TheRev

Blimey - it looks like it just exploded.

I'd hang on to that ebony fingerboard, you should be able to sell it to one of the budding luthiers hanging round these parts.

Ah, that's not so bad then. Well done to you for having it insured - I still haven't got around to sorting out insurance for any of my gear.

Who are you insured with?

[quote name='Rich' post='669578' date='Nov 29 2009, 10:40 PM']hardly any slap [/quote]

And that was all from you!

[quote name='BassBod' post='669800' date='Nov 30 2009, 09:54 AM']Lets have a go....


[attachment=37380:DSCN1099.JPG][/quote]

I loved that 36 scale headless 5 string, it's got an amazing low 'B'. Just goes to show what a difference two extra inches make, although I did have trouble reaching that low C.


Si, don't suppose you got any shots of Jase's (?) lovely fretless Wal?

Don't mention GAS..... I checked out the Barefaced web site as soon as I got home. I shouldn't have done that.

I hope you twatted the moron?

Having said that, double basses are essentially firewood waiting to happen.

Just got in - it took 3 hours to get from Cardiff to Bristol but it was all worth it . Cheers guys for a great day with some great gear (and no slapping...). Big thanks to Si and Drewie for making it all possible.

Top moments? The fretless Wal and lifting Apex's Barefaced Compact for the first time...


Cheers Y'all!

Dave

[quote name='niceguyhomer' post='667153' date='Nov 27 2009, 10:43 AM']Yeh yeh yeh..I hear what you're all saying but you don't know our band. Every song goes...intro...harp solo....verse...harp solo....guitar solo....harp and guitar solo...verse...harp solo....guitar solo....harp and guitar solo...break for lunch......harp solo....guitar solo....harp and guitar solo...end.[/quote]

Yep - sounds like the blues to me.

Seriously, we do the exact same thing and we get away with it. Just keep your humour about you, get Mr Junkhouse to ham it up a bit and engage the audience.

Last gig we did was a a rugby club and one of the player's wives wanted to sing Mustang Sally. We let her and she was pretty good but every time we tried to end the song she went into another bloody chorus. The damn thing went on for about 8 minutes and we thought we'd hacked everybody off but the crowd loved it and thought we were, and I quote, 'really good musicians for keeping it going that long'. Never underestimate the power of a free bar to make you sound good.

If you go in thinking it's going to be awful, it will be awful. If you go in thinking 'sh1t man, let's play some blues' then you'll have a good time and the majority of the punters will too.

As for Mustang Sally, people like it so you will have to play it - accept the fact. Just close your eyes and take one for the team.

Another big fan of Jeff's here!

I bought a fretless bass purely because of Jeff's fretless bass parts on Ten and Vs and even ended up in PJ tribute act at one point.

Great player and great fretless tone.

Hi Homer

I'm in a similar kind of band - I joined as a dep for a few gigs about a year ago and they just kept calling. There's a core of three members with the drummer and lead guitarist taken from a 4 person pool of whoever's available for the gig. As a result we're not especially tight but we're all good enough players to pull it together on the night. As we usually do pub gigs for £30 each, it's not really bothered us.

We've recently done a couple of functions and like you, we were worried about how we'd go down but it's all turned out well. People danced, people tapped their feet, people drank and didn't notice the f#*k ups, we played Mustang Sally and got a couple of girls up from the audience to do backing vocals - they loved it and we got paid and re-booked for New Year's eve. Job done.

Just relax and play and enjoy it mate, if your band can play with a bit of fin and passion the looseness will only add to the feel. The blues is an easy music to listen to so as long as you keep the beat going you'll be right. Our harp player/singer/frontman is great at getting people involved - going out into the audience with a tambourine and that sort of thing so if you're worried about people just standing around you could try something similar?

Dave

[quote name='Mr. Foxen' post='663090' date='Nov 23 2009, 07:57 PM']Still hoping for a ride to this.[/quote]
I'll give you a lift Foxy - you planning on bringing much gear?

Mustang Sally

Loathed by musos, loved by punters. I'l probably have to play it tonight.

I started on double bass at 35. After the first 6 months or so I developed pain and pins & needles in my right forearm but a couple of lessons identified some crappy pizz technique and now everything's hunky dory and 80% of my gigs are on DB.

Given your existing physical issues I think lessons, a good setup and slowly buildig up your practice regime is the way forward.

Dave

If you like a slimmer neck then the Musicman Sterling (or the SB14) will be right up your street. I have small paws and my Sterling gave me everything I wanted - the Musicman sound with a superbly playable neck.

Sterlings (not the SB14s) come up for sale on a regular basis and some of them go for silly money - you might get lucky and find one in your price range.

[quote name='dub_junkie' post='640988' date='Oct 30 2009, 12:21 PM']I tried them once on a Sterling and it was an awful experience. I was only happy again when I changed back to roundwounds. Never ever again for me.

I quite like flats on P-basses for that old school thump but thats about it.[/quote]


I put Roto flats on my Sterling when I was doing a lot of folky stuff and I loved the sound. It was great for fingerstyle funk too but b*gger all use for rock.

Now I'm playing a lot of bluesy/psycedelia type stuff I'm fining roundwounds a bit too zingy so I might go back to flatties.

I love those early 90s thumb basses - for some reason they just look much better than the current Thumb basses. If I was in the market fo a new bass, a 90s thumb would be very high on my list.

[quote name='ashevans09' post='648161' date='Nov 7 2009, 03:58 PM']Broken link?[/quote]

Sorry - fixed now.

Dave

Chris Larkin does a six string, fretted version of his Blen EUB

[url="http://www.chrislarkinguitars.com/blen.htm"]Super Blen[/url]

Cheers for the heads up chaps! I've been looking for something new to listen to and these guys definitely press all the right buttons. They're playing in Bristol on Monday,

I use a Fishman Platinum with my Eminence and it does a great job. The phase switch in particular is very useful.

I tried getting into all that 'bass centric' stuff about ten years ago but soon realised that I was listening to it because i thought I should and not because I actually liked it.

The only bands I liked and still listen to are Primus and Rothko (a three bass player post rock outfit).

[quote name='The_D' post='644079' date='Nov 3 2009, 04:34 AM']I have thought once or twice about seeing another band or two to see what else is out there. I always put it off because its a struggle fitting gigs in with normal life...

How do you guys, married or otherwise, manage to juggle different bands?[/quote]

I'm in 3 bands but only one of them rehearses on a regular weekly basis which helps to fit everything into the week. Also, as I've got older the people I play with tend to have families and responsible jobs so they're not looking to rehearse or gig every week. Generally, we get together a few days before a gig to run through material, or, if we have to use a dep drummer or guitarist we might do two pre gig rehearsals but that's about it. Forward planning and a diary is the key really. Occasionally you take your eye off the ball and things get a bit crowded - I recently found myself doing 2 rehearsals and 3 gigs in one week which was bloody hard work trying to fit everything in around a full time job, a martial arts class and an increasingly huffy Mrs Rev.

I'm only in multiple bands because I like gigging and I can't seem to say 'no' when someone asks me to join their band or do a dep gig. If I was in a band that gigged 3 or 4 times a month then that would probably be my only band. I do like the variety of being in multiple bands though, it keeps things fresh.

Dave

I use my LMII with a single 8 Ohm cab - I suppose it would be putting out about 200W maximum, for my upright gigs and it's plenty loud enough so 250W into 4 Ohm would be fine.

Is the beast specifically for double bass or for 'acoustic' instruments in general? The inclusion of the onboard FX and chorus in particular just screams 'singer songwriter' at me - especially the second channel for plugging yer microphone into....

TBH, other than the anti-feedback knob (which would need to be tuned for bass specific frequencies to be much use?) I don't see why it would be any better than a LMII or LMK for DB.

[quote name='aud' post='635716' date='Oct 24 2009, 10:54 PM']Having read lots of advice on the forums I still dont know how to choose what to buy!
Ive had some lessons on a hired acoustic DB but would like to buy an EUB
I found shops where I could try a Stagg and a NS WAV, but is there anywhere to have an Eminence demonstrated in the South or Midlands in England?[/quote]

Hi Aud.

Whereabouts in the 'south' are you? If you can make your way to the South west bass bash in Cardiff, I'll have my Eminence with me and you're welcome to try it there.

Other than finding a friendly Eminence owner, there really isn't any opportunity to try before you buy in the UK. The market for these basses is small and the high price (compared to the likes of the Stagg & the Wav) means that you aren't likely to find one just hanging about in a shop. Like most eminence owners in the UK, I bought mine unseen and uplayed based purely on it's reputation. I love it to bits and it's pretty much everything I expected. If for any reason I needed or wanted to sell, I'm sure there'd be no problem finding a buyer.

If you have the funds, I'd recommend just going for the Eminence - it feels and sound much more like an acoustic bass than the Aria or the Wav.

Dave

David gage Realist into a Fishman Platinum ProEQ into the FX return of a MarkBass LMII. I could (and have) go straight into the main input of the LMII without the Fishman and this sounds just as good but the feedback limiting features of the Fishman make it pretty essential.