Shaggy

Been in the hands of a few BC-er's this one (in fretless guise); originally Bassbod's for years and years, then Walbassist's, then mine, then Beedsters. A lovely, lightweight, resonant bass. I wasn't expecting to like it with the Jazz neck, but have to say it looks absolutely superb - the rosewood just right, and the neck binding continues into the pickguard edging in an aesthetically really pleasing way. Bet it plays well too. Nice one! ([i]nostalgic sniff[/i]! )

A few threads on this; try [url="http://basschat.co.uk/index.php?showtopic=116948&hl=EB3"]http://basschat.co.uk/index.php?showtopic=116948&hl=EB3[/url] and particularly check check 9th post down (ELJJ's) For me it would have to be an old EB-3; still relatively affordable, much more tonal options than the "0", and more grunt than the SG. I'd have thought your Triumph would have ticked most of the boxes though?

I acquired this one; [url="http://basschat.co.uk/index.php?showtopic=108319&hl=Paulman"]http://basschat.co.uk/index.php?showtopic=...&hl=Paulman[/url] in a trade with Lozbass for a Gordon Smith semi-acoustic 4 (apologies to angelagnostic for the use of his sale thread and pics) - as a dyed-in-the-wool 4-string player I saw it as an inexpensive foray into the world of 5-string, but at a decent quality level. I have to say I'm hugely impressed with the build quality and the tonewoods - the multi-laminate flamed maple neck is a work of art, and the lovely quilt top is needless to say a proper carved one, not a veneer Also as the spacing on the upper 4 strings is very similar to a standard 4-string it's perfect for a 5-string noob like me - no confusing the E with the B like I did on my previous attempt (an OLP "MM5"). I'm considering changing the p/ups and preamp, more out of interest than from real need. Shame Paulman wasn't better known as his instruments are easily on a par with Overwater, Goodfellow etc, and damn shame he passed away last year. Edit; I think this was designated the "Rex" model

I'm sure there'll be some EB-0 / 3 owners along in a minute (check with EvilLordJuju), but if not I can measure my '69 EB-2 which should be the same Post the query on here too: [url="http://forums.vintageguitars.org.uk/forumdisplay.php?f=19"]http://forums.vintageguitars.org.uk/forumdisplay.php?f=19[/url]

[quote name='Lozz196' post='904684' date='Jul 25 2010, 11:40 AM']Definately a great bassist, very capable, and a great ear for melody, some of his lines are just amazing, so melodic. With regards to the original point - who inspired me - many from the punk era, Glen Matlock, JJ Burnell, Paul Simenon to name a few, but if I had to name one who stood out, for me it would be Bruce Foxton from The Jam. Again, amazing melodies, and, in many of their songs, he sang backing vocs virtually all the time. To compose those lines is hard enough, but to play those lines and sing at the same time - amazing. And bear in mind he was late teens/early 20s, and only took over bass when the original bassist left. A name you don`t hear much, as Paul Weller was the obvious focal point, but Bruce Foxton was essential to The Jams sound.[/quote] Saw the Jam at Deeside on the "Setting Sons" tour (a lone black bike-jacketed "Rocker" in a vast sea of khaki Parkas), Bruce playing his Fender P. He's the man. Don't know if anyone caught it, but BBC3 showed an old "Rock goes to College" with a Specials gig from 1979 week before last - sheer class: raw and unpolished by modern live production standards and all the better for it. To me HP is the [b]only[/b] bassist that looks cool playing with his bass chest-high +1 on Jerry Damners being the driving force behind them though, and what a sad end "Fun boy three" was to a fine band [quote name='mike f' post='904276' date='Jul 24 2010, 07:00 PM']I played a gig in January and afterwards this chap in his 50s said I reminded him of Horace Panter, the way I played but mostly the way I moved and my presence on stage.[/quote] I was compared to Wilko Johnson which ain't so flattering

[quote name='evilLordJuju' post='1132164' date='Feb 18 2011, 01:16 PM']The 60s Gibsons had a veneer made of wood - holly in fact - painted black. By the late seventies (certainly for the RD series) it was a black resin - I can probably find the exact name they were calling it - but can't remember off hand. I interviewed the guy who designed the RD series (including the flying f-hole inlay) - the late Chuck Burge - and he told me all about it. I'll try and get that interview transcribed at some point. I can not tell you the exact date they changed, but they were still using holly in 1972 or so.[/quote] The replacement sheets, and what Gibson currently use are "fibreboard" (a kind of thin MDF I guess). Interesting they used to use holly - stained holly-wood has been used as an ebony substitute since the Renaissance. I recently tried to patch a missing piece on my '58 EB-2, but in the end gave up and left it mojo'd. The "winged note / flying shrimp" logo-ed RD Artist headstock probably the classisest headstock ever IMO.

[quote name='andysleigh' post='1131593' date='Feb 17 2011, 09:50 PM']Does anybody know what the finish on Gibson bass headstocks is. e.g. RD artist, ripper etc I assume its an ebony veneer/ top, but you can never see any grain. jsut a straight black finsih . Is it painted? cheerz Andy[/quote] I think the ones with the painted / transfer gold logo are usually just painted black, but the ones with an inlaid MOP logo are a black stained veneer with a clear lacquer topcoat. You see them as pre-cut sheets for Les Pauls etc on ebay. but never seen one for bass.

First Bass Owned: Kalamazoo KB1 (£25!) 'Go To' Bass: varies - mainly Fender '78 P just now 'Your' Bass: Fretted - '65 Gibson Thunderbird IV, Fretless - '85 Wal Mk1 Custom

Bought an Aggie GS112 off Dave (doubtless the one above!) at a soggy Sarn services on the M4 today - very fast and easy deal; great communications and a pleasure to do business with

Thanks to all for the info - clearly makes sense to leave as is.

Apologies if this has been covered before; couldn't find anything. I'll happily re-wire basses, but a total noob when it comes to amps and cabs. Just wondering if it's possible to convert a cab with a single driver from 8 ohm to 4 ohm, eg; by wiring in a dummy resistance in parallel? Cab is an Aguilar GS112 with variable tweeter. I'm guessing not! Thanks!

Lovin' that bassdrobe! Mine are all in hardcases (except a semi in a gigbag as I can't find a HSC to fit) and yes they take up a hell of a lot of room. Also, having quite a few vintage basses with their original hard cases I bought a big generic HSC without a shaped liner, so that I can gig them without taking the OHSC - which with '60's instruments are often pretty crap anyway. I'm fairly sure Mrs Shaggy was visually measuring me for a straight-jacket when I explained the rationale to her.

Met Dan today at a a services on the sunny M11, bought an Eden 410 cab off him - smooth deal, good guy to deal with, great communications.

Terry bought my Mesa 2 x 15 Deisel cab last month, and helped me out big time by paying up front even though the plan was to meet, which allowed me to fund the Alembic I was GAS-ing for. Then what with the snow and ice and having to reorganise my trip, he didn't see his cab for over a month! Finally met and delivered the cab at a rather soggy Gordano services last weekend. Really easy deal, Terry's a great guy and communicator - would deal with again anytime

Oops bit of a late one this, but Chay made my old Ovation Magnum 1 very happy by giving it the proper Ovation case for it to live out its autumn years in comfort in Shaggy's retirement home for knackered old basses. As for Chay; he's a good guy, plays bass, and he's Welsh - in other words there is no higher feedback possible and he's entitled do whatever he likes short of rogering the President's wife. Maybe even that.

[quote name='Clarky' post='1082732' date='Jan 8 2011, 11:16 PM']Errrm, just bought this beautiful Alembic Series 1 from lozbass (these are Loz' photos, hope thats OK but I have either a rubbish camera or am just bad at taking photos). Its a fully refurbished 1982 bass that really is as good as new, and weighs only 9.2 pounds. [attachment=68206:IMG_1722.JPG][attachment=68207:IMG_1719.JPG][/quote] Hmmm.......I'm [i]sure[/i] I recall someone posting that they weren't keen on "short-horn" or "wood finish" Alembics....... Seriously mate, for me that's the best bass on the forum, no contest - what a great score. I acquired my '76 long-scale Series 1 last month after *[i]coughs[/i]* years of GAS-ing for one, and they're simply astonishing basses. Im chuffed for Loz too, as he can now doubtless afford some other amazing bit of short-scale Alembic exotica. If you ever sell, PLEASE check with me! The Pino's not half bad either!

[quote name='Big_Stu' post='1081749' date='Jan 8 2011, 01:28 AM']I had this built entirely because I was awestruck by the sound of Jimmy's custom bass after going to quite a few of their gigs. Two days after it was built John Birch died, so this here is the last ever guitar that John worked on. Re his Gibson EB3:- Jim mentioned to John Birch in 74 that he was thinking of having a white bass built. This was just after John had built the Superyob for H (Dave Hill) & Nod & H had had a couple of guitars customised. Shortly after Jim's red EB3 from the early hits videos went in for a set-up to John Birch. When he got it back John had removed the neck pup, resprayed it white & put a new fuzztone into it. Jim was livid, but got used to it. It was stolen from JB's workshop during a break-in a few years later. Shortly after that Jim had his sunburst custom built; though it was tagged "John Birch" it was actually built by JayDee who worked for John Birch at the time.[/quote] Cheers for the info, and that's a really cool bass - I was tempted by a John Birch "Rickenbacker" a while ago (but I was at my default "skint" setting...... ).

[quote name='GeeCee' post='1081531' date='Jan 7 2011, 09:10 PM']Laurence Canty had something similar done, as did Alphonso Johnson I believe using an Ibanez Musician bass. It does make sense, slapping and pulling on the lower notes, fretless on the high notes.[/quote] Quite liking the look of that - I had a fretted one new in '80, but it didn't have that little extended top-string curve at the end of the f/board. Lovely basses.

I'm a confirmed vintage Gibson fetishist, but these and the Ripper / Grabbers have never really done it for me. Some iconic players have played them though - my favourite would have to the great Jim Lea of Slade (or was his a John Birch "copy"?)

I'd have thought it would have been an ebony board if that fretting arrangement was original, but could be wrong. It was common on Kramers of that era - can't see the point of it myself. Lovely Wal BTW!

My main formative influence, along with Barry Adamson What a wonderful legacy to leave, but what a lousy way to go

[quote name='bubinga5' post='1070366' date='Dec 27 2010, 06:56 PM']i like to think im opened minded most of the time when it comes to music...me and my sister were not a fan of the Smiths when we were growing up.. as ive got older i love them...just wonderful music..in my naivity i could never see groove in there music..but as ive gotten older, i totally love there music.. i could listen to it all day.. also is Morrissey not the coolest dude! two of there more popular tunes [url="http://www.youtube.com/watch?v=BjkMhwNWcbY"]http://www.youtube.com/watch?v=BjkMhwNWcbY[/url] [url="http://www.youtube.com/watch?v=wRa3jIzZ1EY"]http://www.youtube.com/watch?v=wRa3jIzZ1EY[/url][/quote] Bubinga - who [b]are[/b][i][/i] all those people in your avatars? I know it's been asked before....... [quote name='foal30' post='1070623' date='Dec 27 2010, 10:54 PM']I'd say the Smiths are not only one of the best bands from England but also one of the most important. they don't sound anything other than English great lyrics interesting guitar player very good rhythm section high quality tunes = the sum is greater[/quote] Absolutely +1 The Smiths were like a shot in the arm at a time when the charts were dominated by sh*te New Romantic / synth-pop / proto-House / Hair metal twaddle. I remember being around a friends house one drunken evening; she raved about this new band and played me "Reel around the fountain" - just knocked me out. Love him or loathe him, Morrisey is a frontman par excellance, and he and Johnny Marr had their finest songwriting moments together. "How soon is now" must be in my all-tine top 5