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Soledad

⭐Supporting Member⭐
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Everything posted by Soledad

  1. My 60s EB3 was bloody awful for that - strap button behind neck/body joint and chunky tuners. It was happy when the headstock was scraping the boards. Gibson eh?
  2. 2018 Fender USA 'Original 60s' Jazz. Candy Apple Red, white or tort plate (both) , rosewood board, vintage hardware including reverse tuners, strap button on headstock, threaded string saddles, earth strip from back p'up to bridge, finger rest etc etc. '64 CS p'ups, clay dot markers, stack pots (see below) and the original factory VVT plate as well, rich glossy nitro finish, 60s C neck 9.5" rad, weighs around 9 1/2 lb. Absolutely mint condition - one very small mark under where the bridge cover fits - practically invisible. Points worthy of note: - the factory original VVT plate is as new. The stack-pot plate is from 920D Custom - very neat and cool custom parts from USA. Their work is impeccable, worth a look. - the maple neck is THE best I've ever seen on a US Fender - very close grain quarter-sawn which shows up the medullary rays in the wood - really hard to photograph but this neck is stunning and up there with the best CS necks I've seen. - the CAR colour is hard to photograph too - it has a kind of radiance and depth that my pics don't capture Bought this from a BCer quite recently and the reason I am selling is I have a day-to-day Jazz I gig with and this is just too mint to be entrusted to me. Street price seems to be 1500, the 920D loom is another 100, plus the second genuine Fender plate (the aged white one, the tort was original) and 2 sets of new strings. I have original invoice for the bass from Wunjo Denmark St, who also fitted the 920D stacked plate. About strings: has brand new LaBella 760FL just fitted, PLUS virtually new set of D'Addario rounds (45-100 I recall). If you want to trim the price and like the standard VVT plate, I'll keep the 920D stack and knock a bit off the price. NO trades sorry... OK there's a really slim chance I'd look at a good 5er but think wonga FINALLY, original seller did some great pics (way better than mine) including tort plate fitted so take a look if you fancy
  3. FWIW, I picked up a MAG250 210 combo locally cheap (£120) for the permanent rehearsal space we have - and it is really quite amazing. It's flat sound is exactly what I look for - slightly growly bottom end, tight punchy mids and a crunch on top that I can dial in and out on the bass. EQ is all v close to flat, sub-bass thing is off (didn't like that). That's with either a P or Jazz both with EB Cobalts. I suspect I'd be very happy with a big EVO for live work. They seem to be a bargain used - maybe it's a combination of size/weight; styling is rather retro and they might be out of fashion when a lot of players seem to be chasing the next new thing like Quilter, Darkglass or whatever it is today.
  4. Looks really interesting. I've seen it compared to the Carvin which I have played and really liked. If it was fretless I'd be popping along. Bet it would sound ace with nylon flats on. Someone buy this so I don't have to
  5. or you could go for this on Gumtree > mine's only got about 80% velcro on the bottom, not good.
  6. 👍 Gary. The board is home made, just 12mm ply with ramped and caps. Power supply mounted under is an Ammoon 8 way 500mA - found on AMZN for around £35. I really rate the power supply, nicely made, small and light, quiet. Had some Panzergrau spray can left so gave it a lick-over. Panzergrau sounds like it'll get on with the job, no?? Need to do some cable tying but have to shift the comp a bit first as the DI on the Sans is on the left side - I'd have liked it on the back but apart from that I like the Sans Para a lot.
  7. As a one-time owner of the original 60s EB3, they have done at least 2 very good things here. Longer scale, and balancing the pups. Gibson never thought of either of those things Another player of the era that got good sounds from the EB3 was Glen Cornick of Jethro Tull. I think maybe the guy in Colliseum played one for a while too, and he was nifty. This'll be gone in a flash.
  8. Offers invited bump
  9. It may surprise some... but Journey: 'Don't Stop Believing'. CBS tried with it at least 3 times around '80/'81 - radio wouldn't play it, couldn't get arrested. It took a Glee cover 28 years later to expose the original (and best).
  10. The summary bit: might want a 47 or a C4, want advice re how they sound and what they can do. Anyone vaguely local let me have a play through either... that would be festive And I've placed a wanted on here in case anyone is moving one maybe. SO Interested in the use of clusters of smaller drivers. I want to create a small rig to replace a very good 210 combo (quite big, heavy). Main uses would be home, acoustic and lower level groups/collectives (the word band doesn't fit here really). So my basses with electro-acoustic guitars and various hippysh*t. I'd prefer a cab and head for flexibility, swap one out later if I want. Plenty of decent class Ds around and I'd usually run through a Sansamp anyway. SOUND - not looking for big volumes or massive bottom end of course, more a wide-band quite hi-fi purity. Fretless would feature quite a bit and that is all about the mids (and the flexibility to shape them). The fretted Jazz and P run EB flats, finger and occasionally pick. Again enough bottom end but good mids and moderate top (3-5k say). I'm wary of rear porting but will keep an open mind. The PJB UK distributor is quite near me but I suspect they are just box shifters (I may try and contact them - Selectron in Sittingbourne). Apart from that Bass Direct is miles away and I can't find a dealer with stock more locally. Thanking you all kindly.
  11. Just done a total makeover on the board, and it's stripped to the basics I need. Really liking the Sansamp Para so far (just arrived), particularly for the fretless as it gives me a lot more mid control. Find the drive very dirty personally but like the EQ and sound, a lot. Used with 2 fretted Fenders (J & P) with EB Cobalts on, a Jazz with LaBell 760FL, and the Jazz fretless with Cobalts - into a GB900. Chasing the sound and getting happier. So I submit my humble board.
  12. Tyre pressure gauge I believe. Now spoken for👍
  13. Now spoken for.
  14. Don't know what it's called, but a guitar maker gave me it ages ago. He used it for measuring and adjusting top thickness and I believe fingerboards. Anyway, it's ready to go to a new home - listed in recycling here. Free of course.
  15. Given to me by a guitar maker some years ago (for something I was making). Sat in a drawer for a few years. It's used for accurately measuring and thicknessing instrument boards, tops in particular. Was a little sticky when I took it out the other day, have lubricated, it's a lot better. May need a small amount of new-owner fettling so it opens and closes smoothly. FREE to a maker - may request post as it weighs a bag o sugar or so.
  16. What is it with 410s? There's a Berg 212 here somewhere, over £700. A 210 went recently with an asking 450 I recall. Can't really be size cos they're all about 2 foot square. All the neos weigh around 28Kg (my GK Neo was 28) - they ain't heavy, they fit in a small hatch, most have wheels anyway - and they kick and punch their way through any band, any mix... and absolutely any drummer. Force but with a load of finesse too - my fave all-round cabs by a good way. so BUMP
  17. Inviting OFFERS politely below the asking: £140 incl UK shipping. The reknowned SBP-1. Light use, almost unmarked, very slight marks at front corners (it's a foot pedal, clue's in the name). With original box and manual, velcro on back of course. Described by some as a Jazz on steroids.
  18. Nice basses, a very focussed set list. 👍 And you'll find loads of vintage Fender expertise here.
  19. I have a set of 45-100 cobalts on my Jazz - really excellent and I think the Cobalts suit the Jazz native sound very well indeed - I mean they start with how a Jazz naturally sounds and make the most of that which is quite a lot. Dead good and can't see me going back to rounds in the forseeable. Also have Cobalts on my P and have a set of LaBella 760FL coming any day to go on Jazz No2. From all I have read and listened to, the Cobalts and FLs are probably the best option for me. Have Fenders on my Jazz fretless and they are quite good but I'll happily pay the extra for the other 2.
  20. Bloody perfect. Copyright that quick.
  21. I do believe you are right. 'Newfoundfreedom' - job done. Maybe 3 separate words, but I might nick that (I know... not what you meant.)
  22. 'cos all the decent ones are taken, and most that are left are a bit 'restrictive' in terms of music style. Right now I like Crazy 88 but it's a bit full-on for our band. (Kill Bill ref you may recall). For years I liked DV8 but that got taken quite some time ago. Basically, needs an 8 in it 👍
  23. Very nicely done. If that was mine I'd be selling the singer.
  24. I've had a think about this, and conclude the inevitable: that there is no single vid / topic that is THE right one for all. But I do have a thought based on my experience (with another instrument as well, so not bass specific). I think there is a very thin line between a player's style and his/her habits. I'm pretty sure I'm not alone and I find myself playing patterns and shapes on the fingerboard - there's an inverse law, the more I think about what I'm playing the less the habit patterns dominate. I then expect that the habits turn to familiar lines and note values, and in turn my technique evolves to be better at those habits. I reckon the habits lead to repetition and maybe over-playing too. Hence: Identifying what your habits are (I mean note sequences in particular but also rhytmic patterns, habit ghost notes etc) - and breaking out of all the habits. I think one no-no is noodling which exists to help you develop the habits (mainly). Only picking up the bass (at home) when you know what you are about to play or attempt and it is a thing you can't do. Just my thoughts, any ideas anyone?
  25. Like his site - he looks like he really digs the old stuff, handwound pups, GEC valves... very handy to know about. Also interesting to know who Martin P has used and uses, because his output is obviously impeccable. Thanks @Kiwi
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