GreeneKing

Dave was a real pleasure to deal with. Instant payment and great communication. Peter

[quote name='ColinB' timestamp='1335175129' post='1626573'] Ah... I remember back in the late 70s going to see Sabbath in Coventry. (Van Halen were support!!). I got down to the front, up against the stage, right in front of Geezer's rig. I could feel my chest move and my ears rang for three days afterwards. Happy days! [/quote] Pardon?

[quote name='ead' timestamp='1334445093' post='1616382'] I feel you may have me confused with somebody else there Peter...and after a brief bit of googling I now see why! I have inadvertently become associated with Extended Audio Design, but sadly our only common theme appears to be Chorley as I'm a Barefaced abuser, although I did enjoy playing through Alan's EAD cab. [/quote] Coincidental, two EADs from fine Chorley. It'll be a fine bass too even if it's not from, err..... Chorley Pedro

EAD from Chorley? So Dave's cabs have taken on a completely new persona Looking forward to this thread growing Peter

My 1st bass was a Hohner Jack headless nt and yes I do regret parting with it for a TRB4. The good news is one has just landed at my work address and I'm heading that way soon The TRB4 should never have gone either but I lent it to a friend and his toddlers fair trashed it The other good news is that while I was out yesterday I spotted a TRB4P for sale..........

[quote name='John Hall' timestamp='1334142763' post='1611436'] I own the copyright on "Shenanighans" [sup]TM[/sup]. I am [i]not[/i] amused... [/quote]

Many Jazzes have come and gone in GreeneKing towers, including 2 Marcus Miller 4's and a Sadowsky. My present Fender is a 87 CIJ 'Jazz Power Special' and is indeed a bit special. Not only is it a 'mid focused' Jazz (lower mids is where I kinda get off) I've enhanced the sonics further by adding a Wizard Thumper (yes it's a reversed P/J) and an '84' at the bridge. A Babitz bridge and a U-Retro modified by John East make the bass tonally awesome. The U-Retro now has a 3 way switch like the original. If I put the blend knob to the bridge pup the switch gives me instant and switchable thump/jazz/barp that's so useful when gigging. The blend works too and the pup switch is fully 3 way functional in passive. This is as a black bass with a carbon reinforced neck with the carbon weave extending across the headstock. If only all Fenders were as good as this. Vs a MM it's a league apart in my opinion. I do like MM's but the original pre can be a flawed beast.

Here's a none too brilliant photo of my TRB6P Mk1. Moving house seems to mean that my lighting equipment has got a little 'lost'

The rhythm guitarist did it in the study with the lead piping.

Viewing this from the buyers perspective I can see why he wants a refund. I'd personally get a bass off well before 8 days had passed too. I've dealt with buyers and sellers all over Europe and generally I'd say that it's on a par or better than dealing with fellow countrymen (I include the Scots here - in the best possible way ) I'd also keep the funds to one side until the buyer has said he's completely satisfied. Peter

[quote name='LukeFRC' timestamp='1333101671' post='1597325'] enjoyed looking at your gear list and trying to work out what type of music you like playing [/quote] A good point Luke. I'm playing what the band plays. Punk/Rock at the moment and the bass missing from the list is a CIJ Fender Jazz Power Special that I was going to keep original but has now morphed into something a little 'different' I need to sell the Clover, not because it not brilliant but because I've got too much gear (again).

[quote name='Spoombung' timestamp='1332502628' post='1589164'] Here's mine: and a track made with it: [url="http://soundcloud.com/spoombung/mr-moffat"]http://soundcloud.co...mbung/mr-moffat[/url] [/quote] A fitting tribute to the bass's maker

Well done Pete, have fun with that new bass. I could see it happening I think that if Alan stopped making his own designs customised by buyers then it would indeed be a very sad day. But if his skills are directed at improving an existing design whilst being financially more able to work with 'real wood' then it's cause for celebration surely? Oh and I can understand a preference for a radiused board but I love the asymmetric neck profile. Lukes comment above about Jazzes and P basses being suited to certain styles of playing also makes a lot of sense to me.

I've starting with a new band (punk/metal covers - at my age!) and at our 1st practice I noticed a tendency for the amp to distort on the clean channel. I wondered what experience others have with these heads. I was using a Jazz with Wizard 84/Thumper reversed P/J combination and a U Retro. The bass output is heavily mid focused anyway and I favour flat treble, slightly boosted bass and a large touch of lower mid boost to give me a penetrating but non too harsh rock tone. The U Retro is modified by John to give me a 3 way switching pickup selection and I use both pickups most of the time and the P p'up for some of the more punk numbers (it has a blend too). With the gain set well below the clipping light level and any setting on the master volume I'm getting distortion coming through the cabinet and it's most definitely the amp (I've done some comprehensive checks on the cab which is totally awesome). If I back right off on the gain on the amp or the mids on the bass he distortion goes away. I'm going to try doing all my EQing on the amp at our next session and see if that makes a difference. I'll also try this with the bass in passive. I've always done my tonal shaping on the bass but maybe I need to switch to doing it on the amp with the Aggie? I've heard that the Aguilars used at the London Bass Show were distorting in a similar way too so I suspect it's not an issue with this particular head which is new and otherwise great. Has anyone else noticed a tendency for their Aggie head to distort below the clipping level possibly when a big signal or heavy low mids are thrown into it? The guys in the band were totally awed by the rig once I'd managed to dial out the distortion that I mistakenly thought was a cab issue. But, Teenage Kicks into your late 50's shouldn't be allowed, however 'cool' a Dad you may be [b]Edited to add[/b], I've had a play at home with low master volumes but high mid bass output and amp gain and the issue clearly is clipping that starts before the lamp flickers. If I reduce the bass mids or switch it to passive and use the amp lower mids it's fine, if not quite as 'strong' as I like it. A twin channel 500W Markbass coped admirably with these bass settings. Peter

I live pretty far North. Never, ever heard something as fishy as that??

Hiya Terri and welcome to BC I'll explore your links later, very interesting initial look see. Peter

[quote name='Faithless' timestamp='1331640715' post='1576282'] I was gonna say the same thing then, if we're so 'dedicated' about having the right 'timbre' and the right swing', then we'd refuse to play with guitards that don't play hollow-bodies, piano players who don't play the 'real' piano (how about bringing one to the gig? ), and drummers that don't own one of these sweet kits: [url="http://upload.wikimedia.org/wikipedia/commons/b/bd/Jazzing_orchestra_1921.png"]http://upload.wikime...hestra_1921.png[/url] The [i]right [/i]timbre, oh yeah.. [/quote] Sorry but I wasn't trying to be pretentious In my own personal opinion, an electric bass can't substitute for a double bass in some musical forms because it's a very different sounding instrument. The notes may be the same but the timbre (the correct musical term btw) is quite different. It's not down to how well an electric bass is played either, it could as well be a bloody harpsichord as it doesn't fit the musical form, in my opinion of course. One of the video's above demonstrated this perfectly. The same of course applies the other way. It's not pretentious to suggest that a db wouldn't sound right in 'London's Burning' for example? Peter

[quote name='Bilbo' timestamp='1331620265' post='1575848'] Onr od those electrical ones.... I'm not really of the view that you can't swing on eb, just that you can swing a lot [i]more[/i] on db. Playing fast tunes, like 'Match', it is easier to pull it off but, playing a slow blues or a ballad is massively more convincing on db. Its not tha you can't do it on eb, just that its a lot less satisfying to listen to and play over. I used to think that jazz musicians preference for db was prejudice and tradition but, as I have got older, I have realised it is about the music and, for a lot of jazz, eb will always compromise the intentions of the composer or MD. You can play a form os swing on eb but, it you want the real deal, its db all they way. I think there is a similar argument with pianists. They all have an electric pianno for gigs but every one of them would drop it for a real piano every time because it is better suited to the genre. [/quote] Substitute the word timbre (and the way it's crafted) for swing and there you have it, at least to my ears.

Was Paul MCCartney in Wings then....... Beatles for me, no contest