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Showing content with the highest reputation on 25/04/18 in all areas

  1. In my experience the recorded music scene in the 80's was full of fantastic bands playing great songs. The local gig scene (London and the SE) was vibrant and there were more gigs than a band could fit in the diary. The audiences were lively, interested and enthusiastic. Most of the gigs we played were full. IME the 80's was a great time for music.
    4 points
  2. First time the drummer came in at the right moment?
    4 points
  3. My fault entirely.... Way back in the 60s, at a pub in Nottm, we were using their PA, with what passed as a sound desk on the stage next to my drums. Being a drummer, I had no idea how these worked, but the vocalist asked me to turn the whole thing up. Right next to the desk, mounted on the wall, were the burglar alarm controls. The PA volume didn’t increase, but about ten minutes later, the boys in blue arrived........ We never played at that venue again, for some reason
    3 points
  4. the older I get the more I think that is true, one of the reasons I don't go to many gigs anymore is the idiots I have to put up with when in a big crowd, and why anybody would want to go to Glastonbury is totally beyond me edit, don't mind a big crowd when I'm playing a gig though
    3 points
  5. Seems like Atelier Z basses are a bit rare occurence on this forum so I thought about writing a bit about my recent purchase Having owned quite a few Japaneese basses over the years, mainly ones from the Fujigen factory like Yamaha TRB, Ibanez Prestiges, FGN basses, Fenders but others like a Sadowsky Metro as well, I have long been an admirer of the quality of the craftmanship that is put into these instruments over there. There is a bunch of smaller 'boutique' workshops like Atelier, Sugi, Devise that produce basses of the highst quality and standards - with prices to match. I've been long eyeing Atelier basses as I like their take on the classic Fender jazz design and they seem to carry everything that I like in these modern 'superjazz' basses. There are so many brands to choose from if one is heading into this direction and the options are almost endless, but I wanted to have something which is a bit unique here in Europe and wanted to know the next level of CIJ basses. So after months of checking out Ikebe's website (one of Japans biggest instrument store) this bass came up, I had the funds, the stars aligned and I made the purchase and imported this home. This was my second time dealing with Ikebe and I have to say they are top notch in customer service. It was a seamless transaction. Anyway, on to the most important thing. The bass is a Atelier Z M265 custom model. The M265 is basically their '70 5 string jazz bass. Ash body, one piece maple neck/board with block inlays and binding. they use in-house Atelier pickups and a selection of 2 band preamps. Hadware is a high mass Atelier bridge and Gotoh tuners. This custom M265 is a bit different, most notably in that it has a 3 band EQ (Bartonlini) and abalone inlays plus a brown red burst finish (which is more like amber in real life, the pics show this a bit more red that actually is) It is quite light and is a joy to play, the neck is really comfortable. It balances really well, that was one of my concerns as I was not able to try and see. I especially like the clean pickguard, it lets the grain shine through. The sound is a bit of a tipical '70 ash/maple, quite clean, sweet deeps with great highs and the slap is like Miller, only I don't have the chops.... It can get gritty if I dig in and it reacts very well to the different dinamics. The mid cut/boost is a nice addition, can't remember every having a jazz with a mid control but certainly helps at certain situations with the slightly scooped ash/maple sound. I bougth this bass untried and without ever trying an Atelier bass but it delivered on its promise big time. These above are my initial observations and for the time being I am very happy and a bit relieved as this distance purchase turned out great. Of course just like with other basses only time will tell how we are going to be in the long run. And now the pics (taken by Ikebe)
    2 points
  6. My Alpher got assembled yesterday. One piece swamp ash body Crotch English Walnut top with matching headstock Roasted maple neck with a bit of flame Rocklite fingerboard Nordstrand Blades Passive with 4 way selector for the Blademan Neutrik locking jack Hipshot hardware Looks better than I had imagined!
    2 points
  7. The ones made in Yorkshire are branded Ibagum.
    2 points
  8. And the song goes on for FAR too long anyway ... just suggest they chop out the whole Slash-solo nonsense that makes up the second half of it.
    2 points
  9. You dont necessarily have to play the fluffy bits. Would a tute help ?
    2 points
  10. It's amazing how wrong this sentence becomes just by adding the word 'on' into it
    2 points
  11. That would be nice. Although the last few deliveries from Andertons have been several weeks late - for brand new products anyway. It's almost my birthday and I've actually managed to get the family to fund this! First bass related prezzie from them for decades!
    2 points
  12. Easy. Musima, made behind the Iron Curtain in the old DDR: https://www.ebay.co.uk/itm/Vintage-and-Rare-1980s-MUSIMA-Action-Bass-P-bass-DDR-Japan-/253386997413 NEXT!
    2 points
  13. Half Man Half Biscuit: All I Want For Christmas Echo & The Bunnymen: Killing Moon
    2 points
  14. You really need a spectral analyzer to decide if something works for you? Wouldn't it be faster to just listen? The pedal is voiced to dUg's specs and he doesn't like the extra high end he hears through the big systems he plays through. The interview demo he does with Pete Thorn he is using the XLR out and there is no shortage of high end. The unit does have a treble control and if you look at his actual settings in the manual he has the highs set around 10 o'clock. The pedal has no shortage of high end. Again, it's a dUg Pinnick signature pedal so that should give you an idea of the type of tones it has. It's a pretty cool little pedal. If it's a sound you think you can use, give it a go. If it doesn't work for you, send it back.
    2 points
  15. That could be arranged. I have the little sister of this one as a 5 string fretless. Would happily take part in a 3 way swap! :-) I also have a six string version which is not going anywhere. Precious...
    2 points
  16. For reference, that's an old one. The quick way to tell is that the newer ones just have "DC" at the top, rather than "DC IN".
    2 points
  17. Well, this looks quite promising.
    2 points
  18. Mickey was in for his cheekbones, if I recall correctly. And most excellent cheekbones they were; man looked like a Mills and Boon cover walking down the street
    2 points
  19. The 90s did it already...
    2 points
  20. False beard, a decent wig and a girdle. Done.
    2 points
  21. Another solution that nobody seems to have mentioned is to embrace the situation. Cocktail gigs, to be precise. I spent a period where I would turn up to a wedding lunch, conference dinner or some such with a guitar and an amp, set up in a quiet corner where I wouldn't get disturbed or jostled, and spend an hour or two playing pretty much whatever I fancied for as long as I fancied playing it; as long as I played something that punters would recognise once in a while that was enough. Nobody's really listening to what you're doing as they have much more important things to do and talk about; but as long as they know it's there everybody's happy. Not exciting for either player or audience, but if you're any good at it you can make fairly decent money (at one point I was asking - and getting - £150+ an hour), and you don't have to share the gig fee with anyone. You do have to approach it in a professional manner though, both as regards material and technique - just rocking up and bashing out any old shite won't get you many return gigs. Oh, and most places will have a dress code of some sort as well. I now await the flak from the 'if I had to do that I'd have given up years ago' brigade. Before you do chirp though, remember this: there are many ways to earn a living in the music business; screaming to be heard over a room full of noisily inebriated and disinterested ne'er-do-wells is only one of them. If bass is the only instrument you play (covered in a forum topic recently) it may be more of an issue of course...
    2 points
  22. You are right, Trash Metal like Heavy Metal was awful in the 80's : certainly the worst recordings ever, absolutely crap sounding, totally lacking inspiration and, even worst, dressed like sissies. And I was more on the metal side in the early eighties than on the jazz scene.
    2 points
  23. Seller is depriving a village somewhere of an idiot...
    2 points
  24. But is he even in the top 100 maracca players in pop. He can't hold a candle to Davey Jones of the Monkees.
    2 points
  25. Love that there's now more than just the Elwood. The Frog is a great looking bass. I'm tempted by this a lot!
    2 points
  26. The prices don’t help with this though, price put most ordinary people and what are you left with? I love the stones but would I pay £100 for a ticket? No way, I can see five up and coming bands for the same money and probably 5-10 interesting support acts as well.
    2 points
  27. The Cult: She Sells Sanctuary Sisters of Mercy: Alice Fields of the Nephilim: Moonchild
    2 points
  28. Fantastic Yamaha BB2000 built in Japan in 1982. The time when they killed Fenders like Eurovision kills music. Everything works perfect, immaculate condition, just a few scratches at the bottom of the body. Including OHSC in great condition too. These basses tend to be quite heavy, this one is relatively light with 4300 grams on my kitchen scale, and even more important: very well balanced. The Yamaha BB2000 was the main bass in the eighties for players like Tetsuo Sakurai (Casiopea) and Michael Anthony (Van Halen) which shows the versatility apart from the great playability, built quality and sound as such. A BB2000 is quite a different beast than the more common BB1000 or BB300/BB400 and certainly a different class than the BB’s built outside Japan like Taiwan etc. It’s hard to explain but compared with a BB1000 the P-sound is fuller/tighter, the J- bridge sound is more like a fantastic JB but with a very nice addictive punchy charachter, the PJ sound is much more like a fat JB than a PJ. This bass could be a collectors item considering the condition and relative rareness. It won’t lose value! For the ones are who are unfamiliar with these old BB-series: the BB2000 is nothing like Yamaha has been or is making, no offense, because Yamaha builds good and solid instruments. I have too many great basses so I got to sell which means killing darlings... or should I say geisha’s?
    1 point
  29. Listen to the song on repeat so you can hear the parts/sections when you are travelling to and from work and don't have your bass handy. This will strengthen your neural pathways to aid the learning/remembering process. Look at the written parts when you are listening. This will create an audio/visual brain connection. Do your best and have fun!
    1 point
  30. I hear good things about Delano pick ups and Sandberg in general. Very highly regarded!
    1 point
  31. I'm not sure I've ever sounded that good!
    1 point
  32. You can simulate the effect of a fat finger by putting the headstock against a wall when playing. See if that helps first.
    1 point
  33. I’d be interested in seeing that build!! I was considering for this build putting 2 MM pickups in that position but decided against it in the end now I wish I hadn’t!!
    1 point
  34. There's a later 'fix' that doesn't require doing anything with the jumpers internally. On the rear facia, you can run a patch cable from the deep channel into the return on the effects loop. Then just depress the 'Mix 50/50'button and hey presto, mono output. The front panel knobs work much the same, except the Deep channel output is combined with the Drive channel and the Drive Level One knob on the Drive channel works as an overall output control.
    1 point
  35. What I do is get a piece of black paper, then cut out various shapes and try it. The right one will jump out at you....
    1 point
  36. I'd say stick with it. You will get used to it in no time at all
    1 point
  37. Love that, JJB would be proud of you Kevin!
    1 point
  38. A secondhand Alembic Series 1 or 2 32" scale. Secondhand as otherwise I guarantee I wouldn't reach my 51st...
    1 point
  39. I`m gonna contact our singer, I think it may be him and he`s lying about his age...................
    1 point
  40. On the subject of the spelling of a word leading to the mispronounciation of the word. Whilst at primary school, a customary punishment handed out by us kids was a 'Chinese Burn'. Roll on ten years. Upon entering a pub for the first time, imagine my panic and anticipation in equal measures when my port drinking friend told me to go and ask the leggy barmaid for a couple of Cockburns.
    1 point
  41. I can't see why this wouldn't drive a power amp though , if the amp in question was 'open enough' on the inputs . I think Dood used to plug into a rack compressor , then into a power amp , and he reckoned that that worked really well .
    1 point
  42. Most of the headliner shows I go to are in the $15.00- $20.00 range. Blue
    1 point
  43. When I saw The Who at Wembley Arena not long before Entwistle died, Townshend went off on one about something gloomy. Being slightly refreshed I yelled out 'F**k off, Pete, you're such a miserable c**t'. In fairness to him he laughed and gave it a rest.
    1 point
  44. Predictably, most people recommend what they own because they're happy with it... I'm no different: Mesa D800+ and a pair of Barefaced Two10 vertically. Chances are you will not really feel the need for a 610 combination, although it would definitely be a sweet sounding solution if you got a Four10 plus a Two10. The Mesa is super versatile, and that adjustable HPF is fantastic. The Two10 cabs are pretty portable yet they move a lot of air together and sound really good. I have tried quite a few different things over the past years but I was never "at home" until I came to this.
    1 point
  45. Trust me, that crosses our minds most days.
    1 point
  46. the carvin v3m is a superb amp and one of the most versatile having a separate eq for each of the 3 channels and an addition global lead boost. tonally it will do everything you want comfortably and a/b next to similar equivalents (Hughes and kettner, laney, marshall) it was a clear winner in my opinion with a smoother tone and plenty of body plus it lights up with a choice of blue or red depending on your mood lol
    1 point
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