Leaderboard
Popular Content
Showing content with the highest reputation on 10/12/18 in all areas
-
Having a few moments of doubt at the moment - not exactly depping in the sense of "there's a gig next Tuesday, here's the set, see you there" but I am helping a band out for a couple of Christmas gigs with two month's notice and it's very technical death metal. Meaning: 1. the recordings of the early albums are awful quality - you cannot hear the bass at all; 2. the rest of the band are brilliant musicians - you may not appreciate the genre but there is no doubting the talent that these particular guys have (YMMV - other DM bands may not be quite their standard) and I'm easily the worst musician in the room (though, not the worst bass player they've had in the last few years); and 3. it's unbelievably fast, riff after riff after riff, often not repeating itself - the last track I worked out had 30 different parts in a 4 minute track, all played at break neck speed. The last 30 years counting to 4 and relying on feel doesn't apply here. Also, spectacularly impressive as the drumming is, bars and bars of blast beats means you don't always get the usual anchors to pin the playing to or to give cues for the changes. I've had a couple of Josie's "I cannot work this out, it's going to be a disaster!" moments in the last few weeks. No bass tabs on t'internet, and where I have been able to find some guitar tabs and used them to work out the roots of the chords, they are almost always wrong. Some spectacularly so. Fortunately the band themselves are aware of just how complicated it all is and have been not just very patient and happy to go over stuff until I know it properly (especially the drummer and lead guitarist) but manage to do it in a really supportive way, pointing out my mistakes without any hint of a criticism, just something I need to change. they've also been very open to, not exactly changes, more to me doing it my own way - their shared position is that they have no idea what the previous bass players did and they're not bass players so they don't pretend to be experts in writing or playing bass lines, so as long as it all fits, I can do what I like (within reason). That really helps. As does the fact that I am undoubtedly a much harsher critic of my playing than anybody else - they are telling me that stuff sounds fine when I'm not happy with it (but if you're going to make a mistake, make it in the right key). I will be fine by the time I'm on stage, and will be doing nothing but listening to the tracks and playing through in order to get everything into my head between now and the first gig.6 points
-
Thanks! I tend to see it as a rather pitiful borderline obsessive-compulsive psychological disorder - but at least it doesn't hurt anyone...5 points
-
All i want for christmas is the cancellation of brexit. That would be the best christmas present.5 points
-
SOLD I've told myself on many occasions that this was the one guitar I would never part company with, but here I am. Due largely to the fact that my covers band recently disbanded and the Red Hot Chili Peppers tribute act I also used to play with is no more, I just feel that it's time for somebody else to be given the opportunity to enjoy some time with this beauty of a bass. Also, I've recently developed a horrible case of gear lust for some very expensive synths! This is a Silver Flake 2004 model (before the Funk Unlimited rebranding I think) and comes with an Aguilar pre-amp and Bartolini pick up. All round good, fully working condition but the paint has chipped away on a small area of the headstock and the neck has a bit of wear. I've tried my best to show this in the photos (as you can hopefully see, it's pretty minimal and doesn't affect the playability in any way). Words can't really describe what a joy the carbon fiber neck is to play and how truly epic it sounds when cranked up but fans of Flea and the Chill Peppers will have an idea I guess. Given the current street value of Modulus basses, I'm hoping that my valuation is a fair reflection of the condition its in. The bass has had professional annual set ups during my time with it and has fantastic low action. Without doubt a true wow guitar. The price includes a Modulus hard case and shipping. Collection is also an option, should you prefer. No trades thanks.4 points -
And another rare bass with the original quad coil Tune pickups and its original Tune twin preamp, which is even rarer, yes twin preamp, a very odd idea, you might say, but not that odd in fact. Here is my Tune BEB-6 fully original and the best 36 inches bass I have ever owned or played. Yes it's an original one made in Japan before the Kobe earthquake that destroyed the Tune factory way back in 1995...4 points
-
I bought this EB-3 in the 1990s from a dealer in Florida, to use on a recording project. Since then, apart from one gig, it has stayed at home and been unfairly ignored. It is lovely and fully original and complete with cover, mute and finger rest, the finish is the original factory Pelham Blue faded to a slightly more green colour where the lacquer has aged, and has crazed slightly all over during its 54 years of being around. There is a small stress crack in the headstock, which is not a break, and not side to side, in fact does not go to the edge of the neck at any point. I was told that it had been glued when I bought it, but I doubt this, as there are no signs of this taking place. I was happy enough, as the headstock is solid and does not move, even under around 20 years of full tension in my care, it hasn’t budged, and it is not really noticeable. There is just a clean line in the finish, no flaking. So it needs no attention. It does affect the value a bit, but doesn’t affect the integrity or playability of the bass. It is rock solid, no bull. One side of the headstock has a scratch to it that has been painted years ago with a line of car touch up paint, see the pics, it isn't a repair as such, just cosmetic, and the blue did not fade when the original finish did. It shows a few knocks and dings from its use, and has had no repairs. The selector switch ring shows the usual 4 positions. The switch itself appears original but has 6 positions, all great sounds, so I never looked into changing it. There is one missing screw from the neck pickup, has always been like that since I bought it. Otherwise all is 100% and is Pelham Blue! It is rare on these basses, and there were only 339 made in 1965 anyway, in mostly cherry, and I’ve seen one or two white over the years. I’ve never seen another like this, which does make it very collectible. As well as playable. It is towards the last of the full 1 11/16” nut width EB-3s, and has the lovely thick ply guard, and the painted bridge pickup surround. The strings are old roundwounds, which suit it but I’d put flats on if I were keeping it, and the sound is classic EB-3, you know what I mean. There is an original looking rectangular case, not the best quality, more like a budget case but I think the bass came in it. The price is based upon the extreme rarity of the finish, but I would take a short scale Gibson SG bass in p/x if I was offered (the one with the same pickups and scale length as this). It’s a great bass, please ask any questions, I don’t mind!3 points -
A band isn't a real band until you all bow simultaneously at the end of every song:3 points
-
All the voids are now filled and I've given it a sealing coat of tru-oil to see what it will look like when the finish has been applied. Don't panic about the squiffy bridge - it's just plonked there for me to see which bit of the figuring is covered. The bridge will be set into the top - as I did with @Len_derby 's - so that the bridgeplate sits flush with the top rather than being perched on top of it. The future owner has asked me to tint the fretboard and neck amber which I will do once the carving is complete and the frets have been levelled and polished. Next job is completing the carve on the neck, sides and back and then starting the finish-sanding.3 points
-
It's good to know I won't be the only person on this forum harping on about how damn good they are!3 points
-
One name, one word - Animal.3 points
-
I cannot even begin to explain how chuffed I am with this! Eude3 points
-
So I was looking at this thread... Which is really interesting thread where a load of our more engineering experts, semi led by @stevie are designing and building a bass cab - it's all quite good stuff... anyway the discussion is about how the hf driver they are using is fairly high end and retails at £80 or so, lots of discussion on high end drivers, the one on the Barefaced stuff and so on. I look up the one on the RCF Art 745 that's been mentioned as a very top end FRFR solution.... apparently that compression driver retails at £200+ ... So I keep looking at the specs - that speaker puts 500w RMS to the low end and 200w to the high end, with all the cleverness of the DSP and claims max SPL of 133db (ie loud). Costs a fair bit at £1200. But then compare that to bass gear - and the Barefaced FR800 goes a tiny bit lower, costs the same and claims a max continuous SPL of 127dB (which is different to peak SPL so wouldn't know how to compare) The Big Twin claims continuous SPL of 133dB and costs the similar £1200 - and you would still need to get an amp. Now given that the figures don't seem to be directly comparable, and I've used Barefaced as an example as the top of the market in terms of custom, well engineered bass guitar specific stuff that I would happily own and gig.... but it seems to me that going FRFR isn't even a particularly expensive option. And thats comparing to the big old top end RCF speakers folk have been talking about. It was the comparative retail price of the compression driver that made me think, that providing the PA speaker can handle Bass guitar type signals, that FRFR is possibly not the most stupid move. I'm tempted. (but I also don't need to change and my walkabout does me fine, though how much are they fetching secondhand these days? )3 points
-
Had a huge blast with the Fodera folks picking up my new Emperor Elite 6 last Tuesday. A dream instrument crafted by wonderful people with the deepest passion.2 points
-
Just taken this in PX against a Custom Shop 5 I was selling. Didn’t know a great deal about these Bar a bit online and WoT giving me a bit of info as he used to own one. First impressions are it’s a thoroughly nice bit of kit. Plays well and sounds pretty damn good! Lots of toggles and switches so need to work out what they exactly do but so far so good. Anyone with more info let me know 👍2 points
-
IME, a pair of 1x12's performs the same as a single 2x12, so choose which one is more practical for you. I've got a 2x12 and a matching 1x12 for smaller stuff. I've just checked, and I'm shocked to see that I got my cabs four years ago. FOUR YEARS. So, after being a cab whore for about 6 years, trying and buying any number of cabs in the pursuit of 'that' sound, I haven't looked at another cab since I got my TKS. That tells me something.2 points
-
Come on London folk - someone help the fella out. Season of goodwill etc etc2 points
-
Cheers lads. I think much of the problem with compression stems from the fact that as musicians, we’re mostly accustomed to pedals in our signal chain having a clear and present effect - we turn the dials and expect things to sound louder/ warmer/ funkier/ more distorted, etc, etc. As you know, compressors don’t necessarily work like that - and when they do, you’re probably doing it wrong 😉 In truth, I only really got my head around compressors when I started producing/mixing music, where it’s certainly one of the most useful tools at my disposal. Before then, as a bass player, I didn’t use a compressor, didn't understand them nor see any real use for one: "Why would I want to squash my sound?" So apologies if I sometimes come over as a bit evangelical about compressors. But they really are a bass players best friend when you get to know them.2 points
-
It just needs a good old sideways twack from a mallet on the headstock.2 points
-
Yeah, that's what I'm seeing as well. I dunno - almost seems to good to be true. I guess they're kinda the european version of rondo, which by all accounts are wonder-basses for the price. Thomann has a great return policy though so I might just take the plunge.2 points
-
Here it is! As you can see Mike’s also added a stain to give an idea of how the bwb will look2 points
-
Bongo Fury2 points
-
just ordered the zs10s and p2 - at that price its well worth a gamble and at worst a small backup option.2 points
-
This might be vaguely relevant: Playing in a noisy bar in Oxford. The following conversation ensues: Saxophonist: I fancy another fast one. Rather than following the set list, how about doing [speech obscured by background noise]. Pianist: Cool! Me: Hang on - what tune*? What key? Saxophonist: One... two... one, two, three, four [honk, parp etc.] It wasn't something I recognised so I had to fake it on the low notes (5-string EUB with poor acoustics in the bar, luckily) until I could guess some of the changes. Whilst I was still guessing (it took a while and wasn't 100% successful) there was a chap looking a bit like Student Grant from Viz watching me from just in front of the stage, clicking his fingers and nodding his head whilst clearly getting into it. IIRC the rest of the band didn't notice either. * Tune? This is jazz!2 points
-
I'm in two minds about this FRFR thing. The upside is that the systems are relatively uncoloured, which in my opinion is what you want from a bass guitar cab. Plenty of people disagree with that, but if I want colour I can always add it. If it's in the cab it's there all the time. The acoustic design of these boxes is also about 20/30 years ahead of what you get in a bass guitar cab. The other great thing about all of these active PA cabs is that you get such a lot for your money. Their pricing puts them in the same area of the market as boutiqe bass guitar cabs, but because they are mass market products (unlike boutique bass cabs), they offer you a much bigger bang for your buck. The other side of the coin is that they are jack-of-all-trades speakers. Although a lot of them handle bass, the cheaper ones are very limited, and even the expensive ones I've looked at aren't wonderful. For example, the RCF 745, which is considered by many (including me) to be a superb cab, comes in a plastic box. There is a video on YouTube in which a music dealer takes one apart and examines the components and build quality. He bangs on the plastic box and convinces himself how solid it is, but is sounds like a plastic bucket to me. And while the compression driver and horn are impeccable , the 15" driver has a pressed steel chassis, and if you look at RCF's driver specs, an xmax of less than 3mm. Finally (although I could go on), there is too much wall area in the porting arrangement and with bass guitar those ports will start compressing well before the system gets anywhere close to its limits. Just a few thoughts.....2 points
-
I take it everyone who's using big heavy old rigs for the whumf and heft is using hearing protection? You know, the attenuators that drop 20db or so off the volume? Or is going deaf worth the whumf? 😉2 points
-
Best Christmas and birthday presents for the next couple of years!!2 points
-
all want is for people to stop bringing politics into every thread2 points
-
Welcome to the Vulf Pack.2 points
-
As they say Always by your side.... Cracking company2 points
-
They are my TKS S112s for sale and they were superb with both a TH500 and Mark Bass 500 i spent the day trialing them in the showroom, I rated them better than the Aguilar SL series and nearly as nice as the GS, but way better priced I also ran them against GK 12s and Hartke 12s and these suited my needs and sound better The advantage of the 2x cabs is you have plenty for larger gigs, but can reduce to just one if needed, I have done pub gigs with just one cab and only used for one for rehearsals as well 😉 I am only selling as I have moved up to a mark bass 800 and an 800w 4x10 due to the size of stages we are now playing, and want the cash for fender Jazz I have my eye on 😮 else they would be keepers2 points
-
It’s truly amazing what you can get away with, when I was given the advice I mentioned I had only been playing a few weeks and thought the person (very experienced) was having a bit of a joke but it has been the best bit of advice I have had really. The worst thing you can ever do is stop of let your face to show you have messed up.2 points
-
Ah yes, the The Bassic Theory Of Relativity, in which the relative weight of a bass can only be tested by your relatives.2 points
-
The rules are: - During 2019, no ordering and/or no paying for anything bass related. You’re allowed to receive something if you pay for it in 2018. - String purchases are allowed. - You’re allowed to replace something that breaks if it can’t be repaired. Si2 points
-
It’s lovely to see an expert at work. Genius.2 points
-
I've had good basses that were heavy and good basses that were light. I've had bad basses that were heavy and bad basses that were light. Weight has nothing to do with it. Your ears are all that matter.2 points
-
Well the Barefaced does have the advantage that it has been designed specifically for bass, but if I were buying a powered cab for bass and could afford that kind of money, I wouldn't think twice: I'd go for the RCF. What about you?1 point
-
You mention Thumb'S' and so if you have more than one, just string one of them BEAD until 2020 Si1 point
-
It is! Back in the day (i.e. the 70's when I had hair and abs), I played in a school band. We were playing 'Ruby don't take your love to town' one night, with me on vocals and I completely forgot the lines to the last verse which as most of us old gits know, is accompanied by the drums only. I mumbled along and sang anything which came to mind and we finished the song. Afterwards, no-one noticed including my band mates, girlfriend and anyone I asked in the audience. I was mightily relieved...and then a bit p*ssed off that no-one was bl**dy listening!1 point
-
117 steel and 103 straw were the colours I used to use for a general cover, to the extent that I'd keep a roll of each in my gig bag, along with electrician's tools, adjustable spanners, gaffer tape, baling wire and fuses, plus 63- and 32 amp sockets with bare tails attached. When you rock up to a village hall and find there's no lighting, the cooker supply is your friend 🙂1 point
-
If you’ve made that commitment before joining this ‘initiative’, then you’re fine......think of it as booking a holiday before starting a new job 😁 Si1 point
-
In which case, you should have a great time on the ZS10s.1 point
-
We're all getting older and weaker. We all know ceramic speaker loaded cabs, heavy iron amps and anchor weight basses sound best but balsar wood basses, class D heads and neo cabs are the latest fad. I remember when bass players were real men not a bunch of feeble bodied whiners.1 point
-
+1 for the above ^^. I can't remember the Lee filter numbers I used for this 'warm' and 'cool' lighting (too long ago, and I'm old, so...), but they are very effective. I spent several happy years lighting for a ska/rock/punk group, touring most of France, and that 45° rule was used a lot, by myself and other lighters. Without perched lights there'll have to be some compromise, but a combination of 'as high and far forward as you can' and 'as low and far forward as you can' will do nicely. Try to avoid anything 'straight on', including footlights, though. At worst, totally side-on will work, as long as both sides of the faces are lit, so one (or, better still, an up/down pair...) at each side of the stage will be better than nothing.1 point
-
Another budget option just tested: my son plays bass too and is 2/3 my weight, so my bass is heavier on him than it is on me. We took turns playing the same riff and he sounded miles better. Ergo, heavier basses are better.1 point
-
Also. Put me down for a flat pack kit as well. If that wasn’t obvious already...1 point
-
There are no issues (well, from the Mods and Admins, at least...) concerning Ricky posts; it's the offering for sale that's not allowed, as has been explained many times before. Post away, when the thing arrives, just don't try to sell it here..!1 point
-
Well, I like the woods they use, and the layout of the body, although it is a bit big, and I love the look of the pickups (and the idea of them). But then at some point you just have to look at the headstock, and OMFG. If you set out to create the ugliest headstock you could think of and you came up with that, you would feel pretty accomplished! On the other hand if you were ever stuck down a river in a boat without a paddle the Wal owner would be pretty smug!1 point
-
+1, he knows you know1 point -
The quality is much better than standard Epiphone quality control as the bass is produced by the Epiphone custom shop. We've had a load of these basses through my local shop and I'm always tempted. Awesome bass for the money!1 point
.thumb.JPG.cb72c5b884ba6f14175fc828c26ce445.JPG)
