6feet7
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Everything posted by 6feet7
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Part-ex for a 1990/91 black Godin LR Baggs fretless semi hollow 4 string Acoustibass in Hiscox hard case fitted with new black nylon strings???? -
Depends on what speed the drummer decides to play em. Sometimes it's different speeds in the same song
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I came to bass via the guitar so just carried on using a pick. After a couple of years I decided to go to the 'traditional' index/middle finger approach. I now do either depending on the song - fingers for mellower sounds, pick for attack.
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Can I make a comment? Stop saying how heavy it is. That is going to put off a lot of potential buyers. Most bass players want a lighter bass so being told it's too heavy is just going to scare them off. GLWTS though.
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If only I had the money. Have a bump anyway -
Manshed studio build **ADVICE ON INSULATION PLEASE**
6feet7 replied to Beedster's topic in General Discussion
Looking good. I'm about to do something similar for my work office (but there might have to be my gear in there too but I was going to add insulation (sound and temperature) on the outside, not thicker than the corner overhangs, then cover that with marine ply and reclad this with cheap, thin wood cladding. That way i still have the lovely wooden inside that wont be dead acoustically and, as long as I do the outside well, it shouldn't look too different. -
Many thanks for that. I'll have a look later All the best
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That actually bought tears to my eyes
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I'm near Uckfield. Brightons fine but Worthing and Horsham a bit far for regular stuff. I was in an originals band playing anything from indie to pop to rock but I'm a classic blues/rock lover really - root, 5th and octave (though I can't get enough of Rammstein at the moment .
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BUMP
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I remember reading an article about a repair on a 1959 Gibson Les Paul pickguard. A small chunk had been broken off so they got a new piece of identical material, cut out the exact shape and I think they somehow gently melted the bits together (I can't remember how but I think it was a soldering iron with a small piece of wire attached - one end to the solder and the other end between the two pieces of plastic - but don't quote me on that). They then spent ages with a razor blade smoothing off the join on the front and back till it was almost impossible to see the join. Might be worth a try?
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Posted on Facebook by my friend, sound engineer, Ian Caple Very sad to hear about Lemmy’s passing ... I'll always have fond memories of him, as Motörhead were the very first band that I engineered for... one of their earliest gigs. It was the long hot summer of 1976, I had left school but was trying to avoid getting a real job. I knew a guy who was a roadie for a local band called Stray. They had a big P.A. system & a wall of Marshall amps & were constantly gigging round the country. I would jump in the van help him out from time. As the roadie's assistant I was just about the lowest in the food-chain - lifting huge flight cases in & out of the van & down flights of stairs in dodgy clubs & student unions around the country for £5 a gig - but I loved it. That summer they played an all-night gig at the Lyceum ballroom in the Strand - a beautiful old theatre in the West End, opposite the Savoy Hotel. The first band would go on at about 10.00 pm & it would finish at about 7.00 in the morning ! Stray were second on the bill to Motörhead who went on stage about 4.00 am. The engineer doing the sound had been smoking large amounts of weed all night & just as Motörhead were due to go on, he was found collapsed in a heap in the dressing room - so I was pushed into the space behind the desk & suddenly became the sound engineer ! I stood nervously behind the desk as Motörhead came on stage & they burst into the first number - Lemmy didn't look happy - he kept signalling in my direction to turn it up. I stared at the faders & found the one marked 'bass' & in desperation pushed it up to the top. The ground shook, Lemmy looked happy. I then found the master fader & pushed that to the maximum. The volume was deafening, Lemmy looked even happier. Despite complaints about the noise from the manager of the Savoy, we continued til the morning & I drove the van home with my ears still ringing. It was my first experience behind a desk & thanks to Mr. Kilmister I learned a valuable lesson - when in doubt, turn the bass up & then turn it all up ! R.I.P. Lemmy.
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GUS G1 Guitar - Withdrawn
6feet7 replied to 6feet7's topic in Accessories & Other Musically Related Items For Sale
BUMP -
Opening chords that send shivers down your spine
6feet7 replied to colgraff's topic in General Discussion
Sorry but it has to be G&R's Sweet Child of Mine -
Great communication. Came straight over. Would happily deal with again
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I'm afraid I've left quite a few gigs over the years but the big names that spring to mind were Deep Purple In Brighton just when Ritchie Blackmore was about to jump ship again in the early 90's. You could tell that they were going through the motions but hated being on the same stage together. Joe Bonamassa a couple of years ago at Hammersmith. The drum and bass were so loud I felt physically sick, and the last one was Slash and the Conspiritors supported by Glenn Hughes California Breed at Wembley (was that this year or last? Time flies). Glenn Hughes just screamed all the way through his set and then kept telling everyone he was English (I suppose for those people who thought he wasn't) and there was absolutely no chemistry at all with Slash' lot. I didn't even stay for Sweet child of mine it was such a lack lustre experience
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I'm not sure if I should offer this or not? Need the money so should sell it, but this Yamaha is delicious http://basschat.co.uk/topic/272823-peerless-retromatic-b2-new-unused/page__fromsearch__1
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Oh, that's gorgeous. If only I could afford it. Good luck
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I use a trick I got from my old Ibanez RB850's which I do to all my basses now. The back strap button I re-screw 2-3 inches higher up the body - Body lower and neck up. No idea if this would work with a Thunderbird though
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I'd be looking at the Cort A5 and B5 for inspiration (I have both). They have hipshot bridges and tuners and both mine have had Nordstrand pickups (Fat Stacks in my A5, Big Singles in the B5) instead of the standard Korean Bartolini (you could change the pickup for a USA Bartolini if you didn't like Nordstrands. I use DR Sunbeam strings but they are just my preference. I understand that Cort make Ibanez basses so you could look at their parts on ebay if it's easier. They should fit. You'd be pretty much there I think if you did all that.
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[color=#282828][font=helvetica, arial, sans-serif]Here is an unused, as new Peerless Retromatic B2 bass with Peerless hardcase. I bought it a few weeks ago but have just moved house and need the money for unexpected repairs. I've played it for less than 10 minutes at home.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Retail price is £1400 but the shop I bought it from is selling off it's stock for less because Peerless are no longer imported into this country (they still have some remaining ones left at £599). I understand Peerless still make Gretsches and hollow body's and semi's for other names such as Duesenberg and Epiphone. Post (at cost), meet up or pick up too if thats preferable.[/font][/color] [b] [size=5]Peerless Retromatic Bass Specs:[/size][/b] Series: Thinline Semi Hollow Series Headstock Shape: New Style Logo: “P” Metal Binding: Black Single Truss Rod Cover: “RETROMATIC” Silk Screen & Engraved at edge Machine Heads: GB-100 D51 NI Neck: Maple Fingerboard: Rosewood Scale: 864mm Width at Nut: 43mm Width at the end Fret: 57 mm Neck Joint: Set in Neck 17F Number of Frets: 20 F Binding: Black Single Fingerboard Inlays: Mother of Pearl Nut: Bone Body Shape: Arch top Round Cutaway Chambered Mahogany Centre Block Top: Laminated Maple Back & Sides: Laminated Maple Body Depth: 44mm Body Width: 375mm Sound hole & Binding: Single F Hole/ No Binding Top Binding: Aged / Black / Aged (3mm/ 1mm/ 1mm) Bridge: Roller Bridge Pickguard: “PEERLESS” Engraved Tailpiece: Stop Tailpiece Pickups: Monty’s of London design 8.7k & 7.85k Controls: 1 x Volume, 1 x Tone , 1 x Toggle, 1 x 6-Way Varitone Hardware: Nickel [color=#282828][font=helvetica, arial, sans-serif]Here's the link to the Peerless website:[/font][/color] [url="http://www.peerlessguitars.eu/#/retromatic-bass/4579674922"]http://www.peerlessg...bass/4579674922[/url] And here's a review [url="http://www.premierguitar.com/articles/21150-peerless-guitars-retromatic-b2-bass-review"]http://www.premiergu...-b2-bass-review[/url]
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I used to play guitar until I saw the 'light' but still keep hankering after 6 stringers and think how lovely they look and I really should buy one again. But then I remember I was crap at playing guitar and no amount of time, practice or lessons made any difference, so I stick with bass and remain happy.
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[quote name='bassmachine2112' timestamp='1445448860' post='2891605'] [attachment=203216:orange.jpg] Here,s my Orange luvelynous,OBT500 head,SP212 and an OBC115. I was worried about mixing drivers n isobarics. No need to worry Orange thought of that-sounds incredible. I,ve played the AD200 and cabs so I know what they sound like -the difference is slight and one will sound great to one person and the other ye know the score. Orange sounds like Orange that,s it.If you like it whooppppeeeee if ye don,t you,ll wonder what the fuss is about. By the way very tidy rig and I know how it will sound-awesome [/quote] Similar to what I've just bought. An OBT 500 head with an SP210 and OCB115. Yet to play in anger unfortunately but can't wait to hear it in a live situation.
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Hi and welcome from just down the road in Buxted
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I've got an A4 and a B4 - both with Nordstrand pickups though - on a par with the high end stuff.
