Chris2112

Yes that sounds about right. I'll check the ohm rating before I try to hook them up.

Just a quick question to anyone who might know or might be able to assist. I currently use a Markbass Jeff Berlin combo but I really want to get something with some 10" speakers or smaller with a tweeter to get that 'zing' for slapping, as I'm getting back into that style of playing after years of not bothering with it. My brother offered to lend me his Markbass Traveller 2x10" cab which would stack quite nicely onto top of the JB combo. That way I could keep that really sweet middy tone from the JB and mix in a little snap from the 2x10". My guess is that it should match without any impedance issues, is it just as simple as running a cable from the preamp into the slave amp?

Kiesel definitely blow their cash on their artist roster. Their basses are just the most uninspiring things going but they have scene players lining up for them.

I'm guessing that they will sound decent, probably not as good as the Thumb but with a reasonable weight saving for his back! Mind you, listening to this, Jesus christ. There isn't much to say kf the bass tone due to the poor recording but the band sounds a little sloppy. What really struck me is how bad Chad sounds after all these years. His performance is all over the place and Greg's microphone has very obviously been turned right up to compensate.

A phobia to using the phone? Just take a deep breath and ring them. They operated for nearly 20 years without an email!

A nice looking bass, I was tempted but slightly put off at the time by reading the BD thread on here. I have bought from BD before and would prefer to always be able to test their basses first. I have resolved to own a Sei at some point but I'll probably go to the Gallery for one as they seem like a safe bet for them (albeit they are a little more pricey).

I would be very careful spending on a catalogue bass like that. They are probably the last resort of truly dreadful instruments along with the Wish and AliExpress tat.

Jeff has said that it's the finest passive bass since the 1962 Fender jazz on a number of occasions, I'm sure that will be the quote you're referring to. I find the quote a little effusive but you don't sell a product by being half-hearted about it. At least in Jeff's case there is transparency as he always plays the off the rack gear. The only exception to this being that one of his Rithimics has the frets ground down (this is the one that Cort gave him after his Asia tour a few years ago) I've had my Rithimic for four or five years now after I bought it on here from Neil Murray. I absolutely love it. Light, extremely easy to play and with a fantastic sound. I've had a Palaedium for a few years now too, these are the two basses I would never sell. They are both amazing and subtly different but bring out the best in my playing.

Such sad news. Martin was one of the truly iconic Basschat members. I will remember him as a great bloke and always a pleasure to deal with. I was one of many who had either bought from or sold gear to Martin over the years. I'll miss seeing him around here.

Between December and January I was seconded to an office role, the first time I've worked in an office in twelve years. I think I read the entire internet twice during that time!

Glad to be of service 😂

Gear Gallery or anything would do!

Not to be a prude as I certainly don't mind the name of the Gear Porn forum in my own time, though I do browse Basschat at work and always wonder if the forum name there (which appears in the URL too) will flag on our content moderation system. I've never been pulled in for it though! As I say, I'm by no means offended by the name or whatever (indeed, I preferred basschat back when profanity wasn't blocked). However, I would suggest that a more SFW option may be useful in this case.

Out of interest, where was Rock City? Was that the place on Moseley Street that would later become sound control?

They're rare. Modulus neck, piezo pickups etc. A bit of a risk these days as a few have suffered total electrical failures which seems to junk the proprietary setup, but a risk I'd take. I mainly just like them because Brian Bromberg is a total badass player.

I never knowingly passed over an advert for a Peavey B-Quad but it makes me feel ill to know a few have sold here without me knowing. If you have one, I'm always looking to buy. I'll drive anywhere in mainland UK for it too.

Tuning an instrument by moving the frets sounds like a nightmare. An acquired skill, I assume.

Yeah, you can't just drop £2000+ on it and just let it slide. I'd expect an explanation to start with, and then a plan for how it will be put right.

In fairness, no-one is perfect. I've known a few QC issues with Status and there are plenty of customers out there who have had a similar experience with Status as you've had here (just ask disappointed Streamline owners). I say that as someone who has loved Status basses since I was a lad. No-one is perfect but you'd have an easier time sorting out issues with Status. Whatever has gone on with the yellow Bogart, it's plainly not good enough and needs out back to Stefan ASAP. It sounds like he needs a rocket up him if it's been bodged and then shipped out. I don't know if Stefan does all the work himself although he is the face of the company and so should be responsible for at least checking every aspect of an instrument before it leaves his shop. I'd be asking for a refund but I'll leave it to you to seek recourse. Please keep us updated of any future developments here as I'd be interested to know how this is handled. If ever there were proof of cause and effect, I was sat playing my Blackstone 5 this afternoon and it sounded glorious. So comfortable and easy to play. I had that feeling of being totally unimpeded by the instrument, free to play as I wanted. I went on google and started looking at other Bogart basses, wondering what I might spec if I were to order another. I don't think I'll bother now.

Always good for a laugh. You can't beat a proper bassist. Years ago I went to a 'Shadows club's with my brother and our teacher. This was a certain thing in the North of England where old blokes would rent a room at a pub or social club and play covers of Shadows tunes on their pristine Strats whilst having a few pints. They won't be around much longer as their membership will all be ancient now. You would turn up and tell the DJ which tunes you wanted to play and your name would go down in the ledger for your backing track to be queued up later. On a busy night you might only get two or three tunes. Anyway, there was one bloke there with a silver P bass up on stage during the opening performance playing the worst walking bass I had ever heard over some old 60's rock tune. I never play walking bass but I know the format. I was fixated on watching this guy as he continually bobbed along out of time and hitting loads of bum notes. The next performance came as a guitarist stepped up from the crowd. He played 'I never promised you a rose garden' whilst the guy with the P bass farted around behind him. My guitar teacher went up next and as he was getting his strat out of the case (a really nice tobacco burst model with a triple ply mint green scratchplate) the guy with the P bass stood up and stepped towards the stage saying "I'll sit in for this". Doug, my guitar teacher, waved him back and told him not to bother so the bloke sat down, dejected. I asked Doug after he had played what that interaction was all about. He said that the bass player was actually a guitarist, but realised he could spend more time on stage if he came with a bass and offered to 'sit in' on each performance. He would try and play anything but rarely knew the chords so he'd try and 'busk' his way through the music which is what give his playing that odd 'uncertain' quality as he hunted around looking for notes or the beat. Most blokes at the club knew him well enough to say hello but perhaps not well enough to tell him to sod off when he wanted to sit in. Apparently the luckiest spot was when he had just got a fresh pint in as he would be busy with that and wouldn't try to join you on stage! The incident struck me as amusing rather than being an outright cringe as I don't think the guy really ever made any claim to be amazing even if his competence was in doubt. He maybe should have bought a small drum like a dejembe to play instead of a bass if it was his desire to get more stage time.

'Cringe' is one of the foremost artforms in the modern world. Culture has now evolved to the point where cringe is rightly regarded as the most divine sustenance and I would invite you share your best bass and music related cringe stories here. In my own recollection of bass related cringe, my mind is often drawn back to an amusing incident in a small bass guitar shop about 15 years ago. I will be sparing with the details to protect the identities of those involved. A friend of mine had recently moved to my part of the country, saying he was looking for a more active jazz scene as that was what he was into. He couldn't afford London prices, I guess, as that would have been the place to go for a jazz scene in the UK. Anyway, he was quite a player and we would often meet at a certain bass guitar shop and try out a few instruments. It was at a time when we both had basses coming and going so it was nice to have a bit of a gas on whilst playing different basses. My pal was quite into Jaco at the time and was showing me a few pieces he had worked on. There was a guy standing at the counter next to us. He had a gig bag with him, he was quite a lot older than both of us and obviously knew the shopkeeper, who seemed to be tolerating whatever conversation he was making. My friend casually asked the shopkeeper if he knew of any good teachers in the area as, having just moved, he didn't have any contacts. The bloke at the counter said he had a few numbers in his book and my mate could take them down if he wanted. At that point, the bloke casually decided to mention to the shopkeeper that he was a teacher; a ploy quite obviously for our attention but presented in such a way as to appear part of the natural flow of conversation with the now-bored shopkeeper. The bloke said "I've probably had enough of teaching. I mean, if I found a guy who I thought was going to be the next Jaco I would, you know, teach him everything I know...", his voice trailing off as if to invite some response from my friend. The phrase seemed intended to generate an aura of gravitas but neither my friend nor I knew who the guy was at the time. The bloke sat down and opened his case, pulling out a very nice fretless bass. I could tell you the make and model, because you won't see many on these shores. However, I won't because this guy may well be identified by that particular bass even all these years later. He plugged in and started 'performing' in his strange sales pitch across the room from us. I found the whole thing quite toe-curling because the intent was so clear. There is also something about a poorly played fretless that causes me some amusement and the odd sharp and flat found their way in which just added to the silliness of the whole thing. I mentioned this incident to my friend years later and he remembered it, though we hadn't discussed it since. He even went as far as to say that if the bloke had just introduced himself and had a conversation about his services, he probably would have had a few lessons for want of a better option at the time. However, his enduring impression was that the ego of the guy was such that he expected this prospective student to audition for him right there in the shop, as if to show he was worthy of being taught by this master. Looking back, it sounds like something out of a cheesy 1980's movie but remembering it still brings me a nostalgic, cringe-inducing glow. I await your own entertaining tales.

Definitely a single room air conditioner. Control the temperature from the off rather than fighting to cool off later.

The market has been undercut by musicians accepting unpaid gigs. There is now an expectation in the pub and events world that someone will play for free, it's just a case of asking around. Add to that the fact that the organiser would usually put cost before quality and you end up where we are now. Let's face it, no one wants to be playing top 40 or pub rock for nothing. It should be paid. However, organisers tend to see it as hobby and act like they're the ones doing you a favour by offering you a venue. The problem is further compounded by the fact that many 'professional' bands are utter crap and you have organisers wondering what they're paying for.