Leaderboard
Popular Content
Showing content with the highest reputation on 16/10/18 in all areas
-
I thought they were all universities now...?7 points
-
I don't want to out myself as a Snowflake SJW but I can't help wondering what I'd think if I was a young female bass player reading this thread.7 points
-
Nate is pleasingly plump when you really look at him. He's got a cute laugh as well.5 points
-
Time to address a couple of common ideas often spoken around these parts. The first was brought up in a recent thread and I see the second one a lot, too. Interested to hear your thoughts. 1. "Whatever bass you play, you'll sound like you'' / ''It's all in the fingers'' I suppose to a degree it's right - someone will recognise the style of playing of an individual regardless of what bass they play. A good example would be Victor Wooten playing that Sire jazz bass recently posted here. It sounds like him. BUT - I don't think it's even remotely true to say it doesn't matter what bass you buy, it's all in the fingers. Nobody can make a Precision bass sound like a Musicman just by the way they play. It's impossible. Maybe in front of an audience with poor monitoring and a poor bass sound it would be immaterial - we've all been there - but recorded, or properly monitored, it's obvious to me that basses sound completely different. Otherwise why would we even discuss them? 2. "It doesn't matter what you play (gear wise), the audience won't be able to tell the difference" Maybe not. My mum can't even identify what sound is the bass. But is that a reason not to buy XYZ? Do we do it slavishly for the audience, or do we enjoy knowing our own sound works, and the nuances, even if known only to the player, are worth the journey? Would you be happy playing a really horrible - but adequate - sound as a bass player?4 points
-
That's it. BASS FUNCTION ***Long winded, fireside chat, retired BP ALERT!*** I recollect being 13 years old at a couple of high school dances... a band playing at a motorcycle dealership... Frankie Vallee And the Four Seasons playing at a downtown square for free where I noticed the Yamaha electric piano more than anything else ... I hadn't yet picked up the bass so all I knew was the combined sound of the band. I knew what drums were, guitars and the vocals. But I had no idea what the bass was or what it was doing. I never noticed the four heavy strings, long neck and bigger amp. I think I knew what a tuba was and the double bass in an orchestra because of their unusual appearance. The bass just seemed to be another guitar, slung and played like a guitar and manufactured to look like a guitar. Indistinguishable.... Transistor radios and phonographs could not reproduce the bass. I "sensed" the bass from the old wooden radios/stereos with the 12" speaker without knowing what it was. Also, those jukeboxes in restaurants. More of a curious vibration than a sound. Motown's James Jamerson and later Paul McCartney... Talk Talk by the music machine. Only when I wanted to reproduce that sound, did I find out more. A friend just happened to have a Hofner Beatle bass. I tried it and was hooked. Off to the pawnshop for a $50 Japanese bass. Bass kept my sanity at times as life's demands took over. My point is that most people are like I was at 13, when it comes to the bass. Blissfully unaware of the instrument, but grooving on it's sound. Western music needs a bass line and people expect it. People are more focused on their dance partner and their surroundings and unusual things that a band may do. Their life focus is on their job, politics, family and friends... They know as much about the bass as most people know about carburetors... as long as the car goes, they're happy. Tell them about the carb and their eyes gloss over as their consciousness slips away and they end up at McDonald's. I'm not being insulting, but the reality of 99% of us does not include the Fender Precision bass with heavy gauge strings and a 15" speaker cab. As 12stringbassist said, BASS FUNCTION. The rest is of concern only to the BP... and guitards who think they can play bass because they can play guitar. (I just recently had a guitard send me a sample of his very lame version/arrangement of Heat Wave/Linda Ronstadt with him playing his non-descript bass. I was to play his Bowdlerised version exactly note for note. I found out it was him when I said the BP on the sample was stiff and weak. Let me handle it, I said. Well, I'm on the loose again looking for a new band.4 points
-
Hubba hubba! Check out that bassist's rack ya'll (His rack mounted gear obviously)3 points
-
Yup. Reset for me too. I made the mistake of "browsing" online after a few beers last night. The upshot, a Squire Jag winging it's way to me as we speak. The internet should come with a breathalyser.3 points
-
An audience just wants THE BASS FUNCTION from the bassist. Groove Bottom end Melody3 points
-
"It's all in the fingers" is short-hand for, "It's you that makes the difference". It really doesn't matter if you play a Precision, Musicman or double bass. OK, there are "rules", ie you don't see many double basses in Metal, but a good bass player will sound good on any instrument. What do others want from a bass guitar? That it don't sound bad. That's it! More important than your sound is that your timing is good/perfect, you play interesting lines, you groove/swing/rock and that you remember the arrangements. The sound of different basses? That's personal preference and not a "thing" to anyone else but you. I think most audiences do notice bass players. There is a sliding scale of recognition but the bass is heard by most people. I get comments about my 5 string bass everywhere I go, so lots notice more than you think. Some of them will actually be bothered to walk across the room and tell you. As a bass player you'll play better if you are happy and that will contribute to a happy band. A happy band will make better music and the audiences will always/usually notice and appreciate that. I rate airlines on their price and service, so basically the cabin crew and the entertainment on the plane. I never think about the guys who service the plane or the ones up front doing the steering and landing. That's bass playing and why the rhythm section is called the engine room.3 points
-
Regarding number 2: I always see that argument and to me it's just bollocks. Unless you're playing in a big band or a super loud Metal act where the bass is barely audible, tone matters a great deal in how the audience enjoys the sound. They may not know it, but it does. I could use the same argument for guitar/drums/etc: to a regular person who has no music knowledge and who is just watching a live show, every snare and hi-hat sounds the same...or so they think. I'm of the firm belief that besides being good at your instrument, having a great tone fit for the project you're playing in is a MUST. And it WILL make a huge difference. Are you playing in a power trio à la Rush/Nirvana and your bass tone is extremely boomy with scooped mids? Then honestly I don't care how good your fingers are and how your slapping is off this world, to me you're just another average musician. Are you playing in a blues-rock band with two guitarrists who like having those crunchy tones with your treble full on and a really hi-fi sound? You could have the best licks in the world but you're doing absolutely nothing there and the band's sound will be god damn awful without some low end booty to support it. Those are just two examples but I could go on and on and on. Bass tone DOES matter and it's up to every single musician and band to know how to EQ their instruments in order to provide the best possible sound out of their songs. Otherwise, no matter how good your technique is, your sound will not be enjoyable and most people won't even know why but they WILL walk away.3 points
-
Crickey! Another 6 months and this thread would have been dead for ten years!3 points
-
SOLD Oh, sweet irony! I finally achieved my dream of owning an Alembic a few months ago, played 4 or 5 gigs with it, and suddenly discovered that I really need was a six string bass. Now I have two of them, and bills to pay, so the lovely Alembic has to go. It's a 1998 Epic four string, and the Alembic build sheet for it says: top: California Walnut accent: Maple body: Mahogany neck: 3-piece Maple with 2 Walnut pinstripes fingerboard: Ebony pickups: MXY controls: Epic volume, pan, bass, treble, mono output originally made for: Guitar Center, Santa Ana, CA birthday: June 26, 1998 The bass is well set up and plays as you'd expect an instrument of this class to play - if I ever switch back to 4 string, I'm going to hate myself for letting this go, but needs must. No case included. so it will need collecting (West Oxfordshire) or a meet up. I will be in South Devon the weekend of the 8th/9th December and in the Wirral 15th/16th December and can bring the bass with me if there is a buyer there.2 points -
Withdrawn What was I thinking????2 points -
Sold This 300 watt hybrid bass head has a valve powered pre-amp section driving a solid-state power amp. The amp is light weight and small, weighing only 13lbs (6Kg). The head has been little used and is in very good condition. This is a great sounding amp. Search Basschat and Talk Bass for loads of threads saying what a wonderful tone these amps produce. Details: · 300 Watts @ 4 Ohms (165 @ 8), Simul-State™ Power / 6 Tube Driven Power MOSFET’s, · 2x12AX7 pre-amp valves · Handbuilt in Petaluma, California · Active/Passive Inputs · 4 Stage Vacuum Tube Preamplifier featuring Gain, Active Bass & Treble, Passive Mid and a 3-Band Semi Parametric EQ that provides 15db of cut or boost from 30Hz to 12K Hz · Main Output Level Control · FX Loop w/True “Hard” Bypass Switch · Balanced Direct Line Output with Level Control & Ground Lift Switch · 2 – 1/4inch Speaker Outputs · Fan Cooled · 12in W x 12in D x 3.5in H · Only Weighs 13 Pounds (6kg) · Includes padded carry case I'm based in Edinburgh, Scotland but am prepared to package the amplifier and arrange a courier and insurance if the buyer pays. Cost with £500 insurance cover will be about £35.2 points -
I've only really got space for three basses in my life and despite how fantastic this bass is, it doesn't get used enough. It took me years to find and eventually I imported it from Canada at great expense! So here we have a very unusual and rare Vigier Arpege (the Arpege shape have pickups slightly further apart than the Passion range, so it could be considered more of a 'Jazz bass' sort out sound). Being a series II, it benefits from a full carbon neck. There's no truss rod to worry about, just a dead straight (believe me - I've bought and sold enough to know a good one!) neck with thru body construction. The body is beautiful Walnut with a gloss lacquer. Everything is original, because I really like the built in pre-amp although many you see 'used' have been replaced. It's hard to find one that's been left alone! So from the top - Schaller tuners, zero fret, 21 fret neck and frets I would say are in 80% condition. Very little buzz with a super super low action, which I guess most people would raise a bit when playing. With it this low, there's a slight buzz on the G string on the 13th fret, that's it - but we're talking painted on strings so it shows how straight and true the neck is. It has Marvel strap locks fitted, and the strap side will be supplied. Two superb Benedetti single coil pickups with the signature 'tabletop' shape. These are unbelievable pickups, really powerful and clean. The tabletop shape also means they are a really nice playing surface. They are held in with four sprung mounted threaded allen bolts for fine adjustment. The electronics are really interesting! Around this time Vigier were experimenting with all sorts from modular preamps to programmable memory settings. This has the excellent Q filter pre-amp, which means you have the following: Pickup selector switch, series/parallel switch, Q filter selection sweep, Q filter boost/cut, volume (pull boost), tone. The tone control works on both pickups but when the rear is selected it must be up full. Go figure. A later bass I had the tone control worked only on the rear pickup. Just one of the fancy idiosyncratic features of these instruments. Both pickups on full blast it's a tone feast - snappy, fat, hifi tone. With the low action a bit of clank is never far away and rick-esque tones can be had. One of my fave sounds is the rear pickup soloed with a bit of a boost from the Q filter in the lower mids. It's the tightest choppy nasal funk sound ever. Digging in sounds so smooth and 'party' that sometimes I just sit and play the same groove for hours! The finish as you can see is a bit worn in places; there's a few cracks in the varnish but none of which have grown in my ownership. The one where the fingerboard meets the body is common and seen on all these basses. I've stuck a big round transparent sticker on it to prevent my nail clipping it when slapping. The area around the controls has 'bubbled' slightly, for want of a better word - again, seen on all of these but structurally sound with no ill effect. The bridge is thru-body and a bit of a beast - easy to adjust and 18mm spacing. The shape of the body is just my favourite of all my instruments. It's contoured really nicely, balances perfectly and has lots of little details that you have to notice close up. So, I'm sad to have to list it but changes are afoot here at ped towers and I'm keeping a 4,5 and piccolo bass. I'll want your word that if you sell it on again you'll let me know first, though!! Please ask if you need any other details. I'm in York and really flexible with delivery - I can meet you in London, Oxford, along the M1... halfway to anywhere, really. Much rather that than post it. Comes with a fully fitted, highly sought after case. Serial number is 093 making it a 1986 bass (15th December)> Very unusual to see in the gloss finish! Weight - 4.4kg approx (kitchen scale)2 points -
Pyrotechnics, that's what audiences want, pyrotechnics.2 points
-
Very accurate playing, good technique, and great tone.2 points
-
And I thought naively that British people had a great sense of humour. What to me is really misogynistic (this is the right word) is the term "female". That really hurts my senses. The girl is playing the tune very well, with the accents very precisely put, she has a wonderful smile, and furthermore she is having great fun. What else would you ask ?2 points
-
Blimey. I’ve known about this for a few weeks and completely missed the thread. Astonishing work @Andyjr15152 points
-
Took the words right out of my mouth Next one - the stop tail - is a bit more tricky. I'm out of action the next couple of days so it may need to wait until Friday. We'll see what the next hour yields.2 points
-
I suspect that a fingering a blind audience would result in more questions than answers, probably conducted under caution in the local police station!2 points
-
Love the jag shape. One of these days i’ll continue my build! Re: number of basses - I had 2 before I joined Basschat, will be up to 4 in two weeks (and 5 if I get my derrière in to gear with the jag build)!2 points
-
And now my attention turns to the top. This is one of the tricky bits - making sure the three holes for the stoptail, bridge and pickup are square, tight and in the right place. For the pickup, I needed to make sure it line up with the previous body rout. Back to the 'press a fingernail round on a piece of paper' trick For rectangular chambers, nowadays I always start with the corners - I find it much easier to get these in exactly the right place... Then, after hogging out with a forstner, I stuck some straight edges around and used a trimmer bit on the router. To my admitted surprise, it fits!: I may use the same technique for the bridge block. For the stoptail, I'm probably going to have to cut a proper template...2 points
-
Forgive me father for I have sinned...it’s been 46 days since I purchased any bass gear....until today. Reset the clock. There’s a Status Series 2 incoooommmmmmmmmming 😃😃😃😃😃😃2 points
-
Basically did nothing last week other than a bit of noodling and playing along to some jam tracks. Got back into it today with some reading. What I'd done before must have bedded in because I'm way better and was able to just sight read my way through the new exercises. Onto Chapter 4 in the book now.2 points
-
- so maybe at the next Bass Bash, instead of a range of basses there should be just ONE bass - but with half a dozen different competent bass players all playing the same line on it - maybe some standard like a Motown or Stevie Wonder line - then we'll see how much difference there can be just between fingers...2 points
-
Betteridge's law of headlines is an adage that states: "Any headline that ends in a question mark can be answered by the word no." I had to look that up It's all in the fingers? Well that's metaphorical fingers surely, it's fingers plus everything between the ears and the fingers including the years of practice. It's going to be pretty obvious that someone playing a poorly set up cheap bass with a warped neck and twenty year old strings through an underpowered 1x15 combo is going to sound different to someone playing a nicely set up £2,000 bass played through top equipment. At some point the shortcomings might be enough to make me sound better than someone who actually knows their way around the fretboard. Most of us work somewhere in the middle though where the differences aren't so obvious, I doubt that anyone other than the bassist is going to notice the difference between a top range Squier P bass and a mid range Fender, or if we go for a 2x10 over a couple of 12's. As to whether it matters, well of course it does, it may not be obvious to everyone in the room but would my band sound better if Flea, James Jamerson or Victor Wooten replaced me, of course they would. Everything we do affects what the rest of the band play so the accumulated effects are far greater than just how good is our timing or was that an interesting fill. Just you and the drummer working well together will get most people in the audience talking about how tight the band sounds, and probably get more of them up dancing. The audience though is made up of individuals, often in different stages of inebriation. I've rarely played a pub and not had at least one person come up and say they are a musician, There are people there who love music and appreciate it well done and others who are just out to have fun in a busy pub and their levels of appreciation are going to vary. The psychology of groups is interesting and my guess is that the difference between a great gig and an ordinary one is quite slight. Carrying an extra four or five people with your performance will create an atmosphere the rest of the room will pick up on, so it pays us to care about the details. I know nothing about acting but when a moment or a delivered line stands out in a play or a film I suspect it's because all the people in the room at the time from lighting engineer to actor got their bits of detail right. We have to care about the bits we can control and I suspect it's the human condition in all walks of life, we all have an inner nerd and we should be proud of it.2 points
-
Definitely a no-brainer. If you don't like it, you can sell it to me for £99.2 points
-
Hello everyone, Christine here. I'm still lazing around on the beach. It's raining in Wales, so I'll come back and continue next summer.2 points
-
Pretty girls and music, eh? I haven't watched the video, but I'm sure she's very good. I've recently been having a smoking hot girl coming down to a blues night, both beautiful and vivacious, was an OK singer but she got lots of praise from punters because, well, you know. She was really keen to sing Uptown Funk, which I told her wasn't going to happen as it is a blues night after all. Boy did the mood change- stropped out, I got it in the neck, and she has never returned. I believe that may have been the first time a middle age man said 'no' to her.2 points
-
I had a 5 string Squier version that was active and long scale but still sounded like a P. The Jazz side not as much, as you effectively get half a Jazz pickup and the bridge one too. Great for the Jaco sound however...2 points
-
As Hooky_lowdown asks; Is it the long, or short scale version of the Jag? - As they will both sound different And as discreet says; If a bass has a typical split pickup, in the position a P bass normally has its' pickup - then it will sound like a P bass But the quality and / or brand of the pickup will also effect the sound. I've heard a Squier Jag, fitted with decent pickups and it sounded superb Personally, I like the P/J pickup arrangement - You can solo the neck pickup, for a P bass sound, and you can add a bit of Jazz "honk" to taste, if and when you want - it's not quite the same as a bass with 2 Jazz pickups, but IMO it's a flexible arrangement, with nice tonal options It's not for everyone, of course. But at that sort of price, well you can afford to experiment with some pickups and even restore the bass back to its' original state if you don't like it or want something else ..... and you'd probably get back what you paid for the bass too2 points
-
Ultimately, on the poweramp side, just do your diligence and read up as much as you can. Everyone will have differing opinions. Personally, I liked the Matrix because, claimed output wattage aside, it was lightweight (9lbs), it fitted into a short Gator rack and looked aesthetically pleasing. It's been a fantastic piece of kit (until now!), run for thousands of hours, so probably something has just worn out.2 points
-
I genuinely think I am missing the point of this pedal. If you need to play something a semitone lower, just play it a semitone lower or if your using open strings, tune to Eb and then adjust for the other songs. Failing that, tune one bass down and keep one standard? I wouldn’t want to rely on a pedal to tune down for me.2 points
-
Right, here we go. I suppose this will show the pros and cons of this type of set up. I bought a GED2112 on release last and have run it (amongst other pre-amps) into a Matrix GT1000FX power amp and then onto a choice of enclosures - a Barefaced Big One or (more currently) a pair of Aguilar SL112s. (The Aguilars just give me the option to run the whole rig in either stereo/ dual-channel mode, mono/parallel or mono/bridged; daisy chaining the cabinets to effectively give me a 4ohm mono 2x12 set up.) Initially, I did the external jump lead patch thing on the GED (see elsewhere) so the unit would output in mono and also allowing me to just keep it simple by bridging the poweramp for more output power. The external patch which worked fine aside from the smallish issue that a couple of the knobs on the facia didn't do what they were supposed to, but irrespective, it sounded fine and it was easily reversible should the need require. About a week ago, I did the internal hack and switched the jumpers, which has been fine; the deep and drive channels combine to output in mono. I also did the bypass-jumper as well...this allows true bypass of the GED allowing you to use other other pre-stages in line. By some curious twist of fate, I turned my power amp on this morning and it's playing up. Damn! It's been blummin' bomb-proof for five years. Oh, pink torpedo!2 points
-
If it has the P bass split pickup in the traditional P bass position and there's nothing radical or different about the way the pickups have been made, then to all practical intents and purposes it will sound like a P bass. It probably won't feel like one, as the body shape is different. Also I'm not sure what the necks are like on these. In my opinion a P bass should have a nut width of at least 42mm and preferably 44.5mm, and a board radius of 7.25" for a 'genuine' P bass experience...2 points
-
Depends if it’s the 30 or 34 inch scale? Short scale will have its own sound, but any bass with P pups will sound like a P bass - will it sound like a Fender P, then no!2 points
-
Can't see it being much of a problem for us Europeans,. Both Guitar Center and Musician's Friend block IP addresses from the EU in case we sue them for selling our details to tele-marketers 😁2 points
-
Capacitors of whatever value present a higher impedance to lower frequencies than higher frequencies - the impedance doubles when the frequency halves. To give you some idea of values, at 100Hz (somewhere round E, 2nd fret of D string, with apologies for any inaccuracy) 10nF would be an impedance of 160k, and 100nF would be a tenth of that. So imagine a resistor of 320k replacing the 10nF capacitor when you're playing bottom E, 160k when you're playing an octave up, and 80k another octave up, and you'll see how the circuit behaves.2 points
-
Hi, for sale or trade is my beautiful 5-string jazz bass Fender 50th AV Jazz Bass 5 with Häussel pickups (pao ferro, 240€) and golden hardware, original chrome hardware included: 1050£, 950£, 900£ Please contact me, if you have further questions.😉 The bass is located in Germany. Cheers, Chris1 point -
In the specs for the Markbass Richard Bona 2x10 "Ninja" combo on Musician's Friend, I read: "250 watts . . . impedance 8 ohms." I thought the wattage sounded about right, but the "8 ohms" surprised me. So I went to the Markbass site and read their very different specs for the combo: "250 w RMS @ 4 ohms / 150 w RMS @ 8 ohms." Were I a first-time combo buyer, I would have thought, reading the Musician's Friend specs, that I was getting 250 watts with the internal speakers alone; but in reality I'd have had to pair another 8-ohm cab with the combo in order to get the optimal delivery of 250 watts. I thought I had better alert Musician's Friend to their error, but they are a hard lot to get ahold one. I resorted to postal mail; we'll see what they say. I know enough about ohms and wattage ratings to look closely at the offerings--and I believe a good many if not most Basschatters do as well--but a few years ago I would have bought this 2x10 without suspecting a thing. This post will, I hope, have buyers double-checking before they hit that fatal button. W.1 point
-
Interesting idea, I like it1 point
-
Hopefully look a bit like this On to some more practical matters. There is a broken screw in the back of the headstock tgat needs sorting, no idea how I'm going to do that yet. Also the string tree isn't in the right place and only just holds one of the strings in. Is there a way of marking it correctly? Directly between the 2 tuner holes?1 point
-
She is really rather beautiful.... big shame my bank account has recently died 😞 GLWTS1 point
-
Finished! These pictures don’t really show the full effect, but a couple of coats of paint make the grill look so much better! Not bad for a £90 cab?!1 point
-
Very nice! Thanks for the tip, and that's a decent price compared to the Lollars/Fralins.1 point
-
Got the white piping done. Let’s see if this weeks weather let’s me spray the grill matt black!1 point
-
No... I'm down to one bass and it feels great. Now I can concentrate on my playing and not waste a mountain of time looking at, thinking about, and acquiring bass guitars I don't need. I never had a huge collection anyway (about 5 maximum at one point), but even they distracted me from the business of actually playing. Far too much time spent maintaining, upgrading and setting-up multiple basses, deciding which one was best for what purpose, and on and on. Think carefully about which one you want to keep, get rid of the others, make a bit of money and buy what's-'er-name something nice. Traditionally it's thought that a Jazz and a P will do you for 99% of situations, but you don't even need both. Figure out whether you're really a Jazz or a P man, bite the bullet and do the deed. For myself I'm definitely a P man and have been for years, but in the end I kept the Jazz because it's just a little bit more versatile - in my humble opinion. And in blind tests, a surprising number of people (bass players included) have no idea what bass is playing, anyway. At gigs, it really makes little difference *hides in wardrobe* and in the studio, you can make anything sound like anything else, so... *runs away*1 point
-
Black Jupiter..1 point
-
my newest blackie! plus, i changed things up with my current Mk11 point
.thumb.jpg.e37b70c1ff9c3312286fa3a2525da8e3.jpg)
