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Showing content with the highest reputation on 23/08/18 in all areas
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Right guys -- I bought the Moollon on E-bay thinking I was getting a cheap asian bass like Amoon , Rocktile etc. in a nice Mono gig bag ( I had never come across Moollon before ) -- Planned to keep the Mono gig bag and sell the bass cheaply! Imagine my surprise when the bass arrived and I unpacked it -- Stunning build quality and played and sounded better than most P-Basses I have ever played ( And that is a lot in my 72+ years ) I did some searching on Google and quickly found several reviews ( all Good ) and then I came across one of Scott playing his on youtube and thought that it looked familiar so looked through his other vids and found the one reporting it as stolen! I managed to contact Scott on Facebook and he rang me and I confirmed I had his Bass but wanted to ensure the Police followed up on it so I got the crime report No. from Scott and contacted the Police. I also contacted the Vender ( blueandyellow stores, which turns out to be Cash Generators ) and told them they had sold a valuable stolen Bass, They wanted me to send it back to them so they could sort it -- No Chance! The Police came and collected the Bass and I gave them all the sales information so they could investigate ( which I believe is still ongoing ) The Police officer assured me she would take the Bass straight back to Scott the rightful owner, which she did. I eventually managed to get a refund from the vendor once the police were involved and I did receive many Thanks and a very nice Reward from Scott! -- Thanks Scott. All in all a nightmare experience but hopefully the Police may get the Culprit(s) Will ( Eddie to Family and Friends )18 points
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What a busy day! Conference calls all the way there and back for work, but I managed to get half an hour in Jon Shuker's workshop tucked away near Hope in the Peak District. It's such a beautiful setting.. Big thanks to @MOXYBASS for the brilliant comms and for selling this one 😁 Jon is an absolute gentleman. So knowledgable, so open and a really great conversation. I can see myself ordering a build from him... And the bass? It's a Shuker Uberhorn Fretless 4. It has piezo bridges with a ghost preamp, and a magnetic pickup under the fretboard in the P position. He couldn't remember exactly what it was - but I tried it in the workshop and it's a fascinating solution to a balance issue. The Ghost piezo system gives a really really rich and lovely sound - it's basically like a rich P sound, with strong upper bass and some nice highs, but with the upper mids rolled off. The magnetic pickup is voiced for mids - on it's own, it's like a mid-heavy P, but with the piezo as well it's like a foghorn! Huge, deep, rich and loads of harmonics all over the shop!! There controls are logical - a switch for magnetic, both, piezo, then volume for magnetic, volume for piezo with a push pull "bright" control, and then a 3 band EQ for the magnetic (cut/boost) and a 3 way frequency switch for the mids control. Really flexible. Really good. The neck was a total surprise. It feels about 42mm at the nut but might be less, but it has this brilliant slim carve which is really similar to the pre-CBS Precision neck - it feels great! More on this when I get to play it! I'll give it a go later tonight and report back on my ham-fisted efforts (!) Check me out - I'm a fretless owner. Ooer.6 points
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I think there's a difference between playing covers for an audience who mostly wants to sing along, dance and have fun, say at a private party or in a pub, and recording cover versions for an audience who is more interested in the music, such as fans of a band buying their CDs or going to their shows. I'd say the former should try and sound as much like the original as is feasible, depending on the number of musicians available, while the latter should offer their own take on the song. There are, obviously, limits to how much you can make a song your own without ruining it...4 points
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Excellent result, well done Eddie. Did you like the gig bag 😂 Perhaps it’s worth me making a sticky about what to do if you have a bass nicked...4 points
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I think the only issue I take with this is that ears don’t actually recover from damage caused by excessive noise. The effects of damage such as tinnitus and loss of balance etc are caused by the brain misinterpreting the signals it is receiving verses what it should do. I suspect caffeine inhibits the brain getting used to these new signals rather than caffeine being an inhibitor to any sort of physical recovery. Whilst we’re on the subject of damage, a key point that so many active musicians don’t realise is that ringing ears after a gig etc is an indication of actual damage. When the ears stop ringing, that’s not recovery. The damage is still there. Next time post-gig ringing happens it is more damage on top of the last. It’s cumulative. Until one day, after thinking you’ve been lucky all this time, the ringing doesn’t stop. The white noise begins and your brain can even have a hard time dealing with this indefatigable mental noise. Some people struggle with depression caused/exacerbated by the effects and there is even news of a lad who was so traumatised by tinnitus he took his life.4 points
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I sold it! Squier Affinity 5 String Jazz bass aka The Life Saver OK here's the backstory. I live in the Midlands, Lichfield to be precise... and I regularly gig with a band based in Loughborough. I agreed to do a gig with them down in Taunton - however, they had van driver availability issues, so I agreed to drive to Loughborough and pick up the van. All the way to Loughborough, something was playing on my mind... you know, that feeling you get that you've forgotten something but can't quite put your finger on it. You mentally check... cables, amp, strap etc... all check. Get to pick up the van and move my gear from my car into the van. Oh dayum. Where's my bass? Band leader says, no worries, I got a 4 string P bass you can use. I'm all, nah, it's OK, I got time to call back via home and pick up one of my basses. So I drive home. Dayum. Guess which idiot left his house keys in the car... back in Loughborough. Time was getting on and there was no way I could make it back to Loughborough, then back to Lichfield, then get to the gig in time... especially as I had all the PA in the van with me. Cue lots of phoning around trying to find somebody local that I can beg, steal, borrow a bass of. In short, couldn't get to anybody in time to pick up a bass and get to the gig... so drove to PMT, walked into the shop and asked for the cheapest jazz bass they had and take it straight to the till. I think I was in there all of 3 minutes. Got to the gig ok, a quick setup and the bass is decent to be fair. I would keep it but already have a low priced Yamaha that fulfils the role of a cheaper bass. So in short. I'm an idiot. This bass has been played for approximately 2 hours. I bet there's examples out there with more miles on it due to being on the shop floor. It's in as new condition, complete with the original cardboard box. My idiocy can be your gain. Anyway, dropped to £150.3 points -
Personally I love Kirsty McColl's version of A New England!3 points
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One of my favourites: Devo - (I can't get no) Satisfaction3 points
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Punter: Thats not how it goes Me: Its how it goes when I play it3 points
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I don't mind most covers, but what I really dislike is the recent trend for adverts using dour cover versions by "quirky" female singers accompanied by melancholy piano. Usually they destroy a classic song, be it rock, dance, punk: the original genre is irrelevant. I'm looking at you Lloyds Bank especially, but perfume ads are guilty too. May they burn in whatever final destination for naughty people your chosen religion prescribes3 points
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I have a Line6 Helix (floor version) and an RCF745. Both bought new so total cost approximately £2000. That might sound a lot but my small rig mostly bought second hand was almost £1500, and my big rig (again mostly second hand) was well over £2000. When you consider the Helix/FRFR option is considerably smaller than even the small rig and sounds better and is far more versatile than either the big or the small rig, and will also replaces my complete guitar rig, you can see it's a no-brainer for me. By the time I've sold both bass rigs and the guitar stuff I expect to come out with a profit! At a recent gig I got a last minute request from the headlining band who were travelling from Newcastle to ask if they can use my bass rig. After explaining to them what it was they said that anything would be most welcome, so I quickly set them up with a patch comprising one of the bass amps and 4x10 cab model. I adjusted all the EQ settings to 5 (mid point) and added a compressor module (switched off) in case they needed it. The bass player plugged in and had a great sound without needing any further adjustment.3 points
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Arrived this morning. First impressions: very compact - it has the footprint of a COG T16 and solidly built. Tracks down low as well as well as any octaver I've come across (see response to Dood's post below). It delivers the "classic OC-2 sound" as well as if not better than the COG 16 and I think it's pretty close to the 'real thing' (sufficient for that particular itch of mine to have been scratched) - although I'll leave my fellow BC'ers with OC-2s to comment on whether they agree or not. Costs around £59 new (Gear4Music) vs £140 for a COG T16 or £80 for s/h Boss OC-2 and it's considerably smaller than the OC-2. Seems a very good value option to me and I love the small form factor; I can't see myself going back to a T16 or wanting to get an OC-2. It's analogue and has negligible latency and smooth tracking. I put it through its paces and you'll be able to hear for yourself how it sounds: 1. Clean by-pass 2. "Blend" - Clean 10, Oct1 10, Oct2 5. I really liked this. For me it's my classic octave down sound and I can very much see me using this setting for live music (I slightly prefer this to the best I was able to get from my COG T16 v2). 3. "Classic OC2" - Clean 0, Oct1 10, Oct2 0 4. "Sub" - Clean 0, Oct1 0, Oct2 10. Just like the Boss OC2 the volume is not as high on this as I'd like on just the Oct2 setting. But that's perhaps a good thing as I'd maybe find my speakers blowing if it was! Besides, maybe this is just normal physics / our hearing, in that our ears are attuned less to the very low end and consequently for the low end to match volume we 'hear' of higher frequencies requires a significant increase in power. 5. Combined low - Clean 0, Octs 1 & 2 10 ValetonOC10 - clean.WAV ValetonOC10 - blend.WAV ValetonOC10 - Oct 1.WAV ValetonOC10 - Oct 2.WAV ValetonOC10 - Oct 1 & 2.WAV2 points
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I purchased an Ibanez SR500 today. I recently sold an SRC6 and within a week was really regretting it, so I got another. As much as I enjoy the SRC6 I don’t use it when writing. Mostly I use my Rob Allen Mouse when writing but lately I’ve been missing a bright 4 string fretted electric bass for writing. I recently purchased a Squier Jaguar but for some reason I just didn’t get on with it but I really dig these SR Ibanez-es-ez’s Anyway here it is... Here it is with the SRC6... Sod it, here’s the team...2 points
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This is a truly superb example of a P bass. Great build quality and weighing in at a very shoulder friendly 8lb 12oz. All original and everything functions perfectly. The finish is lovely, just a few dings and the paint job is still vivid. Pickguard is not buckled, just the very common crack adjacent to the output socket and plenty of pick marks . Nut measures 42mm. Frets are all good and the trussrod works as it should. Neck pocket is nice and tight. Pot codes dated 38th week of 1974. Neck end stamp. 0103-1255. Which is: P bass. Fretted maple. 12th week. Friday. 1975. The case, which I believe has always been with this bass, is an older and rarer one, issued between 1967-71. The condition is exceptionally good and the catches all function properly. It also comes with Fender hang tag and the original owner’s manual. This is one of the best seventies Fender basses that I’ve owned and I’m not really sure about selling it. I might well decide to sell a few others and keep this one to gig with. Anyway, it’s up for sale at the moment. I would much prefer collection from my place in Herts. If this isn’t possible I will be happy to post but only with a courier of my choice and with proper insurance. Let me know and I will get a quote. For sale at £2,450. I’m not looking for trades at the moment and offers by pm only, thanks. Cash or bank transfer.2 points -
Selling a Cali76 CB in great condition with just a few marks on the sides, Perfect working order. Blurb Here's What Origin Effects Say About The Cali76 Bass The Cali76 Compact Bass is an 1176-style studio-grade FET compressor, complete with dedicated controls for parallel compression and side-chain filtering. We’ve taken everything that was great about the original Cali76, added new features optimised for bass and compressed the whole lot down into a pedalboard-friendly package! In addition to this pedal’s low-noise circuitry and fast, musical FET response, two special features lift the Cali76 Compact Bass above the competition. The first is the Dry Blend control, which lets you mix your dry signal back in with your compressed signal for true parallel compression, an indispensable studio recording technique. By combining the compressed and dry signals, you get all of the tone thickening and increased sensitivity of the Cali76’s 1176-style compression, while retaining the natural attack and dynamic expression in your playing. It’s the ultimate in transparent compression – both fat and punchy at the same time. This pedal’s second secret weapon is also culled from the studio engineer’s handbook. The Cali76 Compact Bass allows you to rein in the amount of compression applied to the lowest frequencies via a variable-frequency high-pass filter placed in the compressor’s side-chain. With the HPF control dialed in, the compression ratio effectively becomes frequency dependent. The low strings come back to life, adopting an extra weightiness, power and dynamic response, while the higher strings are strictly controlled, preventing slapped and popped notes from leaping out of the mix. This unique bass compressor is like having your own studio engineer sat on your pedalboard! Specifications 100% Class-A discrete signal path Classic, ultra fast “FET” response Studio-grade discrete-transistor preamp Combined Attack/Release control Dedicated Ratio control Dry Blend control for parallel compression Variable-frequency sidechain filter (HPF) control Rugged jewel-lamp gain reduction metering Optimised for bass but can process any source High-current, low-noise electronics Ultra-wide frequency response Ultra-high input impedance Silent switching High-quality “signal-conditioning” bypass mode Premium components throughout Advanced power supply filtering and protection Flexible external power requirements (9-18V DC) PSU Spec. 78mA @ 9V / 103mA @ 18V Designed and built in England Price includes UK shipping.2 points -
I turned 50 this year, and I play in an 80's band2 points
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+1 While i really enjoy watching guys on you tube playing those Gregg Phillinganes/Bernie Worrall/Stevie Wonder lines on Moog Little Phatties etc i really wouldnt want the hassle of bringing keys and possibly extra amplification to a gig! And im really rubbish on the keys. I love getting close to those sounds on the bass with pedals. I treat them like mixing herbs and spices to create sounds of my own 😁 I did borrow my friends Deep Impact and wasnt blown away! Especially considering the price. I dont even know why they are so expensive when the Future Impact can get those sounds and more for a lot less money. Im deffo gassing for the FI though! Id love to try the octavious squeezer as well 😁2 points
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I'm 65 and gigging every weekend. 39 is young in my book Blue2 points
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Particularly good if a band has brass in it. They like to play in Eb and Bb so it’s nice to have a low root note.2 points
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I even think we've got cocktail sticks!!2 points
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There's an entirely good reason why you have GAS for this pedal: there is nothing out there that currently touches it...Soz buddy. I know I'm not helping! 😂 Here's a quote from the chap (a trusted BCer) who tipped me over the edge into getting one: "It is without doubt the best sounding and most versatile synth pedal out there. Period. But!!!... and both of these shouldn't be taken lightly... you have to have a very clean playing & muting technique to trigger fast lines and the willingness to learn the editor which can be a bit of a monster at times. If you can handle that... then if I know you at all then I'd say that you will LOVE it." Well if there's one person I know for sure who will enjoy messing about with a PC editor a LOT more than me, I think it just might be you! And if you love synth sounds...2 points
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+100 ^^ I love being a bass player. I didn't sign up to be a keys player...😎2 points
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A more controversial submission... I think FnM's is superior to Sabbath's, but then again, I grew up with version. Killer tone on both bass and guitar, and powerful vocals from Patton:2 points
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Agreed....BUT it’s more kit to be carting to gigs and for maybe one or two songs? Unless it was a full time well paying multiple gigs per month gig what’s the point (IMO). Fun trying to get close to the sound using bass. Again IMO!2 points
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Tui. It probably wouldn't offend me quite so much if they didn't have the advert playing on a loop while you take the little shuttle train from one side of Gatwick to the other, but being forced to listen to that crappy fey cover of Chaka Khan multiple times is a new and subtle form of torture.2 points
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well...sh*t just got serious. First practice on Monday...2 points
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I call it a pick because I like to say "pick" rather than "plectrum". "Plectrum" is two syllables and therefore takes twice as long to say than "pick" does. I'm a busy man y'know...2 points
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This! And this. As much as the equipment geek in me would love to be able to create these synth sounds on the bass guitar, the reality is that even after 40 years of technology development the typical bass player still needs to refine their technique massively to get the best out of doing it with a bass guitar and pedals. I'm not much of a keyboard player, but I can get the sounds I need out of an average keyboard synth quicker and play them with more accuracy then I will ever be able to manage on the bass.2 points
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Well when you play with modelling andd FRFR it's not really playing is it? You'll notice that's in my living room, I just didn't see the point in actually taking it to the gig, rock and roll is dead anyway.2 points
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I killed rock and roll a little last night.2 points
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I tried both. The QSC sounded better in a side by side comparison - just more responsive and a more natural bass sound to my ear (YMMV)2 points
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The Mono bag was nice but I prefer the design of the Protec Contego! A sticky is a great idea! -- Why not ask Scott if you can post his video as a sticky for anyone that has gear nicked? Regards Eddie2 points
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1. Gives you a few lower notes which can be particularly handy when playing more modern music, music with Ebs etc, and doubling synth lines. 2. Gives you a bigger range without shifting positions, handy when reading for example. 3. I find fewer dead spots than on 4-string necks.2 points
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I did arrive as a bit of a stressed out wreck. 😛 Gig was actually pretty decent in the end though!2 points
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Man! I would have been in a rage by the time I got to the gig. Every bass line would have sounded like something from Anthrax. 😂2 points
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It’s in the boot. It’s like an exquisite work of art. NBD thread incoming2 points
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This too2 points
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So when I wake up with my ears still ringing, after trying to get my screaming toddler back to sleep in the small hours, and having achieved all of three hours' sleep myself, I should actually try and power through without coffee if I want my ears to recover? Thanks, life. Way to kick me while I'm down...2 points
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Action was lowered considerably when I set it up to suit me (after I got it), no fretwork needed. BTW if you think that action is high, check out John Pattituci’s or Macca’s action, some people just prefer it.2 points -
It's the same for me and at times it can be truly miserable Mrs. mac only drinks decaff tea and coffee these days. After trying many different brands, for the last few years she has stuck with Yorkshire Tea's decaff, as it actually does taste like tea.2 points
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It's a Fender(style) thing, It's usually only noticeable if you're looking for it, and you certainly can't hear it. It shouldn't put anyone off buying this bass.2 points -
Today I spent a bit of time looking at layout and making templates. The bass is going to be 33", so I've reduced the overal size of the body slightly, and because the bridge will be right up againt the edge of the body (to improve balance) I've also re-worked the lower horn a bit to allow access to the upper frets. For the pickups I'm going to stick with traditional positions for both the P and J pickups. For the P that's 84% of the scale length away from the nut, and for the J in the 60s position, 92%. I also prepared the neck blank. It came from David Dyke and it's fantastic. I cut out the neck and thicknessed it down to 20mm and it didn't move a milimetre. Look at this for symmetrical grain.... Tomorrow, neck pocket.......2 points
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My definition of new music is 'music I haven't heard yet', which could be something brand new or something written 150 years ago.2 points
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Great wee pedal. My inner ratm fan boi made me purchase hah!1 point -
I stand corrected said the man in the orthopaedic shoes.1 point -
I 2nd the backstory bump 😂😂😂 made me laugh a lot. Sounds like something I’d do! GLWTS1 point
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And another thing The arm on a 6 string is not a Tremolo. It's a Vibrato. Tremolo changes volume and Vibrato changes pitch, therefore the string wobbling arm on a 6 string electric cannot be a Tremolo arm. Ever. No dispute. Phew etc1 point
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If you have different playing requirements, from small and quiet gigs to loud and noisy gigs then the old way of doing things, ie having multiple stand alone rigs makes no sense any more. Using smaller, more powerful, cabs to make up 1, 2 or even 3 cab rigs is a much more sensible and flexible way of doing things.1 point
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I prefer a good 15 myself, although they no longer seem to be fashionable. If you're looking to save weight, choosing a driver that's too small to do the job and then using two of them makes no sense at all. Not helpful, I know, but I just wanted to get that off my chest. Lightweight 4x10s? Don't be silly! 😛1 point
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Not to sound judgmental, but please tell me you drive first and take substances later? I used to put down a lot of time with a psychoactive substance -- alcohol, in my case -- so I'm by no means a saint, but cars and substances don't mix Edit: Wait, wait, the word you've masked isn't shooting, it's the other thing, isn't it? Reasons to quit bands: having different aims than the rest, not being able to sack the one with a different aim, mismatch of aims and time investment, personality clashes, market just not being there for the band's oeuvre...1 point
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