Soledad

7 hours ago, Stub Mandrel said:

If you think Jaco only did crazy chops, listen to this for some of the most lyrical bass playing I've ever heard:

👍👍👍

I recall reading somewhere that he picked up and played a lot of top lines from a wide array of sources. I think it's a real signature of his that he went from root chordal / harmonic playing into melodic toplines and back, seemlessly.
'A Remark you Made' is a really fine example of that PLUS it's a really evocative title for a track. Bloody love it.

And Joe Zawinul's piano solo is a fine demo of space awareness - knowing when NOT to play a note.

I could go on...  

1 hour ago, hooky_lowdown said:

Olympias are totally different from your EB's, they have more of a dull thump in comparison to the EB's, and more muddy sounding.

yes, tbh, I am very happy with the EBs. Interesting to know what the Olympias are like but given the life of decent flats I'm happy to fork out for the EBs. Have a Fender set on a Jazz fretless and they are better than I used to think, at a very fair price.

Bought about a year ago, gigged about 6 times when I had a loud drummer to deal with. Haven't used it for a while (switched to a small GB cab) so it needs to go.

Dimensions (inches): 18.5 (D) x 23.5(W) x 26.5 (H)
Impedance: 4 Ohms
Weight: 29 Kg
Power: 800W (GK site says 1000; input plate says 800). 
Drivers: 4 x 10" GK Neos, plus HF with dial attenuation on input plate
4 x factory fitted castors (the tough kind that don't bend) 

Condition is near new (see pics). All drivers really as new, never driven close to hard (it's a very loud cab as the drummer discovered). Roqsolid cover also very good condition, just been in and out of a car a few times. 

I do honestly rate this cab very highly - I've used 410s for years as the cab of choice and never heard a better one. It's ported so there is an abundance of bottom-end available, the mids are really clear and forward, and I turn the horn down to about 1/4 as it has a crazy amount of top if required. I ran it with a GB 900 and always backed bass off a bit, and low mids up a little. Never got the amp past tickover.

There's bi-amp input option. If you happen to see a thread about this cab on TB (less than complimentary) I and several others do not know what the guy was doing but may have had the cab switched bi-amp by mistake. With a decent head and set full-range, this cab sounds just the way a really good neo 410 should. I'll miss it, but I can't keep everything (apparently).

Don't want to attempt to ship this, sorry.
TRADES: I really should sell this but may possibly be tempted by a high-end small cab. I'm thinking 210 or similar, Vanderkley, Bergantino, why. Also wondering about a PJB 47 or similar. But wifey says cash, just so we're all clear about this.

4 hours ago, musicbassman said:

The big thing about flats for me is that they're so versatile - If you're playing with fingers then digging in changes the sound substantially - but then they also sound great with a pick. Or pick and palm mute for the Carol Kaye Beach Boys sound? Or play with light thumb and palm mute for a real DB sound. Only thing they fall down on is slap - but like I really care....😁

Excellent feedback, thanks. I particularly like pick with palm mute - just sounds very very cool to me, and knits with kick drum really well. I'm no slapper but I imagine it's the one technique flats are not the choice for. I'm using EB Cobalts at the moment and when new on (for a few weeks) they do have plenty of toppy ring, then calm down but keep the top crunch which I like.
I'll maybe try some Olympias - when I eventually need to change the EBs... it'll be a while then!

He's in my all-time top 5, maybe top 3. But I'd be first to say some of his stuff is hard to listen to or downright enjoy.
So why do I rate him so highly? Some, even a lot of what he played is a real joy to me and I agree with Jean-Luc  that his work with Joni M stands out and is an easy listen compared to some of the his other music.

I'd highly recommend Weather Report, and Heavy Weather in particular. At least take a few minutes to listen to 'A Remark You Made' (and check one or 2 of the live recordings of that track as well). That is one of my lifetunes, I mean an everlasting fine thing.

He definitely pushed the envelope, very hard. I'm not sure he always played for the audience, or at least didn't make it easy for them. I think there are easier ways in than his solo album you got - his whole punk jazz thing is generally bloody hard to get inside. Then he has moments of amazing beauty. In my own little bass world he's right there with Jamerson, and Bach.

6 minutes ago, lemmywinks said:

Bass playing would be massively different today without his influence.

👍

11 hours ago, Deedee said:

Well the set of LaBella Low Tension Flats I ordered arrived today. I've put them on my Steve Harris P and what can I say, an absolute revelation!

Are these the 42 - 100s? Around £43? I suppose I'll have to try them - using EB Cobalts  at the moment, and been happy with some 45-100 Fenders on a fretless I got recently but always up for trying strings... gets expensive though.

I do check the US prices as I can get them brought over. EBs seem to be around $35 but the LaBellas (just a first look) $45. Fender 45-100s $17👍(All those $ prices from Strings and Beyond, not hunted around yet). 
Makes the Fenders a bargain at a bit over £13 a set. Was planning a bulk order of EBs but I might try a set of La Bellas, I know @Sibob is a fan and there's a demo of them on a P and a Lakland here (but don't recall if these LaBellas are the low tension). Anyway, worth a listen - especially if you still think flats are all dead and lifeless

EDIT - sorry, seems the link to sound files has gone, maybe @Sibob could restore here?

Nothing fancy here. My main gigging bass - a '97 USA totally stock with EB Cobalts on. Found it with its original chainsaw case and candy. The original owner got it from Gak in Brighton in '98 (it's stamped late '97) and played in pub bands but it was (and is) virtually unmarked.
I have another 90s USA (a Jazz) and I find the finish of that period very tough indeed - i have banged this P once but the paint is like an armour coat.
2nd pic is the GB corner - messy but homely. The 900/Uber is the gigging rig, the combo for home and smaller stuff.

So this P is what I call my workingman's bass - no frills, does the job and occupies that space between kick and guitars REALLY well - that's my space so eff off

Solid gold, this stuff. Makes you realise how nearly all songs follow certain chord progressions and you can very often guess where they are going next.
It's a slight shame that the theory area here is less busy - I do think just a bit of time spent looking at the music theory topics really can make a big difference to how you approach playing - like small investment, big payback.

1 hour ago, hooky_lowdown said:

MHO Roto flats are the worst, super high tension and characterless.

A shame isn't it - they're UK and just round the corner from me, but I don't really like any of the Rotos I've tried - I find the E on the rounds really disappointing, like it came from a different set. Always seem to end up using the U.S. makers... just doing my bit to make them great again 

1 hour ago, Deedee said:

Interesting that there is some love for Fender flats.

I think flats suit the P really well. Currently using EB Cobalts and they are good but pricey. Then had some Fender flats on a Jazz fretless (45-100s) and I'd decided ages ago I didn't rate them, but these are really good - all the depth, the flat mid-punch and a nice crunch on top. And sensible money.

We need user feedback on those Adagios and Olympias - I mean a few months and proper sweaty gigging. But I'd get the Fender 45-100s again for sure.

Hi 👍 You're from Sandberg country (and Warwick) - I quite often fancy a Sandberg !

PRICE DROP - lots of feedback and some interest but original price was probably a bit pushy. I need the space and have several combos and rigs so I need this passed to a good home. £400 guide price.

On 23/10/2019 at 23:08, SimonEdward said:

Yes - the Alter Ego V1 with the legendary 2290 MOD preset and the delay turned off... ta da! There are also chorus toneprints for the flashback delay that work with Alter Ego.

Sounds interesting - but I've sunk £75 in the CE5 so I will keep with that for a bit. I did like the TC chorus toneprint in my old 250 head - I sold that for less than a new Alter Ego which makes me think (something, not sure what).

Nice archive thing - Hooky's Shergold 6, credited as played at the SF Filmore November '16. Check the stickers 👍 (sorry pic's appeared twice, can't seem to delete one!)

14 hours ago, LowMoFo said:

Happy to say I've had a set of D'Addario Chromes on there now for a week and they sound perfect.  Another benefit I've noticed is a complete loss of string noise when sliding notes.  Everything is just so buttery smooth

The D'A chromes are the next for me to try. I use EB Cobalts on my fretted P, and recently acquired a '99 USA Jazz fretless with some new Fender flats on. I'd never rated the Fender flats (I know quite a few here do) but really like them on the Jazz.

I'll post a pic of the Jazz but it's teaching me a couple of things - Fender flats just might be good; and lined fingerboards aren't such an annoyance - just ignore the lines
Though I really do think Fender should give the option of unlined - they just seem to always put lines on without any thought (I know some MIJ were unlined but all the US ones seem to have them.
Loving my Jazz, I'll sort a pic - it isn't porn though, more just a nice workingman's bass.

24 minutes ago, stewblack said:

Interested in a trade for a kidney? Two kidneys? 

sorry, should've said - no trades (for basses n stuff) - but I'm just off for a blood test so I'll get back to you

dot dot dot.

7 minutes ago, Paul S said:

Could I lift it in and out of the car? - oh bugger ........🙁

ffs - get a lower car

'Kin Ada...last time I looked this was about P basses. Where am I?

Way too soon for a bump but @MartinG signed the invoice

Chances of ever finding another like this? It's a timewarp once-only thing.
Mine from new in August 1990. Used as home and occasional studio combo, then stored by a mate in his house for years. Recently returned to me, then off to Dave at Valve Amp Repair in Gravesend for a service/check-over. Pots cleaned, a dry joint on pre-board fixed, valves checked for matching (good within 3mA).
Never worked hard or loud so the original Celestion 15 is good as new.
This Twin Valve is in truly remarkable condition - very close to new old stock.

FRONT: passive in, active in, TE pre-shape in/out, graphic in/out; effects send/return; line in/out; standby.
REAR: Mains on; external speaker out (XLR), impedance switch (4/8 ohm). The internal 15 is 8 ohm so extension should be 8. 
The Twin refers to the twin (paired) 6550 power-stage valves which TE quote as 130W output. That may sound puny but [1] it's into 8 ohms; [2] Trace were famously conservative in their output ratings (or a lot of current Class D makers are a bit optimistic) and [3] valves drive nice when pushed, as we know.
Anyway, as a combo it'll deal with small to mid gigs, add a 210 (say) and it's plenty loud.
Weight around 30Kg - it is a Trace, get over it  

Original Bass Centre invoice includes a Bass Collection fretless, total £1400. IIRC a slight deal was done and the Trace ended up £950 (in 1990, remember !)

View, play collect Sevenoaks Kent. UK courier provided buyer organises collection, insurance etc. I can't ship outside UK, sorry. May do a 50 mile run if asked nicely.

and btw - see that cast TE logo plate on the front? Art, that's what this is👍
 

Odd to see a retailer actually under-selling something. What we all know: the P has done more hit records and more sessions than any other bass. And do they all sound the same??
If that's 'one trick', it's a very neat trick.

 

16 hours ago, GisserD said:

Cant believe the chorusaurus hasn't been mentioned here. Its lovley!

me too. Must say not blown away with the CE5 yet. It might be a small nudge better than my Harley B, but that just makes the Harley look pretty damn good - esp for the tenner I paid to a fellow BCer.

CEB3 then??? I'm on budget shut down til I sell a couple of basses. I'll stick with the CE5... for a few days at least

2 hours ago, Heathy said:

the amazing @neilmurraybass was stood behind me in the queue!

Crikes - I used to work alongside Neil's brother Andy at CBS in the '80s. I recall he went on to Stiff Records and fronted (?) the 'near-legendary' Stiff All-Stars, maybe at the time my late friend Hugh Attwool was on drums.
Well, I did say The Bass Centre was like a family 👍

11 hours ago, Russ said:

Turned out the Rolls belonged to John Entwistle, and he was in there trying some stuff out

There was always 'someone' in there. Made me feel like I belonged to a family, an exclusive family of bass players.
OK - fairly well down the pecking order, but I belonged to something and it was good.

11 hours ago, timhiggins said:

Wapping back then seemed to be mostly falling down and

dust balls blew up the high street...

That was part of the magic - Wapping back then was like what I imagine Chernobyl is like now, like everyone had up and left. Then suddenly you walk into The Bass Centre and a parallel universe.
There was a rehearsal studio across the road in a riverside warehouse. Down some stairs into a very musty basement - I think that basement was below the water table. Used it a couple of times. They had an Acoustic 360/361 - that was just epic. That was mid 80s I think, when The Bass Centre seemed to be wall-to-wall Trace. Fine by me as I was and still am a Trace fan, but that Acoustic rig was legendary for very good reasons.
I digress, The Bass Centre remains the very best shop on the planet ever in my lifetime.