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Showing content with the highest reputation on 25/06/18 in all areas
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Last Saturday we'd just finished playing Don't Stop by Fleetwood Mac when a rather drunk punter asked us if we knew any Fleetwood Mac.8 points
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So unlike me it's time for a preview of what's coming up, the headstock design. After some discussion with my friends we shortlisted down to two designs from which I chose the one below. I have always made my basses under the name "Dragon" because I'm Welsh but I was told it made them sound like a cheap Chinese copy of a BC Rich made for school kids to pretend to play metal in their bedrooms, so maybe a rebranding to the Welsh word for Dragon which is "Ddraig". Either that or at the American Luthier Bruce Johnson's suggestion I rename to "Daft Bat" which is a strong possibility. The design will be a Welsh dragon in white Mother of Pearl with the brand name Ddraig either in Paua or Abalone. I haven't got any Paua yet but I've ordered some and should be with me by the end of the week with luck.4 points
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I'll call it a day now and come back to it tomorrow to decide about the edges. But you probably get the idea of where it's generally heading: With loads of wood still to remove - especially the heavy maple from the neck carve - and with all remaining hardware piled onto the scales, it's sitting at below 7lbs at the moment, so below 6 3/4lbs should be well within reach for the finished bass. As always, thanks for looking4 points
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Those who have seen my other builds will know that I creep up on the final shape generally when I'm doing the body carve. While I have a general idea of what the final shape is going to be, I tweak it as I'm going along and do multiple checks ref the depth of carve and where the chambers are. This is after the first pass. Plenty more to go:4 points
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The design is staying as it is3 points
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So today's thrilling update, I know you're not sleeping nights wondering what will happen next First job this morning was to drill the switch and control pot holes, I did this perpendicular to the surface rather than to the back so the knobs don't look pink torpedo eyed. I looked at some Les Paul guitars in PMT Cardiff last weekend to see how they were drilled, strangely some were vertical and some where in line with the contours, it was the ones high on the wall that were angled so in hindsight they would have been customs as they cost an arm and a leg.. Next was to sand the body contours and make them look less like I attacked them with an axe, after that I did the sides and the back but only to 80 grit until the binding is in and all other work done then I'll take it down to 240 or 320 grit depending on how it looks. No need to go further than that on wood, the marks will never show even at 240 with clear lacquer, the problem with going finer is that the grits start removing soft wood rather than the harder and ripples start to appear, it's quite hard to stop that and to be honest there isn't any real advantage to do so on your average timber like Oak, Mahogany, Ash etc. The last job of the day was to check the necks for flat and yes they were, excellent news so a couple of wipes with the plane and then I sanded the headstock and glued the headstock veneers on, after an hour in clamps I trimmed the veneer flush and being the daft bat I am I stuck the bits together to have a first look at what they were going to look like. I won't comment on that, make your own mind up. The top of the neck body isn't flush thith the top of the body yet, I need to trim the bottom of the tenon but I'm leaving that until shaping time3 points
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I always thought masonic ladies were known as maisonettes3 points
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But I’m severely malnourished and I live in a tent ⛺️3 points
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Played in a Free tribute band, during our second set, the venue owner asked if we did any Phil Collins.3 points
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You wouldn’t believe what my acoustic duo gets requests for. We do a weekly pub gig where we encourage requests via forms we distribute on the bar & tables. We have lots of regular punters who know us well so most requests are reasonably doable. However you can always tell if the requests are from new punters as they vary from smart ar*e ( Bohemian Rhapsody etc) to obscure show tunes / heavy rap / metal / garage etc etc. Sometimes we do surprise them by having a go though.... 😄3 points
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We only play requests when we’re asked.3 points
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Clipping doesn't hurt anything other than tweeters, and they'll sound nasty long before they should blow. What you, and your (idiot) guitar'd player should be concerned about is hearing loss. I'd say ask Pete Townshend, but you wouldn't get an answer, he can't hear the question.3 points
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I'll be selling my massively trusty Gallien Krueger Head, flightcased with a compressor, going through an ugly, but great sounding 4x10. This has worked flawlessly for 7 years in a variety of bands, but now moving house apparently means I can't have 3 amps anymore. Downsizing is the plan and a shiny new Markbass setup has taken over. It would be great as a practice room amp or touring rig. I've never considered having a backup, but some of the members here have some VERY nice gear. The head is a Gallien Krueger RB 400IV. I bought this years ago second hand as my first 'proper' amp. It's 'only' 180w (8 ohms) or 280w (4 ohms) but it is LOUD. Paired with a big cab, I've never needed more push. As far as I know, it's a Class A style amp, meaning a huge transformer and no Class D overheating issues. . I used to use it with a 2x10 too but gave up as I just didn't need it. It also sounds great, I've had numerous compliments from other bands and soundguys, It's got that lovely GK growl if you need it, but plenty of scope to clean up if you don't. It has a few scuffs as it's been used, some of the tiny button caps have been replaced with 3d printed caps as GK won't send you new ones but it's always been reliable to me. It comes in a solid SKB flight case with lots of spare bolts, as they're American, it's not easy to find those, with a 1U vent hole passing through a pair of custom made Neutrik cables to the compressor through the effects loop; The compressor is a DBX 266XL stereo compressor. I use the channels independently, so usually have the first as a softer compressor/gate and the second with some more aggressive settings. Either or both can be bypassed with a push button on the front for a pure sound. The upshot is you have a very cool lightshow whether it's engaged or not. This all goes through a big old Carlsbro Bass reactor 400. This will never get you any street cred BUT it really sounds great. It'll take 400w into 8 ohms, I think the drivers are eminence Delta's and it's honestly put some much more expensive cabs to shame. It's solidly built (read, 40-odd KG) and would take a beating if you needed a cheaper cab for a tour or practice room. The carpet is a bit scruffy, it's certainly been used but doesn't look too bad and you can always use it as a ladder if needs be. I'm based in Manchester but do travel to Yorkshire regularly, Collection is welcome but local delivery could be negotiated at the buyers cost. I'd prefer to sell as one unit but would consider splitting. As always, I'm open to offers. Kind regards Andy More photos! ;2 points -
once had a punter go up to the frontman to ask for a request during a song expecting his undivided attention whilst playing guitar & singing. The stock answer when getting daft requests was that we don’t do that song, but the next one contains some of the same notes.2 points
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Just caught up with this. That is a very fine looking ‘instrument-in-the-making’ Looking forward to performing my test pilot duties if required...2 points
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Both types, country and western2 points
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That's how I've always done it.2 points
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I like it.2 points
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Am I not correct with both my Eden Metro combo and my EBS HD350 that I set the volume on bass to max, on the amp to zero and then feed in the gain until when playing my loudest notes (silently ) the clipping light just flickers. Then I adjust the amp volume up as required.2 points
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There's no standard for clipping lights so it would be hard to say how much clipping would be acceptable. Heed Bill's advice about tweeters/horns. If the amp is genuinely clipping all that extra power pretty much goes through the horns. Some clipping lights are on the input stages rather than monitoring the output. That makes it easy to set up a little distortion and then adjust your levels with the same level of 'grind' at all volume levels. If you have an input level control (sometimes called gain) and a master volume try turning the master volume right up and the input level down and see if the light goes out, or even turn the volume on your bass down and the master up. If that is the case your input stages were overloading and the amp actually wsn't giving you a little more power to play with. Worth a try anyway.2 points
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New toy - these don't seem to be readily available but managed to track one down on a bit of a whim. I 've got some gigs coming up with a band that run a fair bit of a wireless and don't want to be that annoyance that turns up with a load of wireless to complicate matters! Also, they are a bit less clunky than the studiospares headphone amps Ive got... and a bit less risky than taking a P9RHW. So here it is - Behringer PM2. I have to say, having used the Fischer sticks with a band that I also play for, the Behringer *ahem* version of it is equally well built... and dare I say it, I think I prefer the uncluttered look of the Behringer version. It's certainly less busy on the white lettering front than the Fischer. I paid just under £40 for the PM2. The Fischer comes in at just over £120. That's some saving there. So for those that don't know what they are looking at, it's a belt mounted headphone amp - better than trying to drive your headphones directly from an aux.... Plus it has the some basic mono/stereo switching (essentially if you don't want your mono mix just coming out of one ear on your headphones!) So, stereo or mono operation (there's a little switch inside that changes between the two modes) - combo jack on the bottom... so TRS/XLR for UNbalanced stereo, or TRS/XLR for balanced mono... and I'm guessing - not that I've checked... a TS will give you unbalanced mono also... (with switch in mono). So, in my gig bag of goodies, I've got a long XLR, a long TS cable, balanced dual XLR split to single unbalanced XLR, Dual TRS to single XLR and a TRS to XLR adapter... (a bit like this - https://www.kenable.co.uk/en/xlr-plugs-connectors/6096-kenable-xlr-male-plug-3-pins-to-635mm-trs-balanced-jack-plug-audio-adapter-006096-5055383460960.html - useful into plugging into the QSC desks that have stereo TRS auxes especially for inears) - that should cover me for most wired situations, I should think! Good stuff. With gadgets like this and the ZS10 appearing for the price that they are, why wouldn't you be embracing IEMs?! So assuming that you have an aux available on your desk, for under £75 (and maybe add another £15 for cables for your specific mixer - so say for under £100 all in)... there's no excuse to not be ragging your ears anymore. And the upside is that you can hear absolutely everything that is going on. Win, win.2 points
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I never did put my revised board up 😁2 points
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With 2-4 gigs a weekend booked till the end of the year, unless they are all unpaid, you can get a whole lot of interest from unemployed or not very busy (band wise) drummers. A lot of them wont need to rehearse for weeks or months on end either. With that many gigs they should be match fit within a few weeks on the fly. We had a problem with our old drummers abilities and despite our fears, getting rid and replacing him was very easy as we had plenty of gigs on offer. Our new drummer is fantastic and we are so much better as a band with him on board. We also now have a nice dep pool of brilliant drummers too. Win Win. Get it over and done with and start enjoying band life again. Get rid of the clown ASAP.2 points
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While playing in an originals folk/rock band we were asked if we could play Wonderwall. I just said that the next song was our reworking of the Oasis classic , we've given it a different tune and new words, we then launched into whichever of our own songs happened to be next on the set list and nobody complained.2 points
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Shouldn't this thread be called 'Bi Curious Note' then?2 points
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1980's - 3 piece covers band - keyboards, bass, drums, at a masonic function. Dear lady who was in charge of the function asked if we could "go from table to table, singing and playing" , like Spanish troubadours...........................🙄2 points
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They have their place like everything else and each to their own after all we're all different thank God I wouldn't want them but I have wondered what LEDs would look like fitted behind Mother of Pearl block inlays to give a dim glow2 points
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In case of use to any of my fellow BCer's: we ended up getting a Chauvet Gig Bar 2.0 plus a couple of small Chauvet DJ Bank LEDs. Including decent length power cables this came to just under £500 (new), all in. I'm guessing these will be available at a significant discount second hand on DJ sites. We unboxed and gave the Gig Bar a dry run today (see clip below) and the band seem very pleased with the choice. If you have a limited budget and want to get just "one" lighting rig, I think you could do a lot worse than this. Chauvet GigBar2.0 (18-06).mp42 points
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It’s in the next set mate, then at the end, oh yeah we ran out of time/ will play it next time. Life’s too short to have conversations with people like that.2 points
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Yesterday I worked on the Rosewood fretboard, got it inlaid. Turned out that the new binding cutter I bought wouldn't do the fretboard because the bearing was too far down from the cutters so today I just cut both on the router table and stuck the bindings on with CA. I started with a thick gel type with a slow setting time so I could get the inner edge of the mitre exactly in the right place then used a thin CA to do the rest, horrible stuff, gets everywhere, made a right mess of my finger nails After that I scraped the bindings flush and sanded the faces through to 3000 grit which looks very good. The Mother of Pearl is stunning and no filler used at all, feeling a little smug about that LOL I finished off the day by putting a thin coat of Lemon oil on the faces, will give a couple more before fretting them2 points
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Recording the gigs and playing back afterwards can be a useful tool - sometimes people don't realise quite how fast they are playing.2 points
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Did a dep last night with a power trio - the drummer was also a dep, who I'd never met before. I was slightly nervous 'cos it was a big-ish room, the band are loud, and everything but the bass was through the PA. I only had a 120w valve head, so I turned it up and hoped for the best. It was fine. Lots of dodgy moments, but we carried it off...2 points
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That's a bathroom event isn't it?1 point
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We basically do hard rock with funk bass, so if anyone asks "what sort of music do you play?" we say "Frunk".1 point
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Clipping will never bother a PSU. Too low an impedance load can if the amp is not protected against it, while sending a high level signal into an amp input can damage pre-amp components that aren't able to handle high current sources. When they fail they can take out the PSU as well, but clipping has nothing to do with it.1 point
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Was passing by Denmark St earlier today. I've been converted: if you want a proper synth sound then get a synth! I'm guessing there isn't a dedicated bass synth pedal out there that comes close in terms of 'synthiness' or versatility to this:1 point
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The best one I ever had was during a gig with my old jazz-fusion trio at a jazz venue in Bristol. We had just finished a John Scofield tune and were about to launch into another instrumental epic when this I've-had-one-alcopop-too-many student-type came up to me. "Do you do Iron Man by Black Sabbath?" he asked. I looked at him incredulously. "Do we sound like the sort of band that does Iron Man by Black Sabbath?" I replied with a laugh. We launched into the aforementioned instrumental epic, at the end of which there he was again. "Do you know Iron Man by Black Sabbath?" he asked. "No we bloody don't", I replied somewhat testily. I wandered away from him to try to signal that the exchange was definitely ended and we dived into another lengthy widdle. At the end, yup, there he was again. "Why won't you play Iron Man?" he demanded. I gave him my very best Paddington Bear Hard Stare. "Oh come on, you must know it!" he said. "Look pal," I said in a firm this-conversation-is-over tone, "just f*** off eh?". Thankfully, he got the message and f***ed off. I'm pretty sure he was only doing it for a laugh anyway. Perhaps his poncy mates put him up to it. (I wouldn't normally tell a punter to sex-&-travel, but this gimboid was seriously getting on my toot.)1 point
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4.1 kgs 9.03 pounds1 point -
Try this one. Maybe Instagram images don't show, hmmm.. can anyone else see it?1 point
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My knowledge of clipping lights is limited but I'd have thought they were set up to warn you that you are about to reach the amp's limitations before they are audible. If you go on that principle then, as with VU metering, you'd aim to hit the light briefly but only at the loudest points in your performance. That said, you'd be okay with a touch of a glimmer on The One in each bar.1 point
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And i hope you obliged.1 point
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Excellent!1 point
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Goodness me, but it's getting so hard to choose between the works, month after month. The quality shown here is formidable, such variety of interpretation and execution. Between half-comic, semi-literal, entirely atmospheric, or musical puns, how to compare..? I'd be tempted to award winner's certificates to all who entered a piece; there's nothing here that doesn't deserve one. It makes me somewhat afraid of continuing to listen to 'em all each month; they're getting so good, I can't favour one over another..! Astonishing Stuff, y'all.1 point
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I have had this problem occasionally, I just say to the drummer "I'm not good enough to play this song at this speed" usually does the trick. But adrenaline kicks in and a lot of bands play faster live, listen to live albums, they do play faster than studio versions of the same songs1 point
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Let’s hope he’s not a Basschat member then... awkward! I really wanted LEDs in the 90’s.1 point
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Oh God, yes, this. Did a gig once where we brought the backline and the guitarist from the support band, having turned up late to do their soundcheck in the first place spent literally three quarters of an hour endlessly tweaking the amp, his pedals, his guitar, etc, before insisting that they play the whole of three different songs which have different guitar sounds in them so that he could be sure that he was happy. the rest of his band were mortified, and apologetically explained to us that while he's a great guitarist, there is something of the OCD/autistic spectrum about him and they just have to let him get on with things. And then having completed their soundcheck they put down their instruments, to be told to pick them back up again as it was time for the show to start.1 point
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Random road closures after the gig when you just want to get home1 point
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Just sold an amp to Kev and tried one of his cabs. They are in great condition small ultra light and have an superb sound. Deal with Kev with upmost confidence.GLWTS fella.1 point -
I'll put up with most things, but the spectre of having to deal with the guitarists Roland onboard key change gizmo nearly had me done. He can flick a switch on his guitar and the key changes?? It happened the other night...he's suddenly in D, we're all in E...could have walked there and then.1 point
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