Delberthot

And the green one has gone. The other 12 and the acoustic finish tomorrow and I am still taking offers on them.

Most 12 string guys use a plectrum but I have always played fingerstyle.

2 Things I don't understand about the seller: Only ever one picture of the bass which is generally at the same angle very time. Not enough to get anyone going really. Most of the basses don't have strings on them in said picture. If i was trying to get a good amount of money I would be taking lots of pictures and making the basses more presentable.

In my wedding band I don't think we've practiced since 1999. If we have a song to learn for a first dance we decide on a key and learn it in the comfort of our own homes and just play it on the night. We've also managed to keep up with chart music as well sans practice.

My main problem has always been that by the end of a gig I am totally hyper so I end up driving home really fast (within the speed limits m'lud, honest guv) this, in turn makes me even more hyper. I used to do one of 2 things, have a bevvy and after a couple of hours i could go to bed [i]or[/i] not drink and be up until 6am. I don't really drink as much now but what I do now is go through youtube finding interesting music videos such as Eddie Van Halen playing "why can't this be love" with a guitar tuned to a different key so that it sounds like a set of bagpipes. I find this helps me to get to sleep with the final video being Genesis' "Carpet Crawlers". I must admit that I'm not as physically knackered the next day as I used to be. Seems to be a combination of having lighter gear than I used to, not drinking, not stopping off at the garage for a BLT, Ginsters, chocolate milk and the other assorted junk that they sell and losing weight. There's also the mental side of it as well: I have a really good rig; a bass that is perfetly set up for me; I know all the songs back to front; I play with 3 other great musicians (well 2 and a drummer :brow: ); I arrive at the gig early and am totally relaxed. This means that all I need to concentrate on is putting on a good show for the audience.

the damage that was done in transit was done right at the binding so that's why it looks worse than it is. This is one heavy duty bass. It feels as solid as really solid thing. Some people tune the octave strings differently. Someone actually tuned one as a 3 octave bass so you had the fundamental, the octave and then another octave above that but it sounded terrible, the highest octave strings were too thin and kept snapping and intonation was a mile out as a bridge with 12 individual saddles doesn't exist. I believe that the green one is made in the same factory as the Waterstone Tom Petersson bass as it is very close in most respects.

Villex do one as well without the exposed poles

Just a quick plug for a couple of basses I am selling just now. First is my Carlo Robelli 12 string which can be found here [url="http://cgi.ebay.co.uk/Fantastic-Active-Quilted-Maple-Top-12-String-Bass_W0QQitemZ140254714020QQcmdZViewItem?hash=item140254714020&_trkparms=39%3A1%7C66%3A4%7C65%3A1&_trksid=p3286.c0.m14.l1318"]http://cgi.ebay.co.uk/Fantastic-Active-Qui...86.c0.m14.l1318[/url] The second is my semi acoustic 12 string bass [url="http://cgi.ebay.co.uk/Fantastic-Semi-Acoustic-12-string-bass_W0QQitemZ140254714037QQcmdZViewItem?hash=item140254714037&_trkparms=39%3A1%7C66%3A4%7C65%3A1&_trksid=p3286.c0.m14.l1318"]http://cgi.ebay.co.uk/Fantastic-Semi-Acous...86.c0.m14.l1318[/url] The third is my Crafter electro-acoustic [url="http://cgi.ebay.co.uk/Fantastic-Crafter-Electro-Acoustic-bass_W0QQitemZ140254714029QQcmdZViewItem?hash=item140254714029&_trkparms=39%3A1%7C66%3A4%7C65%3A1&_trksid=p3286.c0.m14.l1318"]http://cgi.ebay.co.uk/Fantastic-Crafter-El...86.c0.m14.l1318[/url] All proceeds to my Warmoth '56 P bass.

I read something quite interesting a few months ago but I'll be darned if I can find it. It was about how some people collect vintage fenders because they sound different due to being played for 40 odd years and the vibrations of the strings through the wood over those years do something to the wood to make it sound different to something that would be made today using identicle parts. Someone like Stuart Spector had come up with some sort of thermal discombobulator that could theoretically replicate this to make a brand new bass seem like it had been played for 40-50 years. If true then this could be a factor as well if you were to take 2 identical basses built, say, 5-10 years apart. :brow: Interesting theory but I don't know enough about the properties of wood to know if this is correct or utter sloblock.

Very good sounding, easy to operate amps. None of your 30 band active eq nonsense. The inherent sound is so good that I have most settings around the flat position.

Also just back from playing a local pub. We played really well tonight. Me and the drummer were really tight. I've been taking a fan to gigs for years but not always to cool myself down. Mainly used to stop my fingers sticking to the strings when I'm playing fast. Anyway it was the second gig with the TI flats on the bass and it was phenomenal. Sounds exactly what I believe a SCPB should. They should be worn in nicely when I transfer them to my new Warmoth '54 that's in the process of being made for me.

I was in the same boat as you a couple of years ago. I went from a Hartke HA5500 to a GK 700RB II as well and missed the compressor. I bought a Tapco Squeez rackmount compressor. Not too expensive and really liked it. I found I could go from the 'is it doing anything' to squished up to the max. Since I've gone for the single coil P bass sound I find I don't need it so its sitting in my other rack ready to go up for sale in the next few days.

+1 on the Gotoh 201. I have one on my Gold '54 Warmoth P bass. My new ye olde stylee '54 will have one as well, cunningly hidden by a bridge cover. I really like them. sustain for days and they feel solid.

I had TI flats on my Ibanez SR1006. What a sound! Not to mention that the skinny neck and slippery strings made playing a breeze.

One thing I don't think has been covered is that when you soundcheck, play exactly like you will play the gig: hard/soft/fingerstyle/plectrum etc. No point in giving it some Mark King 'giggidy, giggidy,gigidy, goo' if you're playing rock. One thing I used to do was, even though I have a rack tuner, I used to sit in the wings with a small tuner just to check before I went on in case I was miles out. for some reason, its a bass player's wont to take 2 or 3 of everything with them. I used to take a large sports bag bursting at the seams. Thing was that I rarely had to use any of it but it definitely comes in handy - especially when one of my leads started cutting out mid gig last weekend. chances are you will be nervous but don't worry about it, everyone is and once the nerves go you'll enjoy it even more.

I have another. One night I was playing in a pub and then was off to a club with a bird. The guitarist asked if i could let them have a shot of my bass. Nothing special, just a Bass Collection SB405. Left it with them and went to said club. Only found out a few years later that the bass player with Snow Patrol had been the one using my bass which would've been interesting since he's left handed and I'm not.

Common ones are: Can you do any Celine Dion or Shania Twain, Man I feel Like a woman? (our singer is male) or Punter:Can you play "insert obscure song here"? Us: No, We don't know it Punter: C'mon its easy Us: If you sing it we'll back you At which point they disappear or "I used to be in a band you know" and the classic: "can you put something good 'on'"? We actually had the bride's father come up to us at the end of the night and try to pay us with a credit card once

As someone said before, strings are the most important part of the bass. I have been playing for years 21 and have developed a certain style so the balance of tension and feel are critical for me to be able to play the way I want to. This is why I use Optima gold strings 45, 60, 80, 100. They are my perfect gauge and have the taughtest G string without being overly stiff but then again, someone else trying my bass might find them too high tension for their style. £45 on evilbay but £18 from thomann. I've had mine on since last December and have no plans for changing them either. They're not superbright but they are perfect for helping get my sound. Unfortunately, finding the right string for you can be very time consuming and expensive. Even if you find the right sounding one, it may not be the ideal gauge for you.

Okay. I'm in pain after tonight's gig. Began with the 12 but something told me to use the Warmoth for the rest of the night. Glad I did. I just went for it too much last night and that coupled with the fact that I haven't done a Fri/Sat gigging in ages has resulted with me having a huge blood blister on my middle finger of my right hand. A smaller blister on my thumb and really sore index and ring fingers. Me blister's throbbing something terrible. Wouldn't be so bad if I hadn't been playing long but I've been playing now for 21 years. Oh well, better recuperate for next weekend's gigs

People will generally tell you to go for whatever they have. I personally think that you should ignore them and get a Schroeder 1212L Its small, light and powerful. I can comfortably use mine as a monitor one night and have it going out front without a PA the next. I didn't go and try one, I took the chance and ordered it directly with Jorg. Its the best cab i have ever owned and it replaced 2 Ashdown ABM115s. It will never give you the deep rumbling bass that you get with bigger cabs but I wanted a clear sounding cab and this is exactly what I got.

Just home from tonight's gig in Dunfermline. Bit of a carry in but managed to blag the guitarists trolley for the PA power amps that I bring as well as my own stuff. Had a nice big area to play in for a change. no stage but I prefer not to have one as I find that you can interact with the audience. Stages tend to be us and them gigs where we're up here and the crowd are down there. First song was 'more than words' by Extreme. Not bad, I've had to learn a lot worse. I used my acoustic bass for the first time for this song which sounded good but fed back when I got anywhere near my cab. I would invest in one of those covers that goes over the soundhole but it is oval and I've never seen one that shape before. What made a big difference tonight is that a few days ago our drummer had the snip so couldn't carry his kit in case he did himself some damage. He brought his Yamaha electronic kit which is one of the good ones but still nowhere near his usual Premier Signia kit. As a result, everything sounded completely different due to only really being able to hear his drums coming through the PA. Everything went well and as usual I used the Gold Warmoth. I actually had a brainwave tonight. I would really like to get a 12 string warmoth bass made but they don't do them so I had this idea about getting a neck made with a paddle headstock and doing the work myself. I only need to find out a way to modify an 8 string bridge to cope with 12 strings as I don't believe that such a thing exists. Going to change the strings tomorrow as they are beginning to sound really dead but they have been on for 7 months so I can't complain. Playing tomorrow night with the rock band so I took it a bit easier than normal tonight as the 12 string can take it out of your fingers after a while as I play it fingerstyle.

Sound Control in glasgow has one for £2200 It looks similar to the 20th anniversary one that i used to have without a scratchplate.

The choice of using a Schroeder 1212L was because of a couple of things: Its light so I can carry it with one hand Its small so I can easily get in the car. Its punchy and powerrful enough to go from being my monitor one nght to using it out front at a pub gig. It is the best sounding cab i have ever owned. I suppose you could say that there is snobbery value in it to say that I am not using one of the regular run of the mill cabs but have dared to wander past Ampeg/Peavey/etc. I believe that I am using something much better than any of these mass produced items having tried many of them beforehand and never been satisfied ith the sound/weight/efficiency Another reason that I believe that most musicians use Fender/peavey/etc is that they are the tried and tested companies. Much like somene will go for a Fender or a Gibson guitar rather than something they have never head of before. Its generally only people like us who are members of forums and interested in new and different products and a very small number of others who will generally go out on a limb and try these 'exotic' items. I believe that the vast majority of musicians have no interest in trying anything other than their mass manufactured gear. The proof lies in going to see other bands. I've never been to a gig and seen anyone with a Schroeder cab, in fact I've never met anyone with a GK amp either.

There's probably a good deal of info on here already but the cheapest way to do it would be spray paint from halfords or somewhere like that. If you want to be a bit fancy and take a walk on the wild side there's a manchester guitar tech who does mail order for nitro in the old Fender and Gibby colours but you have to be very careful with that stuff. The most important thing to remember is to make sure that you take your time and spend as long as possible preparing the surface first

On both my '51 reissues I used Ernie Ball nickel hybrid slinkies but the strings for me on my '54 warmoth are gold Optimas. I also have an SD quarter pounder and it is the blx. I also always have it set with volume slightly backed off to avoid distortion but tone control fully open.