Kitsto
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Mike and I met up for me to hand over my Gibson SG and Mike to part with the cash! Great chat, great guy. Hope the Gibson gives you as much pleasure as it did me. Glad it's gone to a good home. Cheers Chris
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Grew up with In Rock and Machine Head but my faves are: Woman From Tokyo, Might Just Take Your Life and Perfect Strangers which is the track Page and Plant would have killed for to have on Walking Into Clarksdale or whatever their album was called (and I speak as a Zep-head).
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Who's Next. Not my favourite album but my first. Loved everything about it. Still feel it's their best album and Glyn Johns's production gives it that warm vinyl sound. All the other 70s albums mentioned so far are ones I've owned and dug. Yes Album, Fragile, Close To The Edge - that trio still amazing. CSN&Y Deja Vu (how great a line is Crosby singing: "Almost cut my hair"). Hejira and Hissing - my fave Joni. Rush - had them all. Sabbath 4 - Wheels Of Confusion - fantastic. Foxtrot: "Dragons commming out of the sea" (only Gabriel sings 'coming' as 'commming'). Plus Zep - the band I loved more than any other. 23rd May 1975, Earl's Court. My first ever gig. Never bettered. Sorry for going on. Thanks for indulging.
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Please note price drop to £250. -
Yes, it's the 30-inch scale and it's the Gibson SG Special in cherry stain.
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[b][font="Calibri"][size="3"][color="#000000"]FS: Gibson SG 120[/color][/size][/font][sup][font="Calibri"][size="2"][color="#000000"]th[/color][/size][/font][/sup][font="Calibri"][size="3"][color="#000000"] Anniversary matt cherry with Gibson hard case[/color][/size][/font][/b] [b][font="Calibri"][size="3"][color="#000000"]Sale only: £300[/color][/size][/font][/b] [font="Calibri"][size="3"][color="#000000"] [/color][/size][/font] [font="Calibri"][size="3"][color="#000000"]This is an EB0-style Gibson short-scale SG bought new in 2014 for £650. Excellent condition. Lightly played. Never gigged. Has ‘120[/color][/size][/font][sup][font="Calibri"][size="2"][color="#000000"]th[/color][/size][/font][/sup][font="Calibri"][size="3"][color="#000000"] Anniversary’ inlaid in the neck. Comes with Gibson hard case, matching red-and-black leather strap and rubber Fender straplocks. I carefully unscrewed the scratch plate to show more of the wood of the guitar - scratch plate plus screws safely stowed in[/color][/size][/font][font="Calibri"][size="3"][color="#000000"] [/color][/size][/font][font="Calibri"][size="3"][color="#000000"]the documentation bag in the case.[/color][/size][/font] [font="Calibri"][size="3"][color="#000000"] [/color][/size][/font] [font="Calibri"][size="3"][color="#000000"]Will deliver within London or 50 miles of Aylesbury. Cash on delivery.[/color][/size][/font] [font="Calibri"][size="3"][color="#000000"] [/color][/size][/font] [font="Calibri"][size="3"][color="#000000"]Any questions or for more pics please PM me or ask here.[/color][/size][/font] [font="Calibri"][size="3"][color="#000000"] [/color][/size][/font] [font="Calibri"][size="3"][color="#000000"]Many thanks for looking.[/color][/size][/font]
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[quote name='TimR' timestamp='1484228691' post='3213731'] But then I'm so awesome most people are looking at me, not the bass. [/quote] Brilliant! Funny, no one looks at me or the bass.
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Many thanks, BassBus. Have managed to add pics now.
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Sale only. £250 (price drop from £325) [b]Ltd D-5 5 string[/b] In excellent condition with a tiny scratch on the tip of the headstock. Both passive and (by turning the pots through the centre point) active. Beautiful eyecatching satin wood finish. This bass looks great. Made from a wood called merbau with a 'natural satin' finish (the colour of the wood) which is almost chocolate brown but under lights has a red hue to it. A real beauty. Very playable – because the strings are closer together than on the LTD D-4 I find it even easier to play than its 4-string sister. Fretboard doesn't seem unnecessarily wide (and I have small hands and short fingers). Nicely balanced so feels very comfortable on the strap. Bought it to match my D-4 but don't need a 5-string in my band so it never gets played. Will deliver in London or within 50 miles (or so) of Aylesbury or meet you part-way if you are further afield. Cash on delivery. Any questions or if you want further pics please PM me or ask here. Many thanks for looking.
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If you want more pics please PM me with your email address and I'll email them to you.
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[b]Almost new LTD D-4 [/b] [b]SHORT VERSION[/b] In immaculate condition. Would suit a beginner or intermediate. Highly versatile – suit any style of playing. Both passive and (by turning the pots through the centre point) active. Beautiful eye-catching satin wood finish. Meant to be my mainstay gigging bass when I joined a band last year. But then I discovered Thunderbirds and this never gets played any more. Very reluctant sale. Gigged twice. Brand new last year from Rose Morris in Denmark Street. [b]LONG VERSION[/b] Probably the best bass I’ve ever owned. By best I mean in terms of playability, versatility and just pure looks. I’m going to start with looks. This bass looks great. Made from a wood called merbau with a ‘satin natural’ finish (the colour of the wood) which is very dark but under lights has a slightly red hue to it. All my basses have natural wood finishes so you can see what they are made of and this and its D-5 sister (also for sale) have easily the smoothest, most striking and flawless finishes of them all. They are both beauties. Reviewers often say these marbau basses look better in real life than in pics. Then in terms of playability: until I discovered Thunderbirds (which are a bit idiosyncratic and not everyone’s cup of tea for good and obvious reason) this was my go-to-bass, more so than my Fender P (just sold) or my Gibson EB-style SG (to be sold next). It’s so easy to play. Sits nicely on the strap, beautifully balanced. Just really comfortable. I would especially recommend this bass to players starting out. It will take you from beginner to gigging musician (I got it having seen a mate play one in his band). It will never let you down and always looks the part. With this you’ve no reason to ever feel you may need to graduate up to another bass, even if you end up in a really good gigging band. Then versatility. This bass is good for any style of music. The pickups switch from passive to active. It’s got five pots for maximum tone and volume mixing. And IMO it looks and plays great for jazz, funk, soul, rock or metal. So why am I selling? Because my recently-acquired Tbirds are now all I play and none of my other basses are getting a look in. And instruments need to be played. Many thanks for looking.
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59 in a couple of weeks. Joined my first band last year. Fantastic fun. Have played a dozen gigs and (mainly) got paid for doing so.
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Please note: for [b]delivery in London only [/b](to your address or meet up) - no post or courier - [b]cash on delivery[/b]. This is the book by Rick Nielsen of Cheap Trick about John Entwistle's instrument collection called 'Bass Culture'. The book is in good condition with original dust jacket. No rips. But there is a ding on the front bottom left and the front top is a bit worn. Inside it's fine. A great read with lots of JE's own comments - I think he died before it was actually published but was heavily involved in its creation. Rick Nielsen in his forward explains how he spent two weeks at JE's house (there are pictures of it and you get a feel for it in the background to some of the shots) going through the instruments and ending up in countless jams. Further forward by Roger Daltrey. All in all great fun. I've owned it for over ten years and paid £48 for it.
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Why Dontcha: https:/m.youtube.com/watch?gDkgTQhRxpU Apologies - can't make it link.
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Only just discovered this thread - fantastic to read all these thoughts on how JE did it - I feared I was the only one remotely interested - have watched the YT isolated track over and over and then when you see how little Townshend is actually playing (in the band consolidated shoot) you realise he's jumping around so much it's only JE and mad Moon holding the thing together! WGFA is what got me into rock. I was eleven years old and Who's Next was the first album I ever owned. Just tried b714s's tab riff - wonderful! Thank you. BTW one other bass track I've always been fascinated by is Why Dontcha by West Bruce & Laing - JB's bass lines are fabulously melodic behind LW's brilliant riffing.
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[quote name='TimR' timestamp='1480271321' post='3182989'] In fact in some tunes one of them played everything and more. On some occasions he 'helped me' by adding extra root notes. . [/quote] Wonderful! Made me laugh!
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I am relatively new to all this, still in my first band. But already I'm learning things. It's a democracy. But the front guys (singer/rhythm gtr; lead gtr) inevitably decide what we play. Drums and bass can veto. But essentially vox has got to be able to sing it and lead to play it - and both have got to want to do it. It's taken me a while to grasp this but I'm cool with it now. I'm in a tight gigging band, which I never expected to be, quite so quickly. Some of our set list isn't quite my thing, but most of it is. The other guys are easy going. We all have our quirks. But the good far outweighs the bad. I feel lucky.
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I've been experimenting at home with various effects on my Zoom B3 but have never felt confident enough to gig it (plenty to go wrong anyway). My idea was to use it to find FX I liked and then get individual stomp boxes. Then I finally got my Trace Elliot (bought from another Bass Chat member) to band practice and the difference over my Ampeg was immense. The guitarist even said he was pleased to be able to hear me finally (I may have made that up, it sounds so unlikely). Anyway I'm not going to bother with effects. No one notices them anyway. The rest of the band and anyone listening at gigs think the bass just goes thud-thud-thud.
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I know nothing about the technology but as a Zoom B3 owner I know there is a problem with power supply. I think it's to do with poor earthing and so varies between venues and this may be a cause. Anyway, try using battery power.
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I came late to playing in a band and only did so after I'd retired. It was a lifelong ambition having been obsessed with rock music as a kid. I always imagined it to be an ideal way of life. I feel very fortunate. I am in a great band with musicians far better than me who are tolerant and let me play my own bass lines. But even though we are a happy band I've learnt (not least from mates of mine in other bands) that they can be toxic environments. Pete Townshend said that a band is a bizarre thing. In no other walk of life do you work with the same small group of people doing the same thing for the whole of your career. By contrast I'm in an amateur gigging band without the pressures of a pro band. But maybe some of the frictions you get in 'real' bands can rub off on the rest of us too. It helps if you get along as people. The band I'm in treats it as a social experience too. We've become friends and do things together (such as going to see 'real' bands together) which all helps. One key rule is that we all set up and pack up all the gear together. Each doesn't just look after his own stuff. But I'm still learning that I need to be more accommodating and accepting of others - and that's a good lesson when you're my age and otherwise in danger of becoming a sad old git.
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SOLD - PLEASE LOCK: US-made late 70s or early 80s Fender Precision
Kitsto replied to Kitsto's topic in Basses For Sale
Apologies for taking so long to reply - and many thanks to all of you who expressed interest - yes, it has almost gone: bass and cash handover take place tomorrow. I'll !et the moderators know definitively to lock the post once I get back. -
This is a much loved (by me) Fender Precision which I have had for well over a decade (possibly closer to two) during which time it has been gigged only occasionally. I am selling it because I have recently discovered Epiphone T-birds and my other basses are seeing next to no play and must go. This bass according to the "S" prefixed serial number is either late 70s or early 80s and has "made in USA" on the headstock. The pick-ups are not original - it came to me with actives but I had those replaced by Seymour Duncan passives. Gary Mullins, professional guitarist and luthier in Aylesbury who did the conversion, described it post-conversion as having "mojo". It is quite road worn (from before I bought it). There is a spot of varnish missing under the bottom string on the third (G) fret; there is a dark mark down the back of the neck that looks like a sweat mark but is just discolouration. There are various cracks in the varnish. But not around the neck-body join which looks pristine. It has a wonderfully mellow honey glow to it, I put a gold pickguard on it and a gold thumb-rest (I use the thumb-rest in two positions; hence the additional gold screws for when I move it round). Above all it is a bass that looks brilliantly cool when you are gigging. It has got that worn distressed look that means you do not need to be too precious about it when you prop it up against the stack. I have posted some pics that are not that great (old camera) and I can take more if you like. In terms of selling it, I would prefer not to post it but will deliver within fifty miles or so of Aylesbury (in other words pretty well anywhere in the south east) or meet you part-way. In terms of price I paid £875 for it when I bought it off the Charlie Chandler Guitar Experience shop in Hampton Wick, south west London. I have not been on Bass Chat long so in terms of my own credentials (1) I bought a Trace Elliot stack off Phil Beavis a couple of months ago via Bass Chat, paid him what he was asking and I think he was quite pleased with the deal and (2) the band I am in is based in Leighton Buzzard, is on Lemonrock and is called Freight Train Riders. And, yes, I am the bass player. And I am called Chris.
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Hi Phil - I'm interested - I've sent you an email. Cheers Chris
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I had a few lessons of classical guitar at school many decades ago so when I took up bass more recently it was easy to use two fingers (and thumb for arpeggios). But I noticed that Jack Bruce is a one-finger merchant (at least on fretless) and some of the players I most admire are not especially consistent in terms of the fingers they use and whether they strictly alternate (Entwistle, for instance). I play in a 70s rock covers band so who am I to talk, but my view is that you can get too hung up on being strict in alternating fingers. I find I can be pretty inconsistent. But I'd say: go with what feels right (provided it gives you the speed and dexterity you want) rather than worrying about consistency. The latter may be better in the long run technically, but maybe at the expense of feel or tone. If the greats are inconsistent, can't we be too?
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I feel very fortunate because I've recently retired and that has given me the time and drive to take up the bass seriously and get into a gigging 70s rock covers band. The two good things about doing this at the 'wrong' end of my life are that (1) there's no possibility or wish to do this for real, as there would have been in my 20s and (2) all of that useless knowledge gleaned from studying the small print of inner sleeves back then (which was far greater than anything I did for A levels) is suddenly useful when I say to the younger members of the band (they are all younger) "Do you mean the album version or the single?" etc, etc.