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Rich

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Everything posted by Rich

  1. Back when I was a wee nipper -- before religion and I pretty much gave up on each other -- I used to attend the local Free Church with my parents. The congregation was shall we say fairly advanced in years, and pretty much any attempt to work in anything even remotely up-tempo resulted in lots of grumbling about 'Top Of The Pops' and other such superannuated whinges. They were quite happy with their thees and thou-wouldsts and anything even remotely cheerful sounding was not acceptable. Oh, I hated it. So much for making a joyful noise. As some of the older people passed away, their places were not taken, and by the time I stopped going it was dying on its arse, literally. A decent band and some major key songs would have changed all that.
  2. Sennheiser HD280 pro. Love 'em. Mine are 64Ω.
  3. My band gets fairly well paid for gigs but once we've covered rehearsal costs and split the balance 13 ways it's never going to pay for my kit. I guess it just about covers my strings and goes a little way towards fuel and that's enough for me. I'm just thankful to be able to play at all, and to have such a great bunch of people to do it with.
  4. [quote name='JTUK' post='1243804' date='May 25 2011, 07:44 AM']Because they can sound good and look good..both of which would be very important to the artists on that show. And it may well be that the band stylist has told them what to where and what to pair it with. It is the same reason you see a lot of Ampegs onstage.. it may well fit the image and it's TV.[/quote] If I'd ever been in a band with a stylist who'd told me what bass to wear, I'd have told him where to insert it and how to do it. I must say that a Leo bass would probably be the last thing I'd take onto a show like Later, but it is all down to personal preference (stylists notwithstanding). If some people prefer a Leo, I'm not going to criticise them for it.
  5. I am entirely GAS-free at the moment. Mainly because I am so skint, I make a church mouse look like Croesus.
  6. Heh, nice one Dan although I have to say that Mr. Biscuit [i]desperately[/i] needs a proofreader...
  7. [quote name='crez5150' post='1237697' date='May 20 2011, 08:09 AM']The worst/best scenarios are when you play these functions where the bar is in a completely separate room to where the Band/DJ are performing. This happens a lot and does make me wonder if the planners think about this at all.[/quote] We played a corporate at the Hilton in Brighton that was like this. It was for a financial institution who will remain nameless, but let's call them 'Boil Skank of Rotland'. Anyway, by the time we went on all the little bankers had been glued to their seats for hours sitting through the dinner and the speeches and the award ceremonies, and all they wanted was to hit the bar. In the other room. We ended up playing to 20 people, 10 of whom were band members' partners. Ah well. They paid us big wedge and put us up in the hotel, so while we were playing I just kept telling myself, "It's a paid rehearsal and a free weekend away, a paid rehearsal and a free weekend away...".
  8. [quote name='Evil Undead' post='1233927' date='May 17 2011, 08:28 AM']Then why are you posting one of his solos online? [/quote] Errm because the video appeared on my Facebook feed as i subscribe to notreble and I thought I'd share it here, as there doesn't seem to be much CB content (which I must say surprises me). [quote name='Skol303' post='1234075' date='May 17 2011, 11:00 AM']Hmmm... this seems like a blatant 'Cliff baiting' thread to me.[/quote] Oh please. Like I said, yes it's horses for course. You say tomayto, and so on. But I do apologise for voicing a negative opinion. Mind you, I can only imagine the sort of vitriol I'd have drawn by now if I'd dared to criticise him on that home of the hysterical sacred-cow fanboi, Youpube...
  9. [url="http://www.notreble.com/buzz/2011/04/15/rare-live-cliff-burton-solo-1986/"]http://www.notreble.com/buzz/2011/04/15/ra...rton-solo-1986/[/url] Personally... I still can't see what all the fuss is/was about him. Sounds like any one of a million music-shop meanderings to me. Ah well, horses for courses.
  10. My Wal, a bargain 25 years ago and becoming more of a vintage gem with every passing year.
  11. I would play for Daniel O' feckin Donnell if I thought it would make me a living and allow me to adios my current soul-sucking day job.
  12. Oh for fck's sake... ok, from the [url="http://basschat.co.uk/index.php?act=SR&f=19"]RULES AND GUIDELINES ON MARKETPLACE USAGE[/url], and this time in really [b]big[/b] lettering so there can be no misunderstanding... [size=7]Guidelines for BUYERS 4. If you have a concern with the authenticity/originality/provenance/description etc of an item for sale, do not comment on the seller's thread as these comments will be removed by a moderator. If you believe an item to be fraudulent then please PM a moderator and we will do our best to arbitrate - otherwise simply move along. 5. If you believe the price of the item is too cheap/expensive, then please PM the seller as to why. Do not ridicule or undermine the seller by posting how much you think it's worth or how much it can be gotten for elsewhere, the laws of supply and demand will determine if the item sells at that price.[/size] Will people please read and inwardly digest? Thank you.
  13. [quote name='JPJ' post='1199442' date='Apr 14 2011, 02:28 PM']If they bring out the Classic J series PJ version in a five string in candyapple red (Chris, are you listening ) then I'd definately be front of the queue![/quote] And I will be right behind you
  14. Is it taxed and MOTd? Has it got a full service history?
  15. These 80s Tokais are wonderful instruments, often streets ahead of the Fenders of the same era. I am heartily jealous of whoever ends up with this one, foam marks or no foam marks. [quote name='kbass44' post='1204565' date='Apr 19 2011, 11:17 AM']a Newton Special, Powell Deluxe, and Swartwood Extreme[/quote] Those are wrestling moves, aren't they..?
  16. [quote name='Ian Savage' post='1204251' date='Apr 18 2011, 10:48 PM']Oh, and the lock thing - certainly for US flights (and possibly for others, I'm not sure) they have the legal right to break into any hold luggage without notifying the owner, so for F*CK'S sake don't lock the case! They won't be subtle about getting into it if for whatever paranoid reason they feel that they have to...[/quote] Would TSA locks help with this? And are these useable everywhere in the world or is it only US customs & security who have TSA keys? [quote name='Steve Lawson' post='1204224' date='Apr 18 2011, 10:12 PM']my two 6 string Moduluses[/quote] Moduli, surely..?
  17. Colin Edwin played a Wal on all the early Porcupine Tree stuff.
  18. [quote name='steantval' post='1204301' date='Apr 19 2011, 12:01 AM']Funny that, me and another bassist were discussing 5 strings tonight and both agreed a bass should have 4 strings, that's what they started with.[/quote] Absolutely. Just like aeroplanes should be Wright Flyers and cars should be Benz Patent Motorwagens. After all, that's how they started.
  19. [b]Mcnach's review from [url="http://basschat.co.uk/index.php?showtopic=132430"]this thread[/url]:[/b] I received the P-Retro preamp and installed it... a pretty easy install, as always. A tiny bit more involved, but I mean *tiny*. There is a paper strip containing four thin wires that you have to prebend and make sure the thin pins slot in their connectors without bending them in the process, which is only marginally fiddly. I had a bit of a problem with it in my haste to get it done in time for a little live session I had, but it was easy to figure it out and John agreed to send me a new strip wire bit so that I make sure I have a solid connection... as always, customer service from John East is fantastic! No soldering whatsoever involved, which is nice if you just want to install it and play. The fit inside the Squier was perfect. It may seem a bit of an imbalance to install this preamp in a Squier, but in my opinion these CV series are pretty nice basses, and I'm really enjoying mine. So there It was nice to see that the cavity in the Squier was pretty neat, and covered with shielding paint with a wire anchored in it. I mean, it's as basic as it gets (I'd prefer copper shielding, but...) and for years and years the normal thing was to find totally unshielded instruments, not just Squier, Fender too. My standard procedure for a new Strat was always open it up and shield it. Glad to see they're taking a bit of care now even on "lowly" Squiers. Better late than never! I didn't take any pictures of the preamp itself, I forgot all about it and it takes so little to install that before you realise, you're done. There are enough pictures on the net anyway if you need to se what it looks like. But I did remember to take one picture. Well, we have all seen those "modified" Sue Ryder P-basses with tortoiseshell pickguards etc... I wondered what it'd be like if I put a SR pickguard on teh Squier I thought it looked pretty cool Anyway, I installed it, and it looks like this: I didn't install the led (battery and charging indicator) bezel on the pickguard, so the led is tucked inside. I haven't yet played much with the various configurations: you can select level of the bass boost switch with an intrnal trim pot, and the bass frequency with a set of dip switches. Also the bright switch. They're all internal, but easily accessible from the side if you just remove a few screws and lift the pickguard a bit. I just used it so far with the defaults and I'm pretty impressed. It took me a bit to get my head around the way it works, because it's very different to most other preamps, but once you play wth it a bit it just "clicks" and makes intuitive sense. What I like about this preamp is that it's not trying to make the P-bass sound like something else. In fact, the core of the tone is a passive circuit, just like the original (one nice point is you get two different capacitors to try... again no soldering, just pull one out and push the other in). So what I do is select the "ballpark" of the sound I want, passively. On P-basses I seem to use the tone control a lot, and I like the results. The P-retro seems to just want to add a bit of "tweakability" to that. Or a lot of it, actually, but not detracting from a recognisable P-bass sound. So, once I get the tone control where I want it, engage the preamp. That gives you a little clean boost if the active tone control is set flat (a centre detent shows you where that position is). Now, I can do two things, I can simply add a bass boost (the gain and frequency are preselected through the internal trim pot and dip switches... so you need to play around with that to figure what settings you want. The defaults worked well enough, but I will certainly investigate further) or start playing with the mids control. The control is a two-pot with concentric knobs. The bottom one allows you to select the frequency, the top one cus/boosts mids. Well, that's the simple way to imagine it and it helps me decide what I want to do with it. In fact the preamp blurb states that clockwise, it boosts mids (based on the freq selected with the bottom part of the concentric knob). In the middle it does nothing. Anticlockwise it boosts bass and treble, rather than simply cutting mids, what it seems is that it may produce that effect by boosting outside the area of frequency selected. To my ears is mostly bass bosst what I hear, more than treble. So you can use that to get a scooped sound and adjust the sound with the frequency sweep control. But the sweep is so wide, from very high to very low frequencies, that it's much more than a "scooped sound generator". If the frequency selected is high... it essentially will act as a bass boost mostly, and viceversa you can enhance the clank of the P-bass if you select a high frequency (although that's more effectively done using the mid boost). It seems complex in words... but it's really intuitive when you try it, and you can go from a dull (in a nice way) vintage type of sound with strong warm mids, to a punk/metal friendly bright sound, to a reggae ultra deep tone... very easily. And they all sound like a P-bass! I didn't use it on Saturday night as I was still trying to get to grips to its functions, having just installed it, so I took my trusty Stingray away (with a John East MMSR preamp... but I have to insist: I have no connection with John East, othr than I really like his designs!). On Sunday I did use it at a jam session, and that's where I learnt to use it and fell in love with it. It's not cheap, but it does what it does very well. So, these were my initial impressions... now I have to play a bit with the multiple choices of frequency and bass boost levels to fine-tune it for my liking... but it's already very nice. Glad I bought this.
  20. Way, way back before they became so absurdly popular, I saw a pre-EB Ray advertised for £250. It took a while to sell too. And I didn't buy it. Twit.
  21. [url="http://cgi.ebay.co.uk/Hartke-HA3500-cased-bass-guitar-amp-/330553062402?pt=UK_Musical_Instruments_Guitars_CV&hash=item4cf67f7402"]Hartke HA3500[/url]... wonderful things. Loud and punchy, well mine is anyway And an absurd bargain. Leaving you lots of cash left over for toys
  22. Waaaay back in the late 80s, in my originals band at the time... we were going for it, we had the image and the clothes and the hair, yes even me... and we had a really great set of catchy original material. We were starting to get interest, Island records were especially keen, and so we spent our whole time gigging up in London to get noticed. Slap was bbbig at the time, I was well into it and, just to blow my own trumpet, I was pretty good at it too. At the time, anyway. Anyway... we were playing support one night at, was it the Rock Garden? can't remember for sure. Hey, it was 24 years ago, give me a break One of our tunes featured a short but fairly brutal slap solo, which I took... and having finished it, looked up into the audience... straight into the eyes of the god-like Nick Beggs, one of my heroes (turned out he was there as a guest with the headline act). I nearly died of shock. He smiled, raised his pint at me and mouthed the word 'nice'. I was walking on air for months after that.
  23. When our beloved OldGit had his Shuker P5 built, he had the LED switch housed in the battery box surround on the back. OK so it meant that you had to take the bass off to switch them on/off, but that's when you do it anyway, right? It was a neat idea and kept the front of the bass clean. Another idea possibly worth pursuing... how about having a push/pull switch on the volume knob and using this as your ac/pas switch? That's what Jon did for my LED switch. If you had a push/pull and the OldGit LED switch idea, you'd only need to find space for one actual flick switch on the front of the bass. Much cleaner.
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