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Showing content with the highest reputation on 09/12/18 in all areas
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Only time I've ever depped it was by accident. Nearly 40 years ago I'm back from college for the summer, been playing guitar for about a year and I've put it around I'm looking for a punk band. I get a call from this bass player says he's looking to put something together, do I want to hook up and try some stuff, he's got a room booked upstairs in a pub Tuesday evening. Sure says I. Tip up at this pub, hump my gear upstairs to find about 20 people sitting around at tables, drum kit in the corner and a stand-up bass. Little old bloke scurries over to me, put your amp over there next to the kit, we'll start with some standards. Standards? WTF is going on? Little bloke gets out his fake book and calls some jazz standard in something like Db (a key with which I am entirely unacquainted) and off they go. I noodle some single note stuff in the wrong key and what seems like five years later it ends. Little old bloke's giving me murderous looks. He calls another song I've never heard of. Same thing happens, ghastly row, punters are looking bewildered, the drummer's looking nervous. I suddenly realise that I am a total novice playing guitar at a jazz gig and I've never listened to jazz in my life let alone played it. We make it to half-time and little old bloke storms over and gives me a complete bollocking, says his mate George told him I was a great player, what's going on? 'Who's George?' says I. 'I don't know any George'. 'George the Dixieland trumpet player' says he. 'Never heard of him,' says I. 'Well, there must be some mistake' says little old bloke. 'Clearly,' says I. He decides he doesn't need my services for the second set, they'll play it as a duo so I off I trudge, feeling a bit disheartened. To this day I have no idea what happened to bring about this bizarre disaster and I've never played Jazz again.7 points
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Been after an 8x10 for a while to complete the SVT rig. Went today to pick up one I got on eBay. Sounds good, except I can't really crank it at home right now to gig volume to really hear what it sounds like in anger. Pretty angry, I'd imagine. After hearing horror stories about carting them about, I have to say it's actually easier (provided you've got wide enough doors etc) to move than a couple of 4x10s, just because you wheel it about like a trolley. The head is more of a pain in the backside tbh Anyway, i'm delighted & wanted to share in the delight with you4 points
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Hey gang! Here's a rare bird... I've been on the lookout for another backup head as I've got a fair bit coming up... some of you might have heard me mention previously(!) that I'm not a fan of Class D's, but I am a fan of the Hand Box R-400. By fortunate stoke of serendipity, a Maruszczyk Bass Tank popped up on the pages of BC for a very reasonable price. As it's a Hand Box Fortec 400 in disguise, I pushed the buy button. The power section of these heads are similar to the R-400, i,e, 400w solid-state but without the tube front end. They're dual channel, so very hand for doublers (which I'm not). The EQ section is a bit more tweakable than the R-400 - TBH this is largely lost on my as I usually run everything flat, but it's there for when I need it. And on top of that, I reckon it looks pretty darn funky. It sounds great in the house - as ever, the proof is in the pudding, but I've got lots of rehearsals and gigs coming up to put it to the test. I'll report back.3 points
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On hold, subject to completion of transaction. ****************************************** A very clean, all original version of these highly collectable basses. The Mustang bass is popular because its 30" scale, and distinctive sound. Notable users include Tina Weymouth and Bill Wyman. It was the last production bass designed by Leo Fender before he left the company. Probably the finest playing, and best looking basses I have had the pleasure of owning, and a very reluctant sale due to financial reasons. As the pictures indicate, the bass is in fine condition, with just the occasional ding and scrape as you would expect from a 50 year old instrument. The matching headstock is rare, and to purchase this bass would be a sound investment, as value will only increase over time. Comes with hight quality non-original hardcase, and is strung with flat wounds - it plays like butter! Full set of pictures can be found here: http://imgur.com/gallery/NpFo1bU I am happy to ship the bass to UK mainland or Europe at buyer's expense.3 points -
Actually when I feel most like an impostor is when I'm sitting at home alone trying to work out a bassline for a new song and it just doesn't make sense, nothing I play sounds right. Especially when it's a song that should be easy. That's when I look at my beautiful bass guitars and think I should stop kidding myself and give them all away to *real* musicians.3 points
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It could be the audience that are the imposters ! Just some people out for a beer and a chat when a band breaks out, they are not necessarily an audience we just think they are3 points
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Well I like mine, so poo to you with knobs on3 points
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I did think I was sorted for bass stuff for the immediate future, but I've recently experienced an almost undeniable impulse to get a P bass just so I can have one bass permanently fitted with flats. Seems like a perfectly sensible and rational idea when I read that back.3 points
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The topic title did say "confused", so I ran with it ! 🤣3 points
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Haha, but that was a couple of months ago! My gear larder is now fully stocked and my effects cup runneth over. The undiminished zeal to the cause I now display is that of a true Sibob convert.3 points
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Blue Nile, A Walk Across the Rooftops3 points
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I think weight does affect the sound, but it’s merely one of a whole range of things that affect how a bass sounds and feels and by no means the most important. And even then, the weight could be beneficial or detrimental to the sound when mixed with different factors like electronics, neck type, hardware, strings, even the finish. As such it’s impossible to say, and the only way to judge an instrument is as a sum of its parts.3 points
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Jazz Bass wiring looms for sale. All new components, individually hand assembled, wired and tested, by me, with screw terminals for solderless installation. Very High Quality Bourns Mini Pots. 250K Audio, 6mm split/splined shafts. Switchcraft Jack Sockets, .047uF PolyDrop caps. Standard kits mounted on card, ready to mount on your control plate. Jazz Bass VVT + S/P £37.50 Series/Parallel Push/Pull on Tone Pot 2. Jazz Bass VBT £37.50 Blend 100% Both at Centre Indent For above, if required; New Bell plate £12.50, Knobs Black/White Line £6 a set. 3. Jazz Bass Stacked £97.50 Complete Drop In kit, CTS 250/500K pots, 3 hole plate & Chrome/Black knobs. EDIT: 4. Standard Jazz Bass VVT CTS 250K pots, £32 Postage: Most EU; Royal Mail International Signed for £9.60 or Courier at cost. USA £10.15, anywhere at cost - please ask. Payment with order please to: [email protected] PayPal friends/family/gift/fees paid accepted. Fitting Notes: All Pots have 3/8" Mounting threads needing a 9.5mm hole, Nuts need a 1/2" AF spanner. Full Size Pots approx 25mm, Minis approx 16mm Diameter, please check your control cavity for space and your control plate hole size. Screwdriver supplied and connection note for pick up and ground wires, no soldering required. EDIT: 25/06/19 Precision Bass Looms added and cheaper postal option: For these P-bass looms and Jazz VVT, with either Bourns or Alpha Mini pots only, I can now offer a alternative delivery to save you money! Royal Mail Signed For, Insured, will fit through letter box Precision bass loom, Bourns 250K Log. Audio Mini pots. 6mm splined shafts for push on knobs. Switchcraft Jack socket, PolyDrop .047uF Cap. 2 way screw terminal connector. Fits any P-bass including Squiers and others with narrow control cavity routing, 20mm minimum required. Complete with hardware to suit pick guard / control plate mounting or through body up to 6mm. The Bourns pots are top quality and have a lovely smooth but firm feel to use. A great replacement / upgrade for cheap and nasty pots in many basses. Complete with wiring instructions and screwdriver. £23.50 PayPal Friends/Family please to [email protected], includes signed for, insured, Royal Mail delivery UK. EU £7.50 extra, other at cost. Cheerz, John Any variations - please ask, all kits custom made - for Guitars also! Free advice and full after sales backup provided, please see my feedback: https://www.basschat.co.uk/topic/67544-feedback-for-kiogon/?page=17 Cheerz, John I don't know where the pictures have gone - please ask if you want a photo of any kit. Cheerz, John2 points -
Rare Fender HMT Bass. Was made in Japan in the late ‘80s, early ‘90s. Semi hollow body with f-hole gloss black body, with triangular sharks tooth inlays in the fretboard. It has a P-bass pick up, together with an unbuffered piezo bridge pick up. This is an active Bass, new 9v battery fitted.( under back plate) Controls are, master volume, tone, and pick up blend, which gives a range of different tones. It is very light, and well balanced. There are some small scratches to the body and neck, and some light buffing on the front. The neck is fairly straight, and It plays very well. Comes with a Fender gig bag. Collection from the Chichester area. £400.00 ono2 points -
It’s the old double edged sword that compression can be used as a tool or as an effect and can often be misunderstood in these contexts. As many of you already know compression can be set to tame peaks, to help ‘manage’ your sound or it can be used to create a particular sound. Using a compressor is not an indication of a player having poor technique nor will it ‘fix’ poor technique - bum notes and poor timing won’t be fixed by a comp and sensitive musicianship can be ‘lost’ by over use of compression. A good player not only knows how to play their instrument but how to use any effects they employ. Having command of your gear (effects etc) is necessary if one wishes to get the most out of them. Common sense! Some compressors can add a little bit of ‘colour’ which one may or may not like or they can remove some frequencies which again some do or don’t like. Some folk like what compression does, some don’t. If you can get something out of a compressor then it’s right for you, if you don’t need it or hear it being useful then that’s the right call for you.2 points
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Thomann say: Length adjustable from 1020 - 1250 mm Seems about right, think my preferred length is about 100cm depending on thickness.2 points
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Very cool, then I have at least 10 gigging years left. I started gigging at age 12. Blue2 points
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One of the differences between @Len_derby 's build and this new one is that @Len_derby opted to leave the poplar burl voids as voids (by preference if I built one myself I would also opt for this) as it leaves the top looking very natural. On the other hand, coast-line Hawaii, which is where this build is headed, is quite different in terms of salt (really!) dust and major humidity swings. As such, the client - who has run a successful carpentry business for many years (no pressure there, then) - is understanderbly a bit wary of ANY voids, whether they have had a finish applied or not and has opted for the voids to be filled on his own. The voids in this wood are generally in the centre of darkening wood and so I am filling them with z-epoxy mixed with a generous amount of dark sandings. I collect sanding dust of all of the main timbers I use and the one that I judged to be the most appropriate is some cocobolo dust from the infamous 'Tom's African Build' build. When wettened with epoxy, it has a very dark reddish brown hue which is pretty close in tone to the dark areas of the burl. I've done this before and at first it always looks shockingly bad - but trust me, it will look fine in the end Here's the first application: An hour later it was set enough to sand back down to the wood and I then applied epoxy, overfilled, to the areas where the original application had sunk into the void and below the top surface level. Here it is with those overfills: I will sand these down later this afternoon and see where it leaves us - hopefully at a stage where I can start doing the final rough sanding for the body and neck. So yes - it looks a bit stark at this stage but don't worry...it's going to look great, honest2 points
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Well, I got it! First impressions are a feeling of quality...2 points
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Well it is, but bear in mind she can usually be bribed with cake.2 points
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Well at least some good has come of it!2 points
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When the pints start talking back, it's time to go home!2 points
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Much better to take both basses into Earth orbit and A/B them in freefall. Weight disappears but mass remains. If the bass with greater mass still sounds 'better' (for a given definition of 'better') then you have the opportunity to start a whole new argument!2 points
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Selling my Ken Smith BSR5EG Elite Specs: Ebony Top, Walnut Back, Mahogany Core, 5-pc Ebony Fingerboard, 5-pc neck 34 scale Gold hardware, Original Hard Shell Case. Great Sound (ebony top clear and focus) Asking 4000 EUR2 points -
then there's the opposite - times where you kick donkey. You know it's all sounding great in the room. Everyone in the band is singing and playing at the top of their game, and you're all locked into a really tight feel. You think to yourself 'this is ace! If I was in the audience, even I'd be impressed (and I'm not easily impressed)', but you get next to NOTHING back from the audience. That's far more demoralising than feeling a bit guilty about getting a reaction you didn't think you earned2 points
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Just moved it (well re routed it) it’s now first in chain, just after the wireless. Only plugged in in just to test it and noticed the lights on the compressor are a lot less. Looking forward to getting it wound up now. (Be about right that my next gig is an acoustic gig and don’t need my board for that....)2 points
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I didn't realize that this site was licensed premises ! Mine's a shandy ( I'm driving)2 points
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The late great Jimmy Smith played all the bass parts with his feet on his Hammond. Very tasty bass parts they were, too.2 points
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Converts - yee beware of the rath which shall be put upon you should you chose to defy the cause and pledge allegiance to the ways of the GAS. Winter is coming.2 points
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You may want to put it first if you have a high output bass and find it hitting the other pedals too hard. I find that some of my basses slam my compressor and overdrive/fuzz pedals just that bit too hard and the Thumpinator helps with that. The downside to that is that with my jazz bass, my Zvex Concert Bass doesn't actually drive the low gain channel hard enough anymore! Having the Thumpinator first also means that I'll get maximum booty out of my octaver when I switch it on. Odd thing though, sometimes I've seen a notable "pop" when switching on other pedals with the Thumpinator is first. I've experimented with it last and it was fine but prefer it first for the reasons mentioned above.2 points
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Amp'll time for that, surely..?2 points
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Mate of mine is into gypsy jazz (he's a guitarist, obvs). He went over to the big festival they have every year in Holland and joined in with some of the workshops. He realises during said workshops he is sitting in with some of the very best gypsy jazz musicians in the world - 1 being Django Reinhardt's grandson! Later he was due to be on stage for a group performance - playing rhythm guitar (which in gypsy jazz is no calkwalk), but ends up sitting at the front! Ok he thinks, I'll keep my head down and just concentrate on my rhythm work. During the performance all the top guys (remember, these are the best in the world) take turns to solo. He is sat next to Django's grandson who, after finishing ripping out a blinding solo (and if you now anything about gypsy jazz you'll know that everything is played at at least 90 mph) he turns to my mate Andy, (for that is his name) and indicates it's his turn...to take a solo! My mate did his best and 'got through it' as he said. The next day, he's sitting playing in another workshop when the aforementioned Django's grandson turns up with some of the other top performers, joins in with the music and everyone takes a turn soloing, my mate included, not quite so nervous this time and felt he made a better account of himself compared to the previous evenings performance. When the workshop finishes my mate then recounts how nervous he was at the previous evenings show and how he felt like an imposter. The reply of Django's grandson and all the other top players was to tell him that it matters not what you play, but the fact that you do and that everyone has to start somewhere. They were so encouraging and supporting he's booked to go again this year.2 points
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Unless you have a Mark King complex, you'll probably find that 4kHz isn't much of a limitation at all.2 points
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As AGEDHORSE points out in a later post, I got my maths wrong as both peak voltage and current are 1.414 times greater than their RMS values. Thersfore PEAK Power is almost twice "RMS". I have left the rest of the post intact but in the table below, Peak power should be 1414W and peak to peak 2827W all rounded to the nearest whole number. Peak of a sine wave is 1.414 x RMS and Peak to Peak is 2 x Peak. So can we believe that the Veyron is 707 Watts. Are Uli's boys playing tricks on us? Well yes to both and it is the slight of hand that causes the problem. However as has been said already, it is a loud amp and is really good value. I have read most of the guff online about power and Rod Elliott has, as usual summed it up well on his site http://sound.whsites.net/power.htm Incidently you will see a term Average power used on some HiFi sites and although not wrong, it is as wrong as RMS watts or RMS power. It should be just power but many, me included, like to say RMS to ensure that people know I am talking about the RMS voltage X the RMS Current. Of course then you have the issue of distortion. If you quote a 10% figure it will still be inflated. I am happy for 1% figure to be quoted on a bass amp although I would like better than 0.1% for HiFi2 points
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My Dad just joined a busy working band as a harmonica player. He's 76.1 point
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Interesting one. Having gigged from the age of 16, at 55 I'd found myself inadvertently sucked into a Dad-rock band a couple of years back, - the really strange thing to me is that for the first time the weekly practice was the main focus of the band rather than the gigging (though there was the occasional gig) - it was a social thing, . Pleasant enough and lovely guys and gals, but playing live has always been the motivation to me and I've never looked down on playing covers in the Dog & Duck - an audience is an audience, and the crowds in the valleys pubs here are the best I've played to anywhere. Looking though this thread, I think there must be a fair bit of regional variation in finding bands and how busy bands are - on JMB or whatever it's not hard to find a band here n S Wales if you're a bass player, although it's almost all the inevitable classic rock / blues or well known covers - I've done both, and in many venues that what the punters like and fully expect to hear. At 57 I'm now in a gigging disco and funk band which is something I've wanted to do from the very start - drummer is 50-ish and guitarist and female singer are late '20's / early '30's - I realise this is probably my "swan-song" of being in a young gigging band, so making the most of every minute.1 point
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*Live music is entertainment...unless it's jazz1 point
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Guitarists Les Paul shrunk in the wash 😀1 point
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I hate these things. I hate these things to the extent that I find myself being a bit alarmed by how much I hate these things. The only possible good use for a thing like this is for smacking the person that thought this was a good idea in the head. Repeatedly, until they see sense. Have I mentioned how much I hate these things?1 point
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Yep, I did exactly the same thing. I think for some the transparency just doesn't work. Even though loudness wasn't an issue, something was just missing. What I would describe as umph!1 point
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I've only ever depped a few times and only for people I know. Last time was a young girl who occasionally songs with my band gave me about 48hrs notice that her bassist couldn't do a festival gig. She got her band moved to be on just before mine so I'd be there and sent me the set list of covers... i got introduced as a last minute cover and got through the first few songs including an improv section I wasn't prior warned about and all went well. Then Seven Nation Army was up next. I just stood there. Singer says "it's you". I had ear plugs in. "It's you. Now, it's you" I'm just standing there. "It's you" "what?" "Play the riff" "what riff?" This went on for ages until she basically spoke like to an elderly relative who thinks he's escaping from the nursing home "seven nation army. It starts with the bass riff. You need to start playing it"1 point
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Multiple OC’s lol bet that’s interesting. Its just come to mind I remember years ago, the guitarist from Skunk Anansie (check spelling) did some sort of world record by linking as many random effects as he could lay his hands on (over 100) on Brighton sea front. Inaudible mush, but fun nonetheless1 point
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The best bit of advice I was given when I started was that as long as you start together, stop together and smile together, no one notices the bit in the middle. I thought they were joking but it’s surprisingl true. There have been a couple of car crash moments when we have murdered a song but never has anyone commented on it. Quite the opposite on one occasion where we did a short set and for some reason just weren’t on it (borrowed kit, no set up time didn’t help) but we had people raving about us, in a good way, on Facebook.1 point
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I think that we make it hard for ourselves - we study great bass players on TV, YouTube, Spotify etc, we chat with other great bass players on this here site, and so as a result we can have a tendency to take a harsh view of our own abilities, because we set ourselves such difficult standards to meet up to. But then once you're up on stage, you have to remember that you're probably the best bass player in the room, and you're doing things that, to the majority of the crowd, is like witchcraft. I don't think that we should get too complacent though. I like being well prepared, I like knowing that I've done the best that I can do. But I also agree that some of my most memorable gigs were the ones where things went wrong, but the band held it together by sheer musical intuition. S.P.1 point
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Here's a bit more sanding with a quick wipe of tinted Danish oil 😀1 point
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Ages ago, I remember an article in a guitar magazine suggesting that best results could be achieved by grouping my effects into the following broad order (Bass) Guitar -> "Dynamic Effects" - volumes/boosts, wahs, compressors "Distortion Effects" - self-explanatory "Modulators" - chorus, flangers, phasers, etc -> Amp I'm not a great example myself, as I play the majority of sets without stepping on any pedals; on the occasions I do, it's a Tube Screamer or a Big Muff. But it looks like your own setup follows the above rule-of-thumb... Dynamic: compressor and octaver probably fit in this category - the synth is the one I'm less sure about - and the tuner doesn't change the sound so it's moot Distortion: Muff. I just wanted to write "Muff" again, really. Modulators: your Boss Chorus -> Sansamp, which is basically an external preamp anyway. So ultimately, in some hypothetical scenario where I tripped over your board and had to reconnect everything before you got back from the bar, I'd probably end up patching it the same way!1 point
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That's a terrible tale @Roger2611! But you shouldn't blame yourself, or let your songs suffer for it. You were quite positive towards him considering.1 point
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Awesome Video in stop motion!!!1 point
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