KingPrawn

I think we all pine after the nostaga of our first basses. Along with all the ones that got away. 

replacement pictures added. 

Hello all. 
For those of you who are using backing tracks I need some advice. 
1. How do you trigger the tracks? Hardware or an App?

2. What’s your signal path to drummer and band?

Thank you 

19 hours ago, Tjhooker said:

Was this a long process.. do you have to sit down with one of these plugged into your computer and tweak stuff?

 

It gives you both options. You can plug and play or build your own patches. My ability developed over time. I made a few then started to tweet the dynamics. Really easy to use. After a while I found it easier to use my laptop hooked up to the helix as all the functions were easier to access. 

As above. It's difficult to assess through pictures you need to apply some basic kit to find out what's going on. Has anything happened to the bass, that may have caused something? Extremes of temperature, truss rod messed with? it may well be a simple relief issue if it's just in the middle of the neck. 

3 hours ago, Tjhooker said:

But everyone is going on about the helix stuff so I'm very curious 😅

You need to check out some of the youtube stuff. I've used a Stomp for the last 5 years and they are a real game changer. I don't think it will ever replace a really high-quality amp and cab and the feel of a rig but for ease of use and set-up, they are incredible. There are so many options available for sound and processing. It allowed me to develop the various bass sounds I had in my head for different bands and songs. I've had so many players and audience come up and discuss my sound only to realise I have no rig. 

9 hours ago, Waddo Soqable said:

When I had one of these it fitted easily into a normal flat/square type regular 6 string guitar case. 

Spot on. That's what i use

10 hours ago, JoeEvans said:

Can you tell me the dimensions of this bass? Overall length and width at the widest part?

 

Hello

980mm in length 320mm at the widest part. Or in old money 38.5 inches x 12.5.inch

 

 

I generally break a song down into its parts. The key signature, intro, chorus, Middle 8, and Any tricky parts. I then look for the repetitive parts and nail them. Every song has a pattern which, I learn and listen out for triggers from vocals or other instruments. So basically I end up with a series of parts. if it's a song that involves speed I use a metronome set a few beats below to learn the song then increase the speed until I hit the correct tempo. googling the lead sheets can be really useful or looking at someone else's attempts on youtube can cut corners. 

 

I then go to rehearsal and fook it all up!

Not long heard the news. Its so sad. She was a troubled soul. Beautiful singer and writer

Beautiful looking bass. I was watching that charity thing you did last year. I thought your tips were really useful for new palyers. Have you always been maple neck?

On 18/07/2023 at 20:52, karlbbb said:

As I reflect on nearly 20 years of bass playing, I realise that almost all of it has been spent on 5-strings of various quality and pickup layouts etc. I've played in bands in the past but I'm mostly a bedroom player now. But here's the thing... I'm ****. Like, really, still quite a bit ****.

 

I've never bothered to "learn" bass properly, instead hunting for tabs and then being insanely critical of myself that I can't figure out or play every note exactly how it is in the recording. I still can barely slap a single note. Most of my first few years were spent in the 2000s pop-punk era of 8th or 16th root note plodding style basslines. I don't know my way around the fretboard. I can't move around in a song. I'm currently listening to "Inside Out" by Imelda May, and what must be the simplest of walking basslines would take me a couple of days to get all the notes down through sheer, brute force trial and error.

 

The conventional wisdom is that one should learn on a 4. Is this really the case? I have those 4 strings on my 5 string, there's just another one there to add into learning modes and other shapes. Should I be picking up a nice cheap Harley Benton jazz clone and start learning properly?

I love your honesty.  You may be overthinking this. If you are happy where you are, that's enough. If you're not, then the number of strings won't change your ability to learn. Spend your time learning the songs you like regardless of the timeline. When you've nailed it you've nailed it. When I watch the really accomplished players talking about keeping things simple. I often think it's easy for them to say that as they are so accomplished. They have been there and done it. They have the 10,000 hours under their fingers.

 

Ive always felt like an imposter in every band I've been in. Always felt like the weak link. Its all about confidence

1 hour ago, Mudpup said:

We have one of these and extend the width by using a couple of tent poles bungeed along the top sticking out each side depending on the width we need. The flat feet are much better than the usual tripod ones as you can slide them under amps if required. You don't need to shift the drummer forward at all. 

 

https://www.printedtoday.co.uk/product/backdrop-stands/

 

Bungee balls are on Amazon and the 4" ones are the right length.

 

It gives us this at its widest....

 

 

 

Love the lighting bars. who makes them?

Mistakes happen to the best of us. As Victor Wooten says "You are only one fret away from the right note". I'd say go with the focal point, which is usually the singer. What I really hate is a glare from one Musician to another. Don't give the audience any signal a slip-up has happened. Yes acknowledge it but not negatively. You can sort all that stuff out once the gig is over. I'm a weekend warrior, these days, so I try to give myself a break. I'm not touring or sitting in a pit. I'm not playing the same lines every night for weeks on end. Regardless of your place in the choir. The audience only responds to the song not all the individual parts, unless they are musos. I don't go into any gig wanting to make mistakes. I practise the key signatures and the structure of songs. I know my fretboard and where I need to sit in the mix. I still make mistakes.

This has been my go-to IEM Set up for the last few years. A well above average introductory level system. The sure brand is pure quality. It has been kept in a Gator case form new so has no marks etc. You will see from the pictures it comes with the original headphones, lead and rack ears, which have never been opened. Original packaging.

 

Happy to discuss postage to a UK address or meet up close to Brumland

 

 

Full Description

 

Robust and Reliable Wireless Monitoring System

Built-In Headphone and Audio Limiter

Front Mounted Antenna

2 x Mic/Line Input Channels for Mix Control 

Up to 100m Operating Distance

Volume Control on Bodypack Receiver

Rack Mountable (1/2 Rack Space)

High Performance SE112 In-Ear Headphones

Selectable Frequency Bandwidth (600-630 MHz)

Specifications

General

Transmitter Inputs: 2 x XLR / 6.3mm Jack Combo (Mic/Line Level)

Transmitter Output: 2 x XLR Split Outputs

Frequency Response: 30 Hz - 12 kHz

Transmitting Frequency: 600-630 MHz (Selectable)

RF Output Power: 10 - 30 mW

Operating Distance: Up to 100m

Harmonic Distortion: 1.5 

S/N Ratio: 80 dB (A)

Listening Mode: Mono

Compatible Systems (Per Band): 4

Wired Body Pack Option: Yes

Personal Mix Control: On Transmitter

Remoteable Transmitter: No

Battery Life (Wired): 6 Hours 

Battery Life (Wireless): 4 Hours

EP2T TransMixer

Modulation Limiter: Internal Peak Limiter (>10:1 Hard Knee Compression)

Antenna: 1/4 Wavelength, Semi-Rigid, PCB Mount

Connector Type: XLR / 1/4" Jack Combo

Nominal Input Level: - 25 dBu (50 Volume)

Maximum Input Level: - 5 dBu (50 Volume)

Current (Max): 170 mA 

Height: 8.6"

Width: 5.6"

Depth: 1.7"

Weight: 370g

P2R Receiver

RF Sensitivity: 109 dBm

Squelch Threshold: 102 dBm

Antenna: Attached Whip

Audio Input Connector: 1/4" Jack (Mono)

Impedance: 1 M Ohm

Input Level (Max): LO - 0 dBu / HI - 10 dBu

Frequency Response: 30 Hz to 20 kHz (Earphone Dependent)

Power Requirements: 9 V Battery

Audio Output Connector: 1/8" Jack

Minimum Load Impedance: 8 Ohms

Height: 4.809"

Width: 2.875"

Depth: 1.251"

Weight: 100g

SE112 Earphones

Earphone Type: In-ear

Frequency Response: 25 Hz - 17.5 kHz

Sensitivity: 108 dB (1 kHz)

Impedance: 16 Ohms

Input Connector: 3.5mm

Finish: Grey

Cable Length: 127 cm

Quality mate. That Cali76 compressor is another level. The best on the market IMO

16 hours ago, alyctes said:

... I have too many basses already ...

... I have too many basses already ...

... I have too many basses already ...

... I have too many basses already ...

Why beat yourself up. Life is short and you deserve happiness 

1 hour ago, TheGreek said:

Had this been the PJ I'd be ripping your arm off...

 

GLWTS 

I need my arms! I think if you dropped one of the Sadowsky preamps with the VTC control into one of these you've got a full-bodied bass for a bargain price. 

I bought this in January this year. It's a wonderful bass. The neck is super smooth and from what I've read this is the upgrade to the original Metro models. Ive never used it live and it's never left its case or the house. You will see the original shrink wrap still on the control plate. 

 

This clip gives you all the info you will ever need:  https://www.youtube.com/watch?v=15WCG7cZtV4

 

 

Roger Sadowsky's goal was always to improve an already very successful bass design by making several detailed improvements. Along with the electronics, which he developed by himself, he succeeded in raising the well-known J bass sound to a new level, so today you can speak of a typical Sadowsky tone: Never harsh or shrill sounding, with strong, powerful but never muddy bass, with present, but not too aggressive mids, and a sweet and airy treble range. All features of this modern bass sound can also be found in the 21-Fret J basses of the MetroExpress series.

•Sadowsky MetroExpress 21-Fret Hybrid P/J Bass

• right-hand version

•4-string electric bass

•34" (864 mm) long scale

•bolt-on construction

•Okume body

•Maple neck

•Morado (Pau Ferro) fingerboard

•12" fingerboard radius

•Sadowsky Just-A-Nut III nut

•1.5" (38.5 mm) nut width

•21 nickel silver frets (width: 0.094" (2.4 mm) / height: 0.051" (1.3 mm))

•passive Sadowsky J-Style pickup (neck)

 

 

 

 

•passive Sadowsky J-Style pickup (bridge)

•active Sadowsky 2-way electronics

•controls for Volume / Balance / Treble / Bass

•Sadowsky Light machine heads with open gear

•string spacing 2.36" (60 mm)

•Sadowsky S-style security locks

•Sadowsky bridge with quick string release

•chrome hardware

•stainless steel 045 - 105 strings

•Solid Sage Green Metallic High Polish finish

•incl. hex key tools

•incl. Sadowsky Portabag (SAC BAG BASS PORTA) Gig Bag

 

Comes with an incredible Sadowsky gig bag.

 

Happy to discuss delivery to the UK address and happy to meet up locally to Birmingham

 

Hohner Professional 'The Jack' 4-String Bass in its much rarer passive guise. One of the most sought-after 1980s basses due to its easy playability and light body weight 'The Jack' has a maple body with a natural/honeyed finish and a maple neck with a rosewood 24-fret fingerboard and truss rod.

All of the hardware is black, including two 'EMG Select' humbuckers and the licenced Steinberger bridge/tailpiece, tone control and two volume controls. 

 

It's in great condition and has recently had a new set of strings fitted. Well looked after. 

 

Happy to discuss postage to a UK address 

 

Thanks for looking

 

 

 

Absolute Legend. Incredible voice

10 hours ago, DavoDavo said:

presuming this bass has no issues ,,it seems a low price ..absolute bargain as they are superbly made and ooze vintage quality ...Japanese craftsmanship that was once taken for granted ! I have seen them trade for £1500 recently  

The bass is in great condition. Aside from a wonky control knob. I’ve never seen them go for that sort of money. I think given the current market it’s a fair price

Thanks for the comments. They are truly beautiful instruments. 

Beautiful example of these iconic basses. The classic colour and scratch plate combination. The neck on these basses is so smooth. In excellent condition for a vintage instrument. All original parts. The tone knob has a very slight bend on it. I’ve never wanted to bend it back as I’m not brave enough. 
Happy to meet up local to Birmingham or arrange delivery, sharing the cost. 
 

serial number : JV11586
 

Thanks for looking

A true legend and his bass lines have driven some of the most iconic songs of the 80’s. RIP