Leaderboard

Time for a story, sorry Many years ago lighting was expensive and I was broke. For our band I kibbled some lighting together, ahem health and what? Anyway I had two kitchen spotlight units with three different coloured halogen spots in each, a strobe attached to each and a smoke machine. It was all wired through a homemade footswitch to turn it all on and off. The smoke machine was tucked behind my massively over the top bass rig consisting of a bi-amped pair of 15's and a pair of 12's, aiming behind the drummer. When we did Motorheads Overkill I would stomp on the switch turning off the coloured lights and turning the smoke and strobes on when it got to all the false endings, if you know the song you'll know when I mean. At one gig I stomped enthusiastically on the switch at the correct moment which immediately fell to pieces leaving the smoke machine and strobe permanently on only able to be turned off at the wall. The drummer slowly disappeared from sight, then the guitarist and I and it stayed on for the remainder of the song until the stage area and crowd were completely lost in the fog and blinded by massive white strobes bouncing off the cloud. Oh how we all laughed, well apart from the drummer who was having some sort of epileptic asthma attack

Sounds a fun project, if you give us a call and chat to Dave Green(who designed the LB30)he will more than likely give you some advice(he normally does even when not asked...) on how to tie everything up... I’m fairly sure he won’t mind you being ‘inspired’ by his output stage... but sometimes he can be a tad grumpy so you takes your chances 😉

I had a Kay EB100 (tulip bass). It did go on the bonfire 😃

Kays are getting harder and harder to find these days, as anyone with any sense who had one would have spent an enjoyable afternoon pouring petrol on it and watching it burn!

A bunch of Indie halfwits, who are so talentless they are unable to join in with the opening theme, and instead just stand there with their arms folded. A proponent of world music, never heard of before or since, producing some unintelligible atonal drivel, which nevertheless is lapped up by the audience less they be accused of racism for not liking it. A former boy/girl band member trying to gain some real muso credibility to kickstart a solo career, but obviously finding live vocals a bit tough. A former legend living on past glories, much loved by the audience who are obviously saddened that the legend is past their best and the voice is not what it was. A re-formed but fatter and balder line up of a band, failing to make anyone interested in their new material. Plus a painful ‘off the cuff’ chat with a ‘friend’ or celebrity in the crowd.

Taken just now from Ebay.co.uk, used, 'BIN', with approximate postage costs. I've not selected on make, just availability, but not damaged, of course... Hi-hat £20 HH Stand £15 2 x Cymbal stands £30 20" Ride £25 16" Crash £25 Total £115 There are also packs of 'beginner' cymbals starting at £20 or so. Is that expensive as a 'get you going' deal..?

Some of that is harsh but true. However for an originals project 4 months to write and release 9 songs isn't unreasonable (depending on the songs of course). For the majority of new originals bands a handful of 25-30 minute support slots would the way to ease into gigging. No one is going to want to see an unknown band band with unfamiliar songs playing for any longer. IME originals bands don't need a PA. The venues they play nearly always have them. In the last 10 years of gigging with originals bands I have done less than a handful of gigs at venues that didn't have an in-house PA and engineer to drive it.

There were several episodes of spontaneous polite applause from the clientele throughout a very pleasant evening with my quartet at a restaurant/bar in Sutton Coldfield.

And don't forget, Bonfire Night is coming up soon... just sayin'...

Quite, Health and Safety. Or do I mean Health & Efficiency..? Anyway, the safest way to dispose of a Kay bass is to bury it (not in your own garden, obvs) or leave it in the boot of your car until you can drive to the coast and hurl it into the sea. If you're pressed for time and really can't stand the damn thing, wait until it's dark and throw it into next door's garden, preferably at that bloody plastic flamingo you don't like. Done!

I think it fits in just fine

His book, Kraftwerk: I Was A Robot is an excellent read.

It is indeed a Kay, as sold by Woolworths in the 70s. Didn't cost a lot then worth even less now although some think they are worth a fortune and collectable.

This is true. If there is a musician in the audience and you are playing like you don't care, you have probably lost networking and gig opportunities. Always give 101% even playing to one man and a dog. . . you never know who's listening in the other bar. I've been asked to join every band I've been in since 1985. I've picked up every gig and band because a band member suggested me or a band leader dropped in and thought I would fit into his band. So how you sound is important but how you play is even more important. Every gig is a potential introduction to more players.

Yer actual leg end, there.

Jeff Lynne's ELO at London O2 Arena last night! Wonderful songs, fantastic musicians and vocals, stunning light show and an atmosphere of smiley, happy people singing along..... oh, and my 'young at heart' Mum by my side enjoying very minute. Precious moments for sure :)

There is a different switch available, maybe thats more for you: I have a mopar purple NG-2, and have experimented with the pickup configurations a lot... as you might know all the recent Combustion and NG models have all three pickup cavitys routed already, so it was easy to switch positions. After all the testing, my ideal NG-3 switching would look like this - if limited to four positions..: middle/bridge in series middle only bridge/neck in parallel d-bird type all three Neck only sounds worse imo to the middle only. Comparable character, just less tone and definition to it. It has a bit more low oomph. neck/bridge in parallel sounds absolutely cool. Mind that the Combustion and NG models have different preamps. I like the gritty Tone Capsule a lot.

Wolfgang Flur, (ex Kraftwerk) last Friday night, in a small club in Cardiff He's now over 70, but still full of energy (more movement / dancing than he did in Kraftwerk) Great songs & accompanying videos, met him afterwards for a signed CD + poster. Nice fella too

My Squier VM P5 has been fitted with original the pickup from Dave Swift's white Sadowsky P5. My Aguilar DB112 cabs were previously owned by Paul Turner. I now sound like some bloke called Dave Turner (who Google tells me is a science fiction, fantasy and comedy author and not a bass player at all). It's all very confusing 🤪

Oh no..! Not another log in trouble..?

I think the pickups in those old Kay’s are microphonic, plug it into an amp and speak into the pickup, it’s basically a microphone! despite the low quality, if you run it through an overdrive pedal, it sounds pretty good.

That's the one I had. If I ever see it again, it will be about a billion years too soon.

It's a Peavey with a 'custom' paintjob - plays fantastic, worth bugger all!

Judging from this thread, you might have a K1-B, possibly from the late '60s.

The drummer can hire / borrow / beg them, the guitarist can put them on an iPad and read them out - jobs done.

Ditto! Ditto! A few years back now

Great smooth deal on set flats! Many thanks

An extreme example, and it's an anecdote I've repeated before, but this one surprised me: in our originals band, we had a couple of songs which were kinda atmospheric (cue the 'OOOoooOOOooos...I knowwww), and I'd thought about it a good deal, and picked up a 12-string bass to use for them. We went through them in rehearsal, and after we'd run through the set, over a coffee, I said "So, whaddya think about the new bass?" Cue shrugs and non-committal, "S'OK, sounds fine" type of responses. These are seasoned, talented musicians we're talking about here, not Yer Average Pub/Function Punter. Now, I wasn't expecting to be carried shoulder-high from the rehearsal rooms to a chorus of cheers and have a street named after me, but even so I was surprised. Seeing the rather tragic shape my face was assuming, the BL said "Don't worry about it so much; it sounds great, but it's just the bass..."

He has been a guest on the Radcliffe and Maconie show on 6Music - a really entertaining and funny man.

But this all can be resumed, this is the way i used to do it: - Start with everything Flat/Switches OFF, Master and Gain at 0 - Set gain, slapping the bass until the clip led lights up, then go back a notch; - Pre-Shape / Valve sim / compressor OFF, you don't need that!; - Set Masted to sensible volume; - Turn on EQ switch, set the first and last sliders to cut almost all the way (that low-end rumble and high end hiss aren't pretty to be heard); - Re-check gain; - EQ to taste keeping the EQ curve balanced around the 0dB line; - Re-check gain; - Set Master to gig level;

Yep...unfortunately. Being one of that kind has always been my downfall

I can think of as many great female bass players as male ones. Which just goes to show that we shouldn't really need to ask questions like this....

I've managed to get some Danish oil on now, when I sanded the top it helped with the wobbly bridge so that now sits flush with the body so no need to recess it now......... The middle section on the back must be more open grained as the whole back was sanded to 320 grit but it's still a lot darker than the wings but I kinda like the difference.......... I also need to shape the back of the neck where it joints just to give it of a more attractive transition............ 😀

Our guitarist does most of the sound engineering so if he's busy I tune his guitars up for him and set his amp up, last gig I plugged them into my setup (Fishman Pro Platinum EQ > QSC K10.2), switched to guitar eq mode and played it at decent volume - sounded amazing, much better clean sound than his amp. Nice to know if I ever need to play acoustic guitar live I have a fantastic rig ready and waiting! Can imagine it would sound incredible with proper amp modelling.

Playing with backing tracks is great fun. I'm doing it again with a very tech savvy keys player. It's 80s stuff. We buy the tracks and can edit out some keys parts, the guitar, anything we like really. It instils discipline to your playing. It's also very surprising for your own time keeping. It's amazing how easy it is to get out of time if there is an intro part without a click. For Instance, Don't Go by Yazoo. Starts after 4 count in clicks, then it's a keyboard part on its own. The keys player is classically trained and also teaches and it challenges him slightly. We drink lots of beer and the crowd dances all night. I'd love to turn it into a band one day.

I've spent most of the morning sanding down the body so I'll start Danish oiling it at lunchtime today hopefully that has sorted out the uneven patchy/darker bits and sanding marks.......... 😀

Wal MKII... for me...

Jeezo... Scott Devine gets about. Building pedals for dark glass now. 😋

This is all getting quite boring. People taking offence for no reason and on behalf of others. I actually think the bickering here is far more off-putting to all forum users than any offence that might have been taken. I'll invite the mods to decide the nature of what has been posted and take action as needed, and let that be the end of it.

Hey Guys! Just stumbled over this thread and thought I'd chime in a bit about what is unique about my JHB signature bass. After the Warwick 35 years celebration in September 2017, Warwick asked me what would it take for me to come onboard as an endorser. My answer was simple, "You have to make me a bass that I'll want to play forever!" I was imediately flown out to Germany to the Custom Shop and spent 4-days with their head designer going through all the details of what had to be in this model. It has to be said that the Warwick JHB is totally different to any other Warwick bass I have seen and/or played, and when I was at the factory, I played everything they had. The Fortress body shape was chosen for two reasons. Firstly, Warwick did not want to design a completely new body shape, they wanted it to be representative of one of their basses- that was the only restriction. I chose the Fortress because at 24 frets, it was the only body shape they do that balanced properly. The shape was cutomised slightly in that it had a deeper angled curved where the forearm goes across and deep scoops on the inside of both the upper and lower horns. One of the most radical changes made, was the use of a different bridge. Historically, Warwick has always used a 2-peice bridge which is highly adjustable, but I never liked the sound of those 2-peice bridges- too clickly and hi-fi sounding. Instead we used an All Parts 'Omega' bridge which is a copy of the Badass II bridge. Badass went out of business sometime ago and All Parts waited until their patent expired and have done an exact copy- IMO the best sounding bridge ever. This single customisation makes this bass sing head over heels compared to any other Warwick bass I've heard. I love the sound of the Aguilar Super Doubles. I had those in my Fodera, but that was something I switched out as the Fodera came with Seymor Ducans. I also wanted the EM Bass Mute, which is a switchable bass muting system which emulates the palm muting technique. The circuit was designed by me and Warwick did a terrific job in manufacturing that exactly to my personal specs. The body wood is swamp ash which is considerably lighter than the American Ash on the Fodera and has a much more agressive and responsive sound. There's an ultra-thin AAA Flame Maple top. This was crucial as a lot of basses are made with top woods that are too thick which messes with the sound. The neck is also completely different from the garden variety Warwick bass. For starters, it has 19mm spacing which was the first bass they've produced with this spacing. In addition the depth of the neck is super thin and instead of a "C" shape, it's more of an assymetrical shape much like a teardrop, where there's a little more weight at the low strings and less weight at the higher strings. While I was at the Custom Shop, I played the Lee Sklar model. Although I diddn't really like that bass, they used small madolin fretwire which was incredible, so we added that as well to the JHB. The neck is made from Flame Maple, with a Bird's Eye Maple fretboard. This was finished off with a graphite nut. The playabitlity is amazing and all in all Warwick has done a fabulous job in reproducing all of my original ideas about this wonderful instrument. So many people were shocked when they heard I had gone to Warwick, but when I posted the original sound samples people were amazed at how good this bass sounded. Many stating that it was a lot punchier than the Fodera. I did like the Fodera bass, but my JHB bass is so much better. This is the bass I use now. You'll see a lot of guys who have endorsements who will never play the basss they endorse unless they're at a trade show. Not me. From the very outset with Warwick, I said that the only way that I will work with you is that you knock this out of the park and build me something that I'll play forever! They in turn came up with the goods! Bavo Warwick!

Whether it's in the fingers, or you have good or indifferent bass gear, one of the main (and overlooked) elements regarding how you sound is how everyone else in your band sounds. It's no good being the world's best bass player if you're in a band with the world's worst drummer or the UK's loudest guitarist. Whether or not you're heard and appreciated is also down to how other people play - do they listen, are they selfish, do they leave space in the music, do they have good timing and groove? Some people (even when playing covers) will fill every nanosecond with noise, so ultimately you can't hear anything much and whether you're a good bass player or not and whether you have good gear or not becomes moot.

- 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...

Thanks for that. I've owned an NS-94, the forerunner to the NS2000s, which was in itself a great bass and very well put together indeed. This was sold and the proceeds went towards the Euro 4LX. I'd say in terms of construction quality not much to choose between them, but I definitely prefer the active p/ups and the EQ setup on the Euro compared to the SSD humbuckers / Hazlab on the NS-94.

One of the first orders for our new guitar was placed by a high-profile member of this forum, who specified it to be built using Rocklite. This innovative material is a very recent development that's already being used for fret-boards as a rosewood replacement. As far as we know, we're the first to use it to use it for the body as well. As these pics grabbed in our workshop show, it's turning out rather well. http:// http:// http://

High time you moved your shop (and masterclasses) to Glasgow

Burke Shelley? Geddy Lee? (playing a cassette years ago , I was asked by my boss 1 time''who's the chick singing'') Enid from Girlshool?