, hiram.k.hackenbacker said:

@solo4652 - ah, the old thorny subject of set list content. I note with interest you mention going down the 'Dakota' route.

I assume by that you mean the songs that everybody does that are bit samey? Well, of your set, there are a few 'Dakotas' IMHO.

 

Set 1

Valerie

Proud Mary

Mustang Sally

Who knew (Pink)

Perfect 10

Don't call me baby (Voice of the beehive)

Put your records on (Corinne Bailey Rae)

Good luck charm (Mastersons)

Jolene

I want to break free/Another one bites the dust segue

Price tag

Purple rain

 

Set 2

Long train runnin'

Summer of '69

Hard to handle

Runaway baby (Bruno Mars)

Mmmbop

Brimful af Asha

Get this party started

Play that funky music

One way or another

Are you gonna be my girl (Jet)

Monkey Man (Specials)

Let's dance (Bowie)

Walking on sunshine

Locked out of heaven (Bruno Mars)

 

In preparation:

The Chain

Le Freak

Rude (Magic!)

Levitating (Dua Lipa)

 

That said, it doesn't matter, because it's all about the execution.

One of my bands, which is now the busiest of all of them, play whatever we like and it's more diverse than your set.

We've recently introduced some reggae and ska into what was a predominantly rock-ish set and people love it.

 

N.B. I'm genuinely confused as to why Long Train Runnin' and Play That Funky Music are still played.

Another band I play in have both in the set and I'd ditch them if I could.

There are far better and more interesting songs around.

At a gig with that band last week a chap came up to us and asked if we did requests. He wanted us to play his wedding song which was Summer of '69!

 

Worry less about the audience. Different is good in my book, but execution is key.

You are absolutely right in what you say about Long Train Runnin' and Play That Funky Music. I would probably add Superstition into that group as well. I can only assume that when rock bands decide to do some funk without actually liking/knowing anything funky these are the songs that are acceptable to them (don't forget to transpose Superstition up a half step so the guitarist can actually play it). That, or they have been played by so many bands they just add them into their setlist without questioning why.

The Doobie Brothers and Stevie Wonder have such rich back catalogues and yet these are the only songs of theirs people choose to play. I suppose to be fair it's difficult to find a vocalist who can do anything with Michael McDonald on it any kind of justice. 

Ambient is correct. Good technique becomes very important when trying to play a 6 string properly. Muting is especially important.

I know that some people say the main advantage of a 6 is playing across the strings rather than playing in a more linear manner in order to be able to deal with key changes and avoiding major shifts up and down the fretboard, and while this is undoubtedly a major benefit, in order to make the most of the instrument you really need to study players like Anthony Jackson, John Patitucci and Oteil Burbridge who really make use of the full range of the 6 string. It's very good for transcribing too - the vast majority of guitar and horn solos can be transcribed and played (albeit an octave down) on a six string a lot easier than they can on a four or five, even those with 24 frets. 

At the same time I would never say that you can do everything on a six. Slapping (unless you really need the high C, which sounds very 'pingy' when popped anyway) is a whole lot easier on a 4 or 5, as is aggressive pickstyle playing (Duff McKagan for example - you lose the ability to mute fully with the right hand, so you can have the low B and high C ringing out all over the place if you're not careful).

3 hours ago, nilorius said:

If You bought it recently and want to know about the strings, why don't You contact the seller and ask him ? 

It was sold on commission through a shop. I have no idea who the seller is.

4 hours ago, Paolo85 said:

They are not flats right? Because GHS flats look like this and they are a bit rugged for being flats

No, these are rounds.

Hi all, 

I just wanted to ask if anyone recognised these strings. They were on this Jazz Bass when I bought it and they seem to suit it very well. They have purple coloured silks both on the tuners and the bridge. They look like steels but are fairly old so they could be nickels that have lost their sheen. Any help would be much appreciated. 

Thanks in advance.

1 hour ago, spencer.b said:

Wow , looks good value , with the cheaper accommodation it's £650 for 5 days board ,food , and tuition!

Unfortunately I'm busy gigging that week otherwise I'd be all over this

Me too. I think it might start planning to go to the 2024 event now. Looks like a very nice part of the world too.

Not interested in buying unfortunately asd I already have an Xotic but I have to say that's a great price - someone's going to get a great bass at a steal!

Dep needed for a party gig as I'm away on holiday that date. £150 for the gig. It's an evening do  - two 1 hour sets. A mix of the usual function covers and some less obvious songs. PM me with any questions.

Thanks.

2 hours ago, Pocketdog said:

Some 1966 Fender Precision Bass's came with lollipop tuners..not this one overall the bass looks brand new even the chrome ashtrays look mint considering there allegedly some 56-57 years old

alarm bells going off in my head !

Those tuners are normal for a '66. Lollipops started appearing on Jazz basses in 1965 and were standard for '66-67, but they showed up on P basses later, '67-68. I have no idea about the seller but that bass looks like a genuine '66 P bass in all respects. Nothing looks dodgy/fake at all.

On 21/04/2023 at 15:28, Woodinblack said:

Honestly the money that those basses  (and more so guitars) are going for now, and the ease of faking these things, I wouldn't be surprised if the old saying about Gibson '58 les pauls starts to get true for other things - "Time has passed so far since then that only 1000 of the original 428 '58 les pauls are still in circulation"

I don't know about Les Pauls but I actually think vintage Fenders would be pretty difficult to fake to the extent you would fool an expert. Firstly the tuners - you can not buy any Fender tuners these days that look like the vintage ones made up to 1976 - all of the repros they make all just look slightly different. Next, the necks - it's practically impossible to source a 7.5 radius neck with a Brazilian rosewood fingerboard - either with a slab or veneer fretboard (the veneer would be even more difficult). Finally, tortoiseshell pickguards - Spitfire come close, but there's nothing like the real thing. Early sunbursts also look a lot different to what you get now - I guess custom colours with white/mint pickguards would actually be a lot easier to fake. 

I can see the attraction for a skilled faker of doing a late '50s Les Paul when asking prices are around half a million, but the bother of making a dead on repro of a Fender bass to sell for around 10-20,000 hardly seems worth it, especially if they're going to build their own neck from Brazilian rosewood, age it, pay a machine shop to make the tuners look right, etc. 

The real issue is probably passing off refinished basses as original custom colours - it would be a lot more difficult to establish how genuine those really are. The same with Les Pauls probably - I would imagine most of the fake '50s burst Les Pauls are earlier goldtops with the P90s swapped out for humbuckers and refinished rather than reproductions built from the ground up. 

Randy had this bass made for him by Fodera. No idea where it might be now.

More teal. This is a 1996 (I think) which I bought second hand in 1998. Wonderful bass. I know that around this time you were considered lucky if you got one with a birdseye neck. This one actually has quite a bit of flame in the neck which I think is quite rare.

There does seem to be a tendency for more glamourous, successful, talented or edgy stars to be seen as less troublesome and get away with more - I guess that's human nature. John Lennon was by some accounts serially emotionally and physically abusive to family members, Jimi Hendrix and Syd Barrett were reported to have beaten up/imprisoned girlfriends. Sid Vicious (ok, I know he barely played anything but he was integral to the group) almost certainly murdered his girlfriend. Chuck Berry, Jerry Lee Lewis, Elvis, Rick James also have fairly sordid episodes in their past, but no one seems to find covering their music troublesome.

On the other hand, Gary Glitter seems sad and pathetic, and MJ a weirdo, which probably makes them more objectionable to the public than the likes of Pete Townsend and Jerry Lee Lewis, although I acknowledge that the formers' misdeeds would seem to be worse than the latters'.  

Another example would be covering Charles Manson songs, which Guns and Roses, the Lemonheads, GG Allin and Marilyn Manson have all done, without suffering much detriment to their careers.  

I've changed pickups and electronics on a few basses. With experience, I've found that it's only really worth it if you like the sound of the bass already but just want to tweak it to your taste/needs. If you're not happy with the sound and think changing pickups/electronics will fix things, then you're headed for disappointment. 

7 minutes ago, cetera said:

I believe you need the Euro 5LX-TW version which has splitable coils. One like this: https://www.dv247.com/en_GB/GBP/Spector-Euro-5-LX-TW-Black-Cherry/art-BAS0003484-000

 

See either the TW or TWX pickups here: https://www.emg-pickupsonline.co.uk/category/bass/soap-bars/5-string-soap-bars/

Great - thanks for answering so quickly.

I am thinking of getting a Euro 5 LX and I have one question for you Spector experts out there. Can anyone tell me if the standard Euro 5 LX with the EMG soapbars and Tonepump has the option to split the coils to single coil mode? I've seen a few videos of the LX 6 where the reviewers say you can do this, but none for the 5, and I can't see any information about it on the Spector website either. 

Many thanks in advance.

18 minutes ago, Dan Dare said:

 

Could be the fact that they are in Camden in the heart of the mighty metropolis, where everything is expensive. They must know their market. It's also a fact that sticker prices are usually open to haggling. If I was selling, I'd have no problem with their asking more for my instrument id it meant I got more when it sold.

It could be. It's their call and if they want to do that it's fine. I'd imagine their overheads are considerably higher than Bass Direct and Bass Bros, so that will almost certainly be a factor. The downside is though that by asking a lot more for your instrument you should be ready for it to hang around for a lot longer waiting for it to sell. Some stuff seems to be for sale in the Gallery for up to/over a year, whereas it gets turned around a lot quicker in the other places. Again, fine if you don't need the money now, but not if you do.

As for sticker prices, I know that you can haggle (and indeed I did when I bought a bass from the Gallery last year). But elevated prices are also likely to put people off in the first place.

I know it can be an unwritten rule around some forums that you should never mention whether or not a seller's price is considered fair or too high, but recently I've noticed that the Gallery seem to price their used/commission items a lot more optimistically than Bass Direct and Bass Bros, who generally price their items to sell. However, I have no idea whether this is their policy or whether the actual sellers themselves are overvaluing their items. I'd guess they do have some input however. Perhaps they have more storage space than Bass Direct and Bass Bros and don't need such quick turnarounds on what they sell.

21 minutes ago, LukeFRC said:

but again that depends on the player, the situation and design objectives. If the goal was "make the greatest bass you can for a pro player who's going to be sat in the pit at shows twice a day for most the year" then the Overwater might be the greatest design ever- because unlike a Sim's thing it's not trying to do everything, just be adaptable. 
You join a metal band or something and the very design features that make the bass excel in one situation may hinder it. 

The other thing effecting our taste in thing is how we find out about stuff... some basses are like strong flavours in wine tasting - stand out from the crowd - but not actually maybe as nice a drink as the well blanced, complex flavours that didn't stand out as much. What bass forums like this do is often focus on the new strong flavour, or stand out features - at the expense of less stand out things. 

Good points, but from my point of view, your wine analogy makes more sense when talking about playing solo. When it comes to working in a mix, almost all of the basses which sound great seem to have a certain frequency point emphasised naturally. P basses, J basses, StingRays, etc., all seem to have certain natural mid frequencies which help to push through a mix in some way, as do certain custom basses like Wals, Ken Smiths, etc. On 'full-range' sounding Swiss Army knife basses, you can replicate these sounds with a preamp, but the shelving of frequencies the preamps impart mean they never sound quite so clear/detailed.

I didn't mean to knock Overwater, they're beautifully made basses and I'm sure there's a good reason why so many theatre pros use them, but like I said, they tend to use the J replicas rather than the customs from what I can tell.