Leaderboard

Obituary: Mickey Shitenbacker (1923-2012) Early Life Viewed by many as the 'Father of The Electric Guitar' Michael Norvus Shitenbacker was born in Anaheim CA. on Aug 10 1923 to Monty and Jezebel Shitenbacker, owners of an avocado farm. Educated in nearby Fullerton, the 18 year-old Shitenbacker joined the US Navy on the outbreak of war, serving in the Pacific theatre as a sanitary technician (grade 3). Wounded by cistern shrapnel at Guadalcanal when a Kamikaze aircraft struck his ship the USS Dumpling, Shitenbacker was honorably discharged from the service in 1945, returning to California where he struck up a partnership with local radio repairman Cletus Mahoney. Observing the success of his rivals Leo Fender and Clayton (Doc) Kaufman, Shitenbacker persuaded Mahoney to embark upon the construction and sale of accordion amplifiers. Business was slow and Mahoney backed out, leaving Shitenbacker as sole proprietor of S&M Accessories (a name which had provoked repeated visits from local law enforcement). Shitenbacker renamed the company after himself and re-focused on the burgeoning electric guitar market. Success and Failure In 1949 Shitenbacker debuted his first solid body guitar known initially as the Shitocaster until litigation brought by Fender forced a change to (first) the Backenshitter (then) the Shittenupper and (finally) the Solidbacker. This innovative guitar formed the foundation of Shitenbacker's early success, being adopted by country and western stars including Merle Pickens, Buck Arrew and Spade Cooley. Through the 1950's and into the early sixties Shitenbacker evolved his products, offering a range of guitars including the futuristic Stratoshitter, the 13-string Jazzbacker, the Bananaboat Gaylord bass guitar and the Inviso-Backer, a body-less instrument comprising only a neck, tuners and four ceramic pickups mounted in the headstock. In 1964 Shitenbacker became convinced that he was being stalked by the ghost of the Kamikaze pilot who had nearly brought about his death 20 years earlier and quickly sold his business to CBS for $1.2m. In the wake of Shitenbacker's departure guitar fans became convinced that quality had dropped. This gave rise to the peri-Shitenbacker vs post-Shitenbacker controversy which in part spurred a growth in vintage instrument values. Later Life Following a course of psychiatric therapy Shitenbacker returned to guitar manufacturing with his Melody Man company, re-hashing and improving his earlier designs, including the Gaylord bass which appeared in a number of versions with a range of sometimes inexplicable accessories including the TotalMute, a dual-end string-clamping system which rendered the strings inert and the instrument completely silent. After a vicious falling-out with financial backer Ernest Testicle, Shitenbacker left Melody Man and reunited with his former associate Cletus Mahoney to set up a boutique luthiery, a partnership which lasted until Shitenbacker's death in fall 2012. Shitenbacker was regarded in the industry as a generally bonhominous man, though in later years he acquired an unsavoury reputation as a vexatious litigant, remorselessly pursuing and suing private individuals who possessed unauthorised copies of Shitenbacker guitars. In 2009 Shitenbacker was convicted of gross stupidity and vehicular assault following a spat with the administrator of a British bass guitar web forum. Shitenbacker leaves his wife of 74 years Magnolia and his son Sterling who continues the family business at M&S Guitars.

The day has finally arrived!!! I went down to pick up the new Status this afternoon, then straight to rehearsal... even though I was using the studio gear it sounded awesome and looks very 😎. I couldn’t be happier with it! Ill spend some time tweaking the sound with my gear and get some better pics in natural light, but.... drum roll please.... here is the Status S2 classic, through neck with wrap around LEDs. In chameleon indigo.... 😍😍

So it’s now ready to assemble, I bought a bridge cover and “ummed and arred” over a pickup one too. Also added a thumb rest/ tug bar for aesthetic reasons too I offered up the neck to the body just to see how it’s going to look I changed the knobs to flat ones instead of domed. I’m now waiting on some labella flats, Dunlop strap locks (on all my basses) and I took the plunge and bought a pickup cover. I’ll update when I’ve got those added them and fixed the neck to the body. Then it’s ready to set up and play.

Yeah bass is rubbish. So let's close the forum and all give up.

Nothing wrong with being a multi-instrumentalist. You'll always be welcome here! S.P.

I had one of the reissued prototypes for a bit - 'Old Shitty'. It was sh!t.

I’ll play. Picked this one up from Status today.

Roses are #FF0000 Violets are #0000FF All our base Are belong to you

Thanks for all the replies folks really appreciate it and best of luck to everyone

Give it a while... You'll be back.

A couple of pics in natural light. 🤩

Thanks Skankdelvar, for writing such an excellent article and providing all us BCers with free entertainment! Lots of glorious detail there. Never mind playing the bass, you should be a comedy scriptwriter.

Finally another update on my board, It's been a while. What has changed? - EQD GhostEcho is placed further down the chain, gives the best result before all the modulation effects. - Modified the layout on the small board. - Two new power supplies under the hood. Harley Benton ISO-1 Pro and ISO-2 Pro. The ISO-2 was chosen due to the need for 12 Volt with the Two Notes LeBass and the DG Microtubes X. - Thanks to these new power supplies I could ditch a HB Junior and a few wall warts. Each pedal has its own power socket now - no more fiddling with daisy chains. - Two new mini pedals, HoTone EKO en Tape EKO. - TC Fluorescence back from pseudo retirement. - Some new cables here and there. - Some Rockboard light dampening caps for the pedals that have a spotlight for the on/off indication (all Earthquaker Devices and the MXR Envelope).

Very much in jest. Good luck!!

Some speakers seem to roll off high frequencies at 6-7 KHz, and on paper appear to therefore lack treble compared to other wider response cabs. In truth, I don't find anything missing in those, and I actually prefer them as it's harder for me to get a shrill/brittle top end sound. I slap a fair amount with some bands, and my Two10 cabs (roll off at 6 KHz I think) sound beautifully. I miss no treble on those. The reason I bring this up is that during my quest for the right cabs for me I'd look at how high and low cabs could get, and I missed on a few good ones just because they would not go high enough, or I chose their tweeter versions to compensate for that, which -for my taste- was a complete waste of money. The only 'tweeter' that sounded any f=good, for me, was the horn (not exactly a tweeter, it seems, I don't know the difference) on the BF BB2. Very well implemented. But ultimately, not the right speaker for me. The VdK MNT210 is a very nice cab, but one alone may not be enough if you require high volumes. If you need a single cab... The ST will work, but see if you can try it first, you might prefer the sound of other 'less transparent' cabs. I used to own a pair of BB2 and I spent way too much time EQ them to taste. Once I moved to other more coloured cabs (in a way I liked) I achieve the sounds I like much more easily. The MNT210 would be in that category, as was the TKS 1126 (single 12", I owned a pair) and TKS S112 (single 12", I still own a pair). Although all three sounded a bit different. I favoured the S112, but two were needed as they're not the most powerful cabs... yet they're tiny and super light so carrying 2 was no problem. In fact, for a one cab solution, I'd recommend a TKS S212 (2x S112 in a single cab form) to be in your list. Not amazing power handling, but very very good sound, light and easy to transport. If a MNT210 is ok for you volume-wise, a S212 would also likely be ok. They respond very well to boosting lows a bit (by default they may seem lacking a bit of lows compared to other cabs), and the low end is very nice and tight without getting boomy as easily as others. I like a strong fat sound with good definition (Precision or Stingray) and the TKS S112 worked very well for me with a range of amplifiers. I only moved to a pair of Two10 because I sometimes needed more volume (with one of my bands in particular I often have to carry all bass with my amplifier) and they get me very close to the TKS, with some extra low end... however sound-wise I still prefer the pair of TKS S112. They roll off also somewhere in the 5-6 KHz region I believe, but I find them beautifully sounding for slap too. However I'm more classic 70s funk and 80s slap sound than Wooten/Miller type of slap.

I actually clicked on that to see a higher definition image

Hello! We're a two piece, lead bass, female fronted rock band from Las Vegas NV. We are here to share a little of what we do and learn more about how we can use the bass as a lead instrument We use a dual amp set up. Lot's to share! Thanks for having us!

New Bass (Order) Day!

I just felt I needed to openly express my love for them. The groove is strong. And Rocco Prestia? What a bass player! For those who haven't seen their Tiny Desk Concert... Here it is (pretty sure it's Marc van Wageningen on bass here, although he's almost entirely obscured):

I've had my stomp for a couple of weeks now - and while it sounds great, I've been finding the three footswitch implementation a bit limiting. Even the old Zoom B3 managed to let you use the same 3 switches for stomp on/off, patch selection and tuner access... So I raided the spare parts drawer and knocked up a double footswitch to let me cycle through stomp/scroll/preset/snapshot modes on one switch, and tap/tuner on the other. It works OK, and it at least made controlling the thing from my feet just about viable, if still a fairly clumsy affair. And then I kept noticing mentions of the Morningstar MC6.... looks like a great bit of kit, but I couldn't justify the price - especially as once I've got more used to the Stomp and got sounds and settings dialled in, I may well be happy with just using the stomp on its own or with the double footswitch..... So back to the spare parts drawer it is then..... A bit of 3d printing, soldering, crimping and (quite a lot of) swearing later, I present the Afternooningstoo MC8 ! OK, so it's a bit rough and ready compared to the real one, but it works, it's got even more buttons, and I think it only owes me about £30 in parts total.... and the only thing I had to buy in specially was the MIDI socket!

Seems similar to G&L Kiloton in terms of it being a passive Stingray. The Kiloton is a lot prettier to my eyes though.

Yeah. This looks like a kid made a Musicman copy for gcse woodwork. Love Vulfpeck - but not in the slightest swayed by this. if one of the cheap Sam ash MM copies (Carlos Robelli) turns up on eBay - I could be swayed.

Little Bastard. Glorious

well, I've gone and done it, got the EHX Mono Bass Pedal, along with an EHX Bass Soul & Boss TU-3 Tuner, just looking at a power supply for em all together, have seen the T-Rex but they're dear, plus the Mono Synth uses 125 milliamps, so not sure. What way would you daisy chain them? Tuner 1st from amp, then Bass Soul/Overdrive, then Mono Synth last, this is the pedal I reckon I'd use the most, Cheers Mark

Stopingp being a bass player is like stopping being able to ride a bike - you might get rusty, but you will always be able to pick one up and have a go I haven't been in a band for over twenty years, but I still enjoy practising. I'm sure a few times I've gone a year without playing bass, but I always had an acoustic guitar in reach. It does go up and down in my priorities, bit I'm keen to find a band again as my circumstances are subtly different....

This will be legit. It's a Guitar Shop owner in Bristol (Electric Ladyland) who when he's short of a bob or two, often pawns his gear. Remarkable but true: you should see some of the gear in his shop (Gibson EB1, Hagstrom 8 Strings, John Birch Rics to name a few- all of which he won't sell!) Keep an eye on Bedminster Cash Converters and you'd be amazed what ends up in there.

I can empathise with that. Bass is miserable to practise alone at home, it is a world of difference doing this and playing/rehearsing with others. Some instruments lend themselves to being played on their own, for example piano, guitar. And some don't. Playing with others is a completely extra dimension which opens them up. I can't really offer any advice on your journey finding a decent band to play with. At the moment, I kinda fell on my feet and am enjoying it, partly because I stepped up and became the "bandleader" so now I am my own boss, in a way. But you are always going to have to deal with musicians, its like herding cats. But please DO keep up the music, acoustic guitar is ideal, and getting back into playing the bass as & when will be not too troublesome if ever you wanted to.

Ladies and gentlemen, this thread has officially peaked. Following the learned Mr @skankdelvar's contribution, it can only descend rapidly into tawdry attempts to imitate. I suggest we leave it well alone, dignity intact.

NEVER take the neck off, it will put more tension than desired to it. Always send your bass tuned as the tension will make the whole stable. If you decide to slack the strings (if you are afraid of the broken head syndrome), then you'll have to release all the tension of the truss rod otherwise it will be worse than shipping it tuned.. Use a soft case or a hard case with bubble plastic wrapping the bass and the case. Protect the fingerboard. A soft case is better than a hard case as it will absorb the shocks instead of amplifying them. Make sure the instrument can't move in the case. Put the case in a box and use tape to cover the whole : this will protect it from humidity, rain or even staying in water. Try to ship on Monday to avoid too long storage. Always insure your parcel and read carefully the T&C as some couriers won't refund more than £100 GBP. I've sent hundreds of basses and some guitars all over the world with only one (1) issue. Don't forget to put a label with your full address and the one of the recipient with his phone number. You can add a "Fragile" label, like the one I use. Take a look at the pictures I always do when shipping an instrument, so the buyer will not sweat during days.

Decided to add Fieblings to my Encore fretboard today, came out just how I wanted so quite chuffed. Whilst it was all apart, added some 3M carbon to the face of the headstock to match the pick guard and finished off with some new flatwounds which I have never experienced before. Sounds really nice! Makes it a mellow alternative and a different playing experience to my Steiny. Encore is deffo a keeper for me. I know the appearance wont be for everyone but its unique to me!

I know the feeling well.ive been looking for a band for months.it does make you consider jacking in and selling your gear.ill give it a bit longer but not much.

Indeed. I've given up playing in bands and mostly listen to music where there's hardly any bass guitar but I still like coming onto BC as it's now the only forum I bother with. I will pick up a bass and play along to CDs, and occasionally the missus and the girls will stop for a few minutes to watch but that's as much 'performing' I do nowadays 😏

It's a different class. To be honest, it's criminal they are selling these so cheap. It's worth it for ANY of the amp models alone.

Opened them up & checked the players choice code. All good. Cheers.

At least you'll still be playing in bands in some form or another. Good luck with whatever you do. No reason you can't stay on the forum tho as sometimes the chat can be fun. All the best Dave

The future Impact has a built-in tuner and does distortion if that helps. Also worth pointing out that the FI is also a keyboard synth if you hook it up to a midi controller keyboard (like a Keystep).

Rule #1 - there is no such thing as too much protection. Pack it like you’re packing your first born child.

I don't think that the M6 is louder than any other Mesa 600 watt amp like an MPulse 600, however with the M6 I had, the master volume didn't have much of a gradual taper. It just went from 'off' to 'loud' immediately. It was like an old Marshall guitar amp! The M6 has a different type of input gain structure than the Mpulse heads like the Walkabout, Big Block or (I assume as I have not tried it) Mpulse 600. The Mpulse heads can generally go into gentle overdrive with the gain at 12 o'clock or over. The M6 only has one pre amp valve (compared to the 3-4 in an Mpulse head) and is designed for clean power, tonnes of headroom and a very fast response. You don't get any kind of overdrive on the M6 until pushing the gain past two o'clock settings, at which point there is no way of dialling in that tone at a polite volume because of the way that the master volume is structured. It will be tremendously loud. If you want a lot of valve warmth on the M6 I would suggest using a pedal rather than increasing the gain. The M6 sounds great with pedals. The driver stage of the M6 is also Mosfet based, rather than the Simulstate of the Mpulse line which involves (to my non-engineer brain) preamp valves being used in the driver stage. So basically the master volume on the M6 is delivering massive clean power. I sold mine because I really wanted a bit of pre amp grit and I really didn't need the clean power of the M6 as great as it was, so bought a Big Block. In many ways the M6 is a much superior and flexible amp, but I much prefer the natural 'grunt' of the Big Block which is hard to dial out (good thing I like it!)

I really wouldn't. Looking too closely at a Goggle Pish Bass could leave you psychologically scarred for life.

I think you have your answer here but I'll add my tuppence worth. You really don't want deep bass on stage, or in the rehearsal room. If it is loud enough to reach the audience then it is going to be a real nuisance for the band, and of course if the audience can't hear it why would you do it? If you want it in your rig for personal practice then fill your boots, it might be fun and it's only you that's affected. We've probably all tried it out if we have the PA sitting around at home The problem is two fold. every extra sound you add into the stage mix makes it harder for all the band to distinguish sounds they need to hear to play well. Any band with drums in a small area is already making it tough for the vocalists to pitch even, let alone put in articulation and dynamics. Given that the dimensions of most of the places we play are around the wavelength of sub frequencies bass in enclosed spaces tends to be highly reverberant and therefore muddy. Making it harder for everyone to hear will produce the natural response to turn up and you have a volume war. Nobody wins a war. Secondly the stage is full of mics. They' re going to pick up that bass and pass it on to the desk, even if you filter at the desk a little will get through and you aren't going to filter the kick mic most of the time. If the stage is wooden then the transmission will be through the floor and up the stands. Uuurghhh! For me the best set up on stage is to gradually roll off the deep bass on your rig and to balance that up by rolling it back in at the PA. If you do it right you get all the upper bass/low mids delivered to your ears (the mids are more directional so you can have more me) the band get enough bass to get the changes right and can still hear what they need. The audience get a balanced sound and the singer gets a chance to deliver their best. Obviously in ears would deliver this differently but generally the lower the sound levels on stage the better and we ought to be thinking of what we don't need on stage, not adding to it.

Used The Tyler, it’s a decent work around for a one cab solution, but will be slightly different to a dUg sound if that is what you are truly after, not in a bad way, just different. The key to that pedal is keeping a very strong and a clean low and folding in distortion or sound modulation into either of the FX loops at your choice. Easy small package for a dUg sound or typ sound is the excellent DP3X pedal which is very back friendly, then of course you have the dedicated 2 channel amps, Tech21 Landmark 300/600, the 1969, VT1000, or indeed dUg Ultrabass 1000. You can of course get a cheaper signal splitter to cleave off a signal and send it to the guitar cab. You have to remember that whilst it may seem counterintuitive dUg actually used to send the higher frequency signals to a bass cab. edited for typo’s - early morning typing before me cuppa!

Not sure I can see anyone walking into Cash Converters in Bedington and parting with £12k. Yes, a reissue/bitsa with perhaps one of those neckplates you can buy on eBay with a era-specific Fender serial number. I've seen better shops that Cash Converters fooled by that trick (mentioning no names of course).

Blimey what's this got to do with erotica and famous items of 1957 origin (not Madonna - Precision basses)?.... That 'All Your Base Are Belong To Us' also seems to have been written by the same chap that wrote the last scam email claiming to be from my bank asking for personal details I received. Maybe im not seeing the link clearly enough. 🤔

Nearly 4 grand for a bass that looks like a melted banana? Yes please! Er, no. There must be a warehouse full of crack at the markbass offices.

Can't believe how that brass bridge has come out, it looks better-than-new! Amazing what can be done with elbow grease (and petrol 😆)

BB Guitars from the 80’s? (Called SE)

Yesterday was a good day for painting my EVO-FX5 prototype 😉