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FatDrunkStupid

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Everything posted by FatDrunkStupid

  1. Cort Artisan A6 Plus is near-perfect condition with a couple of very minor scratches and one minor dent on body from shipping (see photos). Neck-through, all Hipshot hardware, Bartolini pickups and Bartolini 3-band EQ with active/passive switch. Very little home use only, still with factory strings, never gigged. Supplied with high quality, heavily padded Ritter gig bag. Pickup preferred but could ship at buyer's expense. Would consider direct swap for decent Fender P bass (provided it's not in a subjectively 'orrible colour - what you got?). NOW £450 (or swap for P or J fretless). Any questions, PM me!
  2. Ever since I found "my" sound, GAS has abated significantly. I have a modified Player Jazz (with East J-Retro preamp), GK MB112-II combo (mainly used as a stage monitor) and a Sansamp preamp/DI. Very occasionally I'll also use a Trace Elliot Transit effects unit, but only for pre-shape and compression (I ain't much of a slapper). The point is, once dialled in properly, this relatively cheap gear combination does everything I need and acquiring more gear is an unnecessary expense. The hard part is imprinting this perspective into your brain of course! What solidified it for me was purchasing a Cort A6 Artisan. I'd always wanted to try a 6-string and this proved that it wasn't for me and dampened my urge to try new things. Beautiful instrument but it seems my muting technique just isn't sufficient for 6 strings and I'm not inclined to change my (probably bad) habits at this point. I'd happily swap it for a nice fretless 4-string (preferably unlined - drop me a PM if you have something interesting!)
  3. I'm a jazzer at heart and I 100% agree that (loud, obnoxious) use of phones at small jazz gigs is both offensive to the performers and inconsiderate to other members of the audience. However, I seem to be aging backwards (mentally at least) and over the past couple of years I've been getting more and more into punk, hardcore and (believe it or not), drone/noise/doom. As has already been noted, try using a phone at a hardcore gig - you won't be able to hear anything and if you're trying to film on your phone there's a better 99% chance that you and/or your phone will be smashed. Not intentionally, but either in the pit or by stage divers. Mobile phones aren't going to go away but as with all things, there's a time and a place. These big bands who ban phones at their gigs are ultimately on a hiding to nothing. And good luck trying the same thing with any pop band with a predominantly teenage and/or young fan base.
  4. Just a quickie (oo 'er): Does anyone know which model of Hipshot Xtender (D-tuner) would fit on a MIM Fender Player Plus Jazz bass (2021)? I can't seem to find a straight answer on Hipshot's own web site or anywhere else online ("fits some Fender basses made in 1876 in Katmandu..." etc. etc.) Thanks in advance!
  5. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  6. I'm a J bass person and I've had a number of MIA Js and MIM Js (and one P) and build quality wise there's very little, if any difference. However, the electronics on the MIM instruments don't sound as punchy to me. I'm no electronics expert so I can't speculate on why this is the case so it's a "seat of the pants" subjective opinion. Be warned if you're looking at the Player Plus variants - the pre-amp is nasty. Not in the least bit subtle, over-sensitive and the cardinal sin (for me) - no passive switch! My main bass is currently a Player Plus J with an John East J-Retro preamp (with passive switch, wired to run at 12V) and it sounds massive. Yes, I should've just bought a Player (non Plus) in the first place. Live and learn... play a bass before you buy it (duh).
  7. Several years ago I bought a bunch of bits and pieces from the old G&L UK importers (it was kind of a fire sale as far as I could tell). I recently discovered a tatty old gigbag containing a bass that I'd forgotten was part of the deal (it was behind a pile of unused flooring in the spare bedroom). It's a mildy used ("ex demo", from memory) M2000 Tribute in black with a lovely ivory binding on the body. Unfortunately, someone (not me!) has attempted to graft a battered old L2000 neck onto the M2000 body and apart from the next being generally butchered, the truss rod is broken. I love the look of the bass and I'm thinking about either looking for a M2000 neck (which seem to be EXTREMELY rare) and G&L themselves won't sell replacement necks, having a neck made or just chucking it on the Bay of the E. I don't have the tools nor ability to build a neck myself so can anyone recommend a luthier in the Scarborough/York/Hull area who might be able to make a neck which won't cost more than the bass sold for new? I know that's a big ask, bordering on "choosing beggar" territory so is it worth selling either as-is or body, electronics and hardware only? Thanks for any and all advice.
  8. Looks like it's back and as nutzoid as before: https://www.ebay.co.uk/itm/266066753815
  9. UPDATE (and bump I guess). I need to shift this bass quickly so it's now on the dreaded eBay here: https://www.ebay.co.uk/itm/175564597167 No reserve and free delivery should you be interested.
  10. Yamaha TRB-1005J, gloss black in all original, as new condition. Vol/blend + 3-band active preamp. Never gigged, home studio use only. Possible part ex + money your way for TRB-1006J (caramel brown or natural) or other decent 6 string. Weight: 4.5Kg/9lb 12oz. Shipping possible at buyer's expense but collection preferred - I currently have no appropriate shipping materials (flight case, box etc.)
  11. Closing the loop on this one in case there's someone else out there as clueless as me (unlikely). @paul_5's diagram pointed me in the right direction. In my case, the +/- battery link was broken. A quick resolder and everything's working fine. Thanks for everyone's help.
  12. @paul_5 Thanks, I'll check that. @Woodinblack Yes, the batteries are brand new.
  13. Nope, I don't have a multimeter. If I try the wiring reversed, am I likely to hurt anything?
  14. I recently purchased a Fender Player Plus Jazz bass (active). I bought the bass because I loved the weight and feel of the neck - I knew the stock preamp would be an issue, mainly because of the lack of a passive mode and, as I'd been advised by several people far more experienced than myself, the preamp isn't particularly great. This wasn't (isn't) a problem because I had an East J-Tone preamp ready to install. I knew that this would make the side jack socket redundant but I assumed I'd be able to use the existing dual battery compartments (original preamp is 18V) as I knew the East preamp would work at either 9 or 18V. Upon opening the bass up, I found 2 wires coming from the battery compartments (black/red). Great! I can just remove the 9V battery clip from the East preamp, connect the existing wires (black to black, red to red) and all would be fine, right? Nope, with this setup there's no output. After checking ground connections etc. I reconnected the original battery clip, connected and dropped a single 9V battery into the control cavity (as per the East instructions) and lo, everything works fine. So I have a fully operational bass with a great sound but I still want to utilise the dual 9V batteries. Yes, I'm a total electrical doufus and I apologise in advance for this fact. The photo below shows the current setup with a single 9V battery and the original battery wiring emerging into the control cavity top right (circled). What am I missing here? Was my initial wiring assumption waaaay too naiive? Should I stop right now and hand it over to someone who knows what they're doing? All advice and insults received with appreciation!
  15. 2019 model MIM Fender Precision Standard in sunburst. Very little home/studio use, all original except new TI flats. Collection preferred or can ship for an additional £100 (new hard case + insured shipping). As new condition. Please let me know if you want additional information or photos.
  16. Ah, gotcha. That makes sense, I didn't consider the possibility of a combined gain/volume control as it's not something I'd seen before. Thanks to everyone for their help.
  17. Thanks for your response. Yeah, I get the concept of connecting an external powered cab to the combo but maybe my question wasn't clear (for which I apologise): The MB112 combo itself doesn't have a volume control (and neither does the MBP powered cab based on photos I've seen). It does have gain and EQ - just no master volume. It works as "expected" if I use an external preamp (with a volume control), but if I don't use a preamp, how do I control the combo output? I feel like I'm missing something obvious, perhaps so obvious that my question doesn't make sense and once again, I apologise for my noobish-ness. I'll post a photo when I get chance.
  18. I've recently puchased a GK MB112-II 200W combo for home recording and practice use and semi-future proof in the sense that if I start gigging again, I can add an matching MBP powered cab for a bit more power. I have a possibly dumb question: There's no master/volume control, just gain and EQ (plus headphones, aux etc.) I'm assuming this means that the amp delivers its full power all the time and the volume control is the bass itself - is this correct? If find this a bit irksome and I'm currently using an Eden WTDI preamp to give me back some amp-end control. Is the correct approach or am I missing something obvious and/or fundamental? Please bear in mind my "serious" gigging days go back 25+ years when power + clarity = 3 tons of Trace Elliot or Ampeg rig). Well, not quite but definitely pre-class D days and I've had a long layoff. Thanks chaps!
  19. Thanks all. For some reason it never occurred to me to use threaded/multislot saddles. That's definitely the way to go.
  20. There's been a few comments on here about bridge/neck misalignment issues and occasional poor manufacturer QA in general. I must've been lucky over the years because I've never really run into this kind of problem (not that I've ever really looked for nor noticed it). However, I recently bought a MIM Precision as a back up instrument and one of the first things I noticed was that the bridge seems to be slightly offset, pushing the strings towards the treble side of the fingerboard. The reason I didn't return it immediately is because it plays and intonates perfectly, holds its tune and I've never had issues with the G string slipping off the fingerboard while playing. And I thought that maybe this kind of thing was normal for Fenders. But what has once been seen cannot be unseen, especially for someone as OCD-afflicted as me. Can anyone recommend a drop-in replacement bridge for a recent MIM Precision that allows alignment/string spacing adjustment (I think Schaller used to make one but it seems to be unavailable). Many thanks!
  21. (Slight thread resurrection) I also used to play trombone semi-professionally and it's required to be able to sight read bass clef (jazz, concert bands), tenor clef (orchestral, brass bands), alto clef (orchestral), treble clef Bb transposed (brass bands) and treble clef concert (just because). For bass, bass clef makes most sense (duh). For trombone, tenor clef is best (although not often used) because it's written in concert pitch and requires far fewer ledger lines when playing in the upper register. Take a look at lead trombone parts in big bands or jazz solo transcriptions - 6+ ledger lines on occasion - sometimes up to 8. Sometimes "tradition" is an donkey
  22. It's a case of "adapt or die". The reality is that if you don't have an online store in addition to your high street outlet, your days are numbered unless you already have a very loyal clientele and/or occupy a specific niche that's not well catered for elsewhere. It doesn't matter whether you think this is a good thing or not, it's just how things are. Business doesn't care about sentimentality, it only cares about money. The only guitar store close to me that has a reasonable selection of basses (more than 2 or 3 in a dusty corner) is known for high end and boutique instruments - we're talking Fender Custom Shop, Martin, Taylor and the like with prices of £2000+. Which is fine, there's clearly a market for that kind of thing and they do a lot of online business which is the reason they're still around I guess. But there are a couple of problems: I can't comment on the guitars because I don't know the market but without exception, all of their basses are horrendously overpriced when compared to suppliers such as Anderton's, Thomann and the like. Why would I want to pay £800 for a MIM Jazz? Their customer service had better be exceptional. Which leads me to: The staff look down their nose at you unless you feign interest in one of the more expensive items. They act exasperated if you want to buy something as trivial as a set of strings and are generally rude and unhelpful. These problems aren't isolated to music stores of course but given the current state of the retail market and slow decline in live music you would've thought that they'd want to encourage occasional trade, if only for the sake of "word of mouth" referrals.
  23. I foolishly took a punt on a new, full warranty Yamaha TRB-1005J on eBay since the seller was a "known" shop and the asking price was less than half MRP (significantly cheaper than the several used examples currently on t'bay). It arrived today, brand new in original box, all protective stickies still attached, sealed manual, battery and toolkit. Only a minor setup required. I'm still mystified by it all.
  24. Bass is in Scarborough, North Yorkshire. Could courier at cost.
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