Ian Savage

Everything still in the original post still available, sloblues got his wires crossed

I've been using LaBella Heavy Blues 12-54 gauge on my Tele for a good while now, sounds great; I've just picked up a load of Rotosound 'light-top/heavy-bottom' 10-52s for not a lot of money though so shall give those a try soon.

[quote name='skankdelvar' post='1157554' date='Mar 11 2011, 02:02 AM']Done. MP duly pestered.[/quote]

Me too!

Don't know if the finish would be up your alley, but as far as slim neck and good range of tones goes this would suit:

[url="http://basschat.co.uk/index.php?showtopic=85196&hl=collection"]http://basschat.co.uk/index.php?showtopic=...p;hl=collection[/url]

Would take an offer well within your budget if it floats your boat...

On hold!

Again, bought for the G'n'R tribute which didn't come off - hence brand new!



Twelve quid delivered?

Bought this to put together as a passable Duff-esque bass for the G'n'R tribute, no longer doing that so I think I'll struggle to muster up the enthusiasm to put it together!

It's got all the required parts except for strings, although the electronics would probably benefit from being replaced - it's solid though, and having fitted the neck to check it over it's structurally sound! The guy I bought it from had carried out a fairly sketchy paint job, if you wanted to keep it white a flat-back and another coat of paint would probably finish it nicely.

Paid fifty quid including the post, so I'd let it go for that or forty notes if you can collect it (Birmingham kind of area)...

No requirement for this now that I'm not doing the G'n'R thing anymore, so hopefully someone else'll have a use for it - in good nick, one or two scuffs but works perfectly, £40 delivered?

This is back up for sale again, just been dumped from the G'n'R tribute I bought it for (having found out via Facebook, bunch of twats ) so could do with making some money back - reasonable offers considered!

I'm fairly sure I'm going to regret selling the Gibson Melody Maker I'm currently moving on, but the bastards at the CSA are forcing my hand

[quote name='charic' post='1154118' date='Mar 8 2011, 05:24 PM']This is the most GAS inducing bass I could find for 1986 in the 5 minutes I could be bothered to look



1986 Rickenbacker 4003 Shadow Bass[/quote]

WANT!!!!!! Is that a maple 'board as well?

As a child of the 80s, mine is likely to be considerably cheaper yet considerably more tasteless.

This would probably be typical:

[url="http://cgi.ebay.co.uk/1980-B-C-Rich-Mockingbird-Bass-Rare-Violet-Pearl-/200524923351?pt=Guitar&hash=item2eb03781d7"]http://cgi.ebay.co.uk/1980-B-C-Rich-Mockin...=item2eb03781d7[/url]

although I'd happily jump this one's bones:

[url="http://cgi.ebay.co.uk/RICKENBACKER-4001S-BASS-NATURAL-1980-MINT-CONDITION-/180633081581?pt=UK_Musical_Instruments_Guitars_CV&hash=item2a0e9216ed"]http://cgi.ebay.co.uk/RICKENBACKER-4001S-B...=item2a0e9216ed[/url]

As a musician and engineer, sometimes at the same time, I've taken to using an approach which I first saw done by the guys who used to work the Roadhouse in Birmingham (weird, but lovely men):

1/ Drummer playing at normal gig levels unmic'd, everyone brings up their amps so they can just about hear themselves.

2/ If anyone needs more of anyone else, add it in the monitors (e.g. guitars on opposite sides of the stage)

3/ Bring vocals into the monitors, adjusting e.q. and reverb in wedges to taste / to tame feedback.

Only then should you start looking at the FoH mix, and bring in the mics on the drums if you're using them. USUALLY leads to a group of musicians who can hear everything they need to, and total control over the FoH sound for the guy who's actually hearing it (i.e. the engineer).

At least until the guitarist turns the amp which was set at 'four' during soundcheck up to 'seven' for the gig

[quote name='gareth1982' post='1153746' date='Mar 8 2011, 01:27 PM']are the straplocks you metion and the hardcase in the picture included?[/quote]

I too am intrigued by this information, a mate of mine's after a reliable gigging bass with not a lot of money (and apparently my Bass Collection's 'too flashy' )...

[quote name='ben604' post='1152468' date='Mar 7 2011, 01:41 PM']What cabs/amps do you use?[/quote]

At the minute, a QSC USA900 amp (2x450W into 4 ohms) into a pair of Peavey Pro 15 speakers (600W program handling, four ohms) - they work very nicely together (a few vocals and maybe a smidge of guitar or kick drum) and probably cost less than £400 (I forget now). Add a sub and a second amp and the system'd be able to cope with 2-300 capacity venues, I reckon.

[quote name='ben604' post='1152468' date='Mar 7 2011, 01:41 PM']What would you use if you had the choice?[/quote]

Now THAT'S a question The idea of an active 2x15+horn pair is very appealing, BUT unless you're always playing on stages a couple of feet high you're right, they'll be too low on their own and a lot of your sound will be lost into the front row/dancefloor/whatever. Rather than put them on 'normal' speaker stands I guess a couple of good, sturdy wooden boxes or something would be more stable and not put them [i]too[/i] high, but carrying something like that around sort of defeats the object of a one-box solution.

I guess you'd not always need the full rig either, especially for smaller places where you ony need vocals through the PA or whatever, so the option of just taking two speakers (and an amp, if you're not active) might be attractive. And there's good evidence that using two subs as opposed to one can do more harm to your sound than good, because of phase cancellation at the low end and all that kind of stuff; shame that using just one sub buggers the symmetry of your stage setup but it's one less thing to carry, I guess.

Microphones sold, if anyone fancies any of the other bits but thinks I've overpriced feel free to chuck me an offer, they'll all have to be on eBay in the next week...

...right, ongoing clearout continues...





From top to bottom:

Peavey DeltaFex Twin dual stereo effects unit - two independent digital stereo processors in a single case. Ideal one-box solution for providing two different effects to a live mix via two aux sends, can do all the usual suspects (bunch of different reverb and delay types, reverb+delay combos, chorus, tremolo, rotary speaker etc etc etc) with control over two parameters of each (say, rate and depth of chorus, time and length of delay) all on actual control knobs so no piddling about with menus and scroll wheels. Oh, it's missing one knob as you can see, but no effect on functionality (personally as I'm running it via aux sends I just leave the wet/dry knobs set totally wet anyway). Seventy quid delivered?

Pair of Rane 30-band mono graphics, switchable 6/12dB range and bypass, simple as they come but built like tanks and sound great! Seventy quid each or £130 for both?

Behringer Composer MDX 2000 dual compressor/gate - configurable as stereo or dual-mono, one of Behringer's better bits of kit over the years. Everything you'd expect from a decent live compressor, I've been running it over vocal submixes and kick drums but it'll work nicely on just about everything. There's a good number of pro audio types who reckon that the earlier Composers are the best ones; be that as it may, all I know is that this one works great! Forty quid delivered?



There's also the 6U rack case these have been housed in, which is tatty-looking but totally servicable, and a 4U rack which has hardly been used - don't know if it'd be worth the expense and hassle of posting these separately, but if anyone wants a couple or more of the effects units I'm sure we could work out a deal to include one of the racks to ship them in. Separately if you can collect (Birmingham/West Midlands/Warwickshire area) I'd be happy with twenty quid for the former and fifty for the latter as it's in much better condition.

Much against my will, these had better go as well - a pair of AKG C418 clip-on condenser mics. SOLD

I'm open to reasonable offers on anything, and of course if you can collect stuff it'd be cheaper; PM me if you want any more details or anything!

Another bump, as the CSA are now chewing my ass off and seem to think that it's possible for a person to live on fresh air and happy thoughts pretty much open to reasonagble offers here!

I actually started writing a book on audio technology (a sort of 'Dummies Guide' style thing) a few years ago, haven't touched it in ages; shall dig it out and see if there's anything 'ready-to-go' in there on the topics mentioned if it seems people are interested!

[quote name='ben604' post='1129631' date='Feb 16 2011, 01:47 PM']We've got a "Summer of '69" rule. If it gives anyone in the band the "Summer of '69" feeling, we don't play it. We play the 2nd or 3rd best known songs, seems to have gone fine so far, we've played 8 gigs with our current repertoire and been asked back to every pub.[/quote]

I'd love to be able to do that - Summer of 69's in our set, and we DO get asked for it

Same with 'All Right Now', 'Teenage Kicks', 'Sex On Fire', 'I Fought The Law'; when you're playing to people who aren't necessarily music 'fans' per se you gotta throw in that kind of thing. And generally if a suggestion comes in which more than one person in the band's never heard of, it gets ditched (Jimmy Eat World's 'The Middle' was a candidate for the set this week, I'd quite like to do it...)

[quote name='yorick' post='1129609' date='Feb 16 2011, 01:34 PM']I've got a lefty version if you want to check it out. Nice fast neck, pick ups aren't brilliant, but light and comfortable to play. Decent hardware as well

Nige[/quote]

Cheers Nige, may take you up on that - any idea on the country of origin at all?

Looks good, lovely and cheap, would do nicely for the GnR tribute I'm working with (Duff played a very similar Kramer in the 'Sweet Child...' video, so while it's a tenuous link it's definitely there ) - problem is nowhere anywhere near me seems to stock Kramer

[url="http://www.gak.co.uk/en/kramer-striker-422s/24678"]http://www.gak.co.uk/en/kramer-striker-422s/24678[/url]

Anyone played one who could give me a vague opinion? I'm particularly interested in where they're made, as I tend to avoid new Chinese-made stuff on ethical grounds, but any general information's very welcome - the general net consensus seems to be 'good for the money, nothing outstanding' which to be honest is fine for me; it's likely to be chucked around a bit and generally not treated very well, so as long as it's cheap and works...

If you've got a singer who can handle the story-spinnin' style of the lyrics, I've heard a couple of really good versions of 'House Rent Blues' (or 'One Bourbon, One Scotch, One Beer') over the years; it were made famous by George Thorogood.

For bluesy/souly stuff which people are likely to at least have heard before (if that's a priority for your band!) you could do worse than spending an evening in with The Commitments, The Blues Brothers and Roadhouse on DVD.

I'm toying with the idea of putting together an 'expanded rock band' lineup type thing, kind of in the vein of the E-Street band but maybe with less straight guitars and more, well, odd stuff.

[quote name='Sean' post='1117029' date='Feb 5 2011, 08:49 PM']My Yamaha BB415 is a keeper as near as dammit. This was the bass I bought to replace Sid actually, Clarky. Why is it a keeper? It's a cheap bass that's been modified leaving scars and it's taken a couple of knocks leaving more scars. For what it would fetch cash it's hardly worth the bother selling it. I keep it strung with TI Flats and it's just fantastic. So a keeper by default rather than because it's so special I couldn't part with it.[/quote]

I'm in this kind of boat as well - my Tanglewood TEB12 was my main gigging bass for YEARS, so it's covered with stickers, held together with wood glue and gaffa tape and eventually was signed by Duff McKagan, hence retired and a 'keeper' by virtue of the fact no-one'd want to buy it. I too have a Bass Collection which wouldn't fetch anywhere near what it's worth secondhand, so that'll stay unless someone makes me a decent offer for it - and the third one's a 70s Japanese Grabber copy which Mani signed 'I *heart* rock 'n' roll, keep it alive' after he saw my old band at a gig in Manchester, so there's mega sentimental value there.