essexbasscat
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Everything posted by essexbasscat
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I played this one last night. The bass line makes this song for me, I've heard people play it straight and it just steralised the song. On one gig, we played Maggie May and then Honky Tonk Woman afterwards. I kept the style and feel of Maggie through Honky Tonk and the guitarist picked up the feel and went bananas with it, His enthusiasm infected the rest of the band who just re -enforced the character of our rendition of the song. The crowd loved it and it was by far the best version we've ever done of HTW
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Stone the crows !!!! What a shocker
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I was told by Bass Direct only last week that they are just called Fat Beams now, no longer Marcus Miller Fat Beams. Also, the importer and UK supplier has recently changed. As a result, we can no longer get single DR strings sets only now, bah humbug, drats etc
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HI all A while ago, I purchased this desk from Monckyman of this very form (a very knowledgable sound engineer in his own right) with the intention of learning how to use digital desks. Since then, I've come to realise that I'm going to be too busy to have time for this, so I've decided to let it go It's in good condition and comes with the original box. I'm asking what I paid for it. I've copied Monckyman's original script below, who said it far more elequently than I could ever hope to do. Thanks all Over to Monckyman; 12 mic pre inputs 4 line inputs 4 dedicated monitor auxes with 4 jack outputs 4 dedicated FX auxes with 4 dedicated FX inc reverbs delays etc 4 band parametric EQ on all inputs and outputs inc stereo out. Gates and compressors on all inputs and aux outs . Midi control of most functions E.g I used my GT6 rocker pedal to turn the rev up or down. Save and recall all settings. That's standard spec, but this desk has an ADAT card fitted which gives you 16 in and out which you can use with the optional ADA 800 pre amps. I also used it to record and playback 16 tracks from Cubase via an RME adat PCI card which I also have for sale. The cons are the desk had a bad rep because the capacitors used to sh*t themselves and it was quite an expensive fix, but LO! I only bought this desk because all the capacitors had been professionally upgraded and it hasn't missed a beat in over 60 gigs. I drove to Cardiff and back in a day because I wanted this desk. For the spec, there's nothing that can match it, for the price the nearest competitor is the yamaha 01v which has less EQ per chan, less aux and less expandability. There are lots of cheeky routing options that mean you can rout your auxes back through some input chans and set the EQ and compressors on all your monitor outs. There are 4 jack outs and a stereo xlr out With the optional 8 chan ADA preamp you get 8 extra ins and 8 extra outputs so you can route All auxes as monitor outs pre or post fade, or just use 6 and keep two for FX. No other desk at this price has so many Auxes to play with. Very versatile desk. It's rack mounted and I have the rack ears and the original box,a couple of light pipe optical cables and a load of tips and tweaks for this desk. If you have an ipad I'd be delighted to show you how you can control volume and pan via wifi. I'll post some pics tomorrow for those who want to see the actual thing in the flesh. It has some scratches etc, but overall in very good condition. I'm selling because I recently upgraded to a Soundcraft SI and this has to help pay for it, otherwise I'd keep it as a backup desk. -
Joyo British Sound Marshall analogue modeller.
essexbasscat replied to Ancient Mariner's topic in Guitar Effects
The Joyo AC30 emulator is pretty good too -
Hi all Up for sale, my trusted Aguilar GS112. It's served me well and I'm happy to pass on a reliable piece of kit It comes with the Roqsolid cover I've kept it in since the cab came to me. Overall, I'd rate the condition as an honest average / good. The corner protectors are scuffed, but the carpet covering is fairly good all round £200.00 + courier at buyer's cost please I'll organise some pictures soon I fang queue Now sold, thank you
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Not a bass....... but I bought a Squier Affinity Tele from Waynepunkdude (late of this parish) for £70.00 and that came with a Seymour Duncan quarter pounder at the bridge with shielded electrics cavity. It took a lovely set up and now plays very nicely
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Bought a roadworn P from Dunc. He was obliging with working out the deal and sent the bass very safely wrapped. All the hallmarks of someone that cares, which is entirely in keeping with the rest of his feedback Thanks Dunc, a pleasure
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Pm'd re the plus -
Happy radio - Edwin Starr short but sweet
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Pm'd re fender books -
Bought a leather strap from Marcin, all nice, easy and quick, no problems at all Highly recommended Cheers Marcin Tom
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I bought a pedal from Ieuan, who dealt with everything in a first class fashion. I know we're generally a nice bunch on BC, but sometimes you get to meet genuinely good people and I'm delighted to be able to say that Ieuan's in that group Thanks for everything Ieuan, well appreciated Tom
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If they don't go, I'll take them
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I've been doing more than a few set ups lately (see sandpaper for fret polishing) and this topic has been on my mind. To begin with, I'm singing more often than not, so I set my instruments in a manner that will allow for a slightly less than precise playing style, as my attention is often divided between two tasks. Please assume that frets have been levelled and dressed when reading all comments below. Also, I lower the frets from around fret 12 to create a slight ramp In general, I attempt to keep the neck as straight as possible. I find this easier to achieve with six string guitars, as the string movement is less compared to a bass string. In practice, I find something like 1/4 turn of the truss rod is needed for clean playing without fret buzz. Also, allowing 24hrs after truss rod adjustment does make a difference. I've read that others allow a bit more clearance for the A string (as the break angle over the nut is different on Fenders compared to the other strings) and the G string (I assume this is because it travels more compared to the others when struck). I've found this to be the case with both strings. I'd be interested to read any tips that others could give on the topic of setting instruments for low action, relief, factors to be taken into consideration etc
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Even three hours is still miles faster than me ! WIth truss rod adjustment at the body end of an instrument (as per early Fender), it can take me ages just to ensure the frets are at the best acheivable average for equal height (in the interest of removing the minimum fret material) before starting the levelling process. While reading around on the topic of sanding materials for frets, I did come across comments about the quality of fret material. One or two were saying that the Dunlop fret material is rather soft, but this was in the context of passing comments with the focus of the discussion on something else. For what it's worth, I did notice that one or two frets on my current (and last) setup didn't react to tooling and polishing in the same way that the rest did. At the time, I thought it odd but didn't consider it any further at the time. Now I wonder if it's more common ?
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Lucky number - Lena Lovitch. Not my favourite, but love the quirkiness of it. Some great suggestions on this thread Python Lee Jackson - wasn't that Rod Stewart in an earlier guise ?
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[quote name='Manton Customs' timestamp='1457707018' post='3001172'] Ah, 600 is definitely ok for leveling . I use Micro Mesh for the intermediary polishing, grades running around something like 1800, 2400, 3200, then 0000 steel wool and compound to save having to work through every grade of Micro Mesh. It's worth pointing out that the Micro Mesh grades are not the same as regular papers, 1500 is equivalent to around 400 or so. It looks like we are using the same file (SM dual sided, 150 and 300 grit?), and the whole process from leveling to end of polishing takes me around an hour. [/quote] An hour ? flippin eck ! it takes me all day ! Yes, it does sound like we're using the same crowning tool - yours must be a quicker cutting model than mine I'm going to try this micromesh idea, it seems a lot of people are doing it this way, thanks for the tips
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Thanks for all the replies so far Before commencing work I prepare the fretboard with masking tape For the levelling process I use 600 grade on the levelling beam. If there's a lot of difference between the fret heights I go for 320 to level them off and then 600 to present a finish with smaller grooves at the apex of the frets The marksI find the most difficult to polish away are the ones generated by the crowning process. The diamond crowning tool tends to leave small grooves along the sides of the frets. I work the crowning file evenly and slowly back and forth, no real extra pressure, monitoring where the tool cutting point is as I go to avoid spending extra time cutting at the ends of the frets. I've also tried the Hosco crowning file design, which tends to leave tool chatter marks Whichever crowning tool I use, I work to leave a small line at the apex of the fret which can be polished - removing just enough to present a smooth surface and no more. The aim at this stage is to preserve the level between frets while creating a smooth surface The polishing technique I've used for a while is the abrasive rubbers, but I'm keen to find an alternative method to get that impeccable finish that we would all look for in a bass we would buy ourselves Update; I spoke with 3M UK this morning and they recommend P grade wet and dry, used dry. The fella said that the issue with grit leaving the sandpaper and embedding itself in metal is a feature of the courser grades of paper such as 80 etc. The P grade paper ensures an even grade of grit across the paper. Apparently, the grit of non - P grade papers can vary across the sheet Thanks again for all the comments so far, very appreciated
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Hi there I'm doing a number of setups at the moment and the topic of fret polishing has come under scrutiny. There's a range of opinions out there on the topic, often conflicting. I wonder if those in the know at B.C. could offer any clarification ? Background So far, I've levelled off frets using a beam with sandpaper attached with double sided tape (sandpaper with tape applied supplied by the person who supplies the beam). The frets are then crowned using a diamond coated crowning file from Stewmac. I then polish the frets with rubbers impregnated with an abrasive (available from guitar tool suppliers), going through the grades from course to fine. The thing is, there are sometimes fine scratches that are difficult to remove by this method. As a result, I've been investigating other methods of polishing frets. Some time ago, I discussed the topic of fret polishing with a well known luthier. They said they used wire wool alone for the job, going from 00 to 0000 grades. They also justified the process with the claim that wet and dry sandpaper deposits particles in the frets I've researched online discussions on the topic of fret polishing. Most comments revolve around folk using sandpaper for the job, going though grades 320 - 400 - 600 - 1000. Some say they go up to 1500 grade and others use micromesh. As for methods, some mask the fretboard with masking tape, others don't. Many polish up the length of the fretboard in a bumpety - bumpety fashion, while others work along the line of the fret (which I do). My main questions are; - are there best types of sandpaper to use ? are there types to avoid ? do some papers impregnate the frets with grit ? Any other discussion on fret levelling, crowning and polishing would be gratefully received Many thanks BC EBC
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[quote name='ped' timestamp='1457345828' post='2997477'] I'm pretty convinced I could get comfortable with most instruments given time to tweak and adjust. For me it's more about the amount of relief on the neck and the action (arrow straight and super low) which is a deal breaker for me. Several basses I've loved the sound of just haven't been capable of a setup which suits me. [/quote] Pretty much on this page. I can get along with a great many basses, but I find that none are right for absolutely every style of music. That being said, love the look of Ricks but never played one that stayed more than a few minutes in my hands
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I had a pair of Pro Safe moulded earplugs made last year. The conversation between the audiologist and myself went something like....... "Please place your finger between your front teeth and very gently bite while the moulds set. I bet you wonder why I've asked you to do that ? " "Well, yes, I am curious" "It's because the ear canal changes shape when the jaw moves. If you don't take the moulds with the jaw open, the earplugs won't be so good " "Ah, yes. I'm glad I've got someone that knows what they're doing "
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This may have been done before. However, I can't find the threads. Been doing some work on guitars and basses these days, both American and Japanese. In many cases, I've needed to replace pots for a variety of reasons. Along the way, I've discovered that CTS pots have about 24 splines, while Japanese examples have had 18 splines (so far). This makes them non interchangable between U.S + oriental control knobs. I've also heard (don't know how true this is) that CTS pots were used in early Fenders because they were some of the cheapest available at the time (If this is the case, why did they continue ?) I've also seen many comments online that the electical values of CTS pots can vary by more than 10 %, leading to people looking for better quality pots. (that said, WD music claim their special CTS pots vary by no more than 9%) As for the Japanese pots, I've had to use cheap Alpha pots which were described in the ad. as being 'ideal for cheaper instruments'. So, does anyone know of good quality pots they could recommend; - For replacements for CTS pots (i.e. 24 spline) - For replacements for Japanese pots (i.e.18 spline) - other Thanks all EBC (Edit) I must admit, when I thought of the title, I was thinking in terms of 'Which' magazine, hoping the thread could be a resource of information of potentiometers. Also, i'm not out to throw rocks at the CTS brand, just representing the discussions I've seen while researching the topic) Thanks again all
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Bought a mic from Sid. Everything went smoothly with mic in very good condition. Easy and straightforward, no problems at all Would definately deal with Sid again Cheers Tom
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Recently purchased a tape deck from Hugh. All the descriptions were up front and everything was as described. Good communications throughout as well. All in all, an easy deal from the start Thanks Hugh Tom
