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Showing content with the highest reputation on 17/07/19 in all areas

  1. New bass day for me - and quite a special one for me personally. I've always loved the 'Smith Sound' and grew up listening to John Patitucci playing his early six string Smith. I recently realised my dreams of owning one when I bought a beautiful BT5 from Basschat last year. However I'm not really a five string player, but I can adapt. Smith basses tend to be 5 or 6 string so there wasn't much choice. But then I saw this. Not only is it a 4 string, but it's a very early one built just two months after I was. It was finished in January 1984. The serial number is 151. Early Smith basses have a few differences from today's models - first of all the brass fittings on the headstock, especially the 'S' logo in a brass disk which I remember seeing on those early Chick Corea vids, whilst my brother watched and analysed every move Dave Weckl made. I got some info from Ken about the bass who said the neck joint is a hidden mortise which I believe was inspired by a damaged double bass from a car accident in the 70s. The preamp is made by Haz Labs; it has volume, balance, treble, bass (not sure of frequencies but the treble control always feels very musical) plus a phase switch which Ken said they subsequently removed because it's not very useful. It's quite unusual to see Smith basses without an exposed centre block like my 5 string - I think some of the Hadrien Feraud models have a solid top like this one. It has a walnut top and maple back with an ebony fingerboard. The whole bass has a very light satin finish which feels great and shows minimal wear except usual playing in. It's been well looked after! I wasn't able to play the bass first so I was kind of nervous but Smith basses are so consistent I needn't have worried - the neck is dead straight and the action was pretty bang on right away. I've got the G string a little higher than my 'strings painted on' Vigier because I find it makes double stops on the G string more pronounced. As usual have the neck with almost zero relief and the other strings very low. Someone described the sound of their Warwick Thumb as 'digital' here the other day; that's quite a good way to describe this. I'll do some sound clips asap to show you. So yeah I'm really pleased. I think that's my bass buying escapades over for a while. Some pics!
    12 points
  2. I came here thinking this was going to be about Pete Townshend, as you were.
    10 points
  3. Hello Basschatters Time to move on my CS Precision... This is a '64 CS Heavy Relic which means the finish is pretty battered, as you can see. It's reasonably light at about 9lb, currently wearing (and set up for) Dunlop Super Bright 45-105s which I think suit P's very well and give a fairly easy action while retaining some weight. Not pictured (because it's been in the loft since the day I bought this new about four years ago) is the unused CS case plus a complete set of untouched case candy and the CS certificate. I will replace the Dunlop strap locks with the original buttons prior to sale. I've gigged it quite a bit and always enjoyed it but my tastes have changed somewhat and I have two other P's anyway. It sounds like a Precision should, I think - if you've read this far you'll have a good idea of what you're after. I am willing to discuss the following trades: * £2250 ovno in folding readies * A Fender Custom Shop Jazz, ideally Relic or Closet Classic in white or sunburst, or a CS Geddy Lee * (my ideal solution) a Yamaha Attitude Limited III, possibly a II depending on colour UK deals only please. Based north Worcs and happy to travel / meet as necessary. Thanks very much for looking! Wiggybass
    5 points
  4. You see something for sale that interests you, what do you do? A) Bombard the seller with obvious questions which are readily available via an internet search. B) Google relevant info, THEN contact seller about pertinent 'detail'. I seriously thought the answer for everyone would be 'B'! However, based on the time I've wasted answering questions on the most obvious stuff I'm lead to believe I'm in the minority. It's one thing to spend time giving simple automatic answers like; Yes it is made in Germany (the only place these particular model basses have ever been made). Yes it has 2 pups (ALL of this type of bass have and it can be seen in the photo). No it doesn't have a piezo bridge (this type of bass has NEVER had a piezo). Yes, it is 4 string fretted (as in the description AND photo) but I've spent 30 minutes messaging back and forth answering a blokes questions about a Roland GK3 'GUITAR' pick-up I'm selling... Will it fit any guitar? Yes. Can it be adjusted to fit different types of guitar? Yes it has spacers. Do you need to cut holes in the guitar? No. How is it powered? Via the lead. Do you have the lead? Yes but I use it with my GR20. What's a GR20? It's a unit you can use with this pup. Do I have to use one? ...losing the will to live I answer several more (6) messages before he says... "Will it work with a Mandolin because that's what I need?" WHAT! Please tell me the majority do a 'bit' of basic research?
    4 points
  5. My 37 year old "BFL" '57 JV has a new pal! Tasty, and sounds awesome... I also made a mistake with the new strings for it.... ordered some new Elixirs (all my basses get Elixir 14077 Nickels) and without noticing I accidentally pulled the trigger on Stainless Steels.... however, I am a complete convert! lower tension, and easier to play....
    4 points
  6. How much does your jazz bass weight...and is it a four string with two pick ups? Hi yeah its 4.8kg but now you've asked I've noticed it's a 5 string musicman with a humbucker. Still interested?
    4 points
  7. I thought my amp was fixed but it started doing the same thing again. Anyway, I took Ashdown up on their offer to repair the amp and couriered it down to them at a cost of £7(interparcel uninsured). I sent it to them a week gone Friday, it arrived with them the following Monday and was fixed and sent back to me by the Thursday of the same week! And there was no charge for the repair or the courier cost to send it back to me. 😀 I can't fault Ashdown's customer service, and this was on an old amp, not even a brand new one... If you are buying an Ashdown amp then you can rely on these guys to sort you out if anything ever goes wrong. 👍👍👍
    4 points
  8. It's with heavy heart that I put this bass up for sale, but needs must (with redundancy and a future house-move on the cards). In great condition for its' age, and a lovely player, with gorgeous vintage sound There are a few dinks and dings on the bass, including a 2mm x 1.5mm x 1mm dink on the back of the neck, around fret 11 - easily filled, though it never bothered me actually. There's a light "bloom" of buckle rash in the usual place, which isn't easy to photograph. The main thing to say about this bass, is that it's otherwise in great condition given it's approaching 40 years old. Somehow, this bass just feels and sounds absolutely awesome - it has a real vintage tone and feel. These basses are rated very highly by people who own and play them, and you have to try one to understand quite why. It's the best feeling and sounding P bass I've ever played. With the job situation being as it is, I have to sell something (not urgently - so no daft offers please) - I just need to thin the herd, as we will be moving house within the next 8 - 10 months, and are down-sizing. I'm gigging with another P bass these days - only because it is slightly lighter weight, and is another great bass. I can no longer justify 3x P basses, plus my P/J Limelight. I may even list another P over the coming days, and keep this one.... as I'm so torn It weighs in at just a shade over 4kg - so is no boat anchor. Like I say, I've got 2 other P's which are lighter - though neither is in my favourite 3TSB, Rosewood, Tort combo. Mrs S said to me the other day "Do you really need two basses the same colour?" of my Roadworn Jazz! I had the bass set up, including a light fret-dress & level, by A-strings of Treforest, near Pontypridd. The frets are in good condition, with plenty of life left in them. I believe everything else is original on the bass (as I was told by the previous BC owner). I did change the control knobs for an old 70's set, as they were in better condition (re the chrome) It's currently wearing a set of worn-in Thomastik Flats. It came with some Dunlop flats, and I tried several other strings, but decided it just felt better with the TI's. I can let you have the Dunlops, or a new set of rounds if you prefer? But I'll leave the TI's on, as they just seem to suit the bass Based in North Cardiff - but I can meet somewhere half way, as I've got amp headphones and a battery amp (Roland) to test at the ubiquitous Motorway services / pub Please note I am NOT looking for any trades at all, and would prefer not to post (abroad or UK) - I also want you to try this bass, and fall for it, like I did, and to know that you've got it safely in your hands In this moment of madness, as I'm typing this, I may decide to either sell another bass instead, or else change my mind completely.... lol I'm asking slightly less than what I paid for it, given that I had the work done on the bass
    3 points
  9. Apparently I had an account here, but I had zero recollection of ever logging in:) hello, and I’d like to make my introduction. I have a band in Florida (Cottondale Swamp), I play bass, write most of the songs, book all the gigs, and do everything. We gig almost every weekend, outlaw country, classic country, southern rock, Americana. A mix of “cover-band” bar gigs, and original gigs (festivals, openers for national touring bands). I collect and play tube amps and old basses. I have a bunch of 1950’s Fender P-Basses and 1968-69 Telecaster basses, and other basses. Too many basses and amps to list. But, my latest passion is my newly acquired 1971 Marshall Major (Model 1978) I’ve paired with a Marshall VBC412. Oh my f**king gawd! What a beast! Crazy loud and a really great deep bass tone, excellent mids (to cut through in a band) a decent highs. The Major seems to be a ridiculously powerful head. I am sure it would over power my Ampeg SVT VR w/810. I’m a sick puppy, but now I am on a hunt for a 2nd VBC412. Why didn’t I know Marshall made such great bass amps? The Major is top notch. Of course a Marshall stack is too much amp for 90% of my gigs, but when I can justify bring omg out the big guns, damn, I am going to play the Major. Next week, I am supplying bass backline for a Led Zeppelin 50th Anniversary Show. 15 bands (I am playing in two of them). The show is sold-out, outdoor stage, 2000 people, full production / stage crew etc. I offered the promoter: Ampeg SVT w/ 810, Acoustic 360/361, or Marshall Major w/VBC412. We decided that the Ampeg rigid best for reliability for 15 bands. But, I am tempted to bring the Major (head only) as backup and use it for my sets. I hope to be active on this forum and I want learn about Marshall amps and cabs, and I want to hear stories from people who gigged them and experienced them. All the best. If anyone travels to Florida for gigs or for pleasure, I’d love to meet up for a pint! Cheers!
    3 points
  10. Trace Elliot AH350SM - With UV Backlight - £249 £225 Shipped Mainland UK, or collection from Chorley Lancashire. Sounds great - in good condition for the age, a few nicks in the cover here and there. Specifications 350W amplifier output at 4 ohms. Switchable active / passive input jack. Input gain control with signal peak LED. Pre Shavpe 1:+6dB at 50Hz and 2kHz, -6dB at 400Hz. Pre-Shape 2: +5dB at 100Hz, +3dB at 3kHz and -5dB at 650Hz. 7 graphic EQ with panel switch and master volume control.
    3 points
  11. Research? Not sure if I would dignify what I do as research, but if I'm considering a pedal I'll watch some YouTube videos to listen to it and to the review. if it's a bass then my 'research' goes as far as is it pretty? if it's an amp, beyond the obvious, I need to know weight and width, oh, and is it pretty?
    3 points
  12. I do that on all my basses for some reason!! A bass only earns its ‘puppets’ once it passes my strict setup and quality tests 😂
    3 points
  13. So, wasn’t sure if I’d ever sell this one but seeing as my CAR ‘69 hasn’t sold ill put this up and whichever goes first I’ll keep the other one. This is a 1969 Fender Precision Bass that is almost all original. The scratch plate is a new one and this could well be a refin, but carried out a long time ago. Looks more like custard colour now. Had a partial refret too. Strung with La Bella Flats. It’s an amazing bass for 50yrs Old! Comes complete with authentic fag burns on headstock😂 Weight 3.8kg Nut 40mm It sounds pretty aggressive compared to the CAR and plays beautifully. Truss Rod works and has no issues at all. Please come and try anytime and it’s sale only, no trades. Any questions or more pics let me know and I’ll get back to you. Paul
    2 points
  14. Ibanez SRFF805 fanned fret 5 string. Excellent bass, really easy to play and nice and light - only selling as I’ve recently made a big purchase and need to thin the herd so no trades sorry ! Comes with a gig bag so collection preferred but will pack up well if you wish to pay the postage. Ash Body The Ibanez SRFF805’s body is crafted from incredibly lightweight ash wood, offering excellent comfort with the ability to play all night long without shoulder strain. The ash tonewood provides a sweet, airy twang, with plenty of resonance for singing chords and powerful punching notes. Its firm lows, pleasing highs, and slightly scooped midrange suits a range of playing styles, but favours the harsh strikes of metal players. Neck & Fingerboard The eye-catching body is coupled with a 5-piece jatoba/walnut neck, offering comfort and stability while protecting against warping or twisting over time. Unlike other Ibanez basses, the SRFF805 5 String Bass features a panga panga fingerboard, which is a more sustainable tonewood than the commonly used rosewood. Panga panga is very similar to wenge and rosewood in both looks and tone. This substitute tonewood adds warmth and resonance to the overall tone, and provides a smooth platform for the left hand. Multi-Scale Function Provides Versatility A unique feature of this Ibanez Bass Workshop instrument is its innovative fingerboard design, including angled frets for a versatile tone choice. The ergonomic construction coordinates with the player's hand angle, providing a quick and smooth playing function. This versatile fingerboard offers the playability of a 35.5" scale bass, along with the comfort, and punchy tone of a 34" scale. Bartolini Pickups The Ibanez SRFF805 is equipped with a set of Bartolini pickups, with its dual coil design delivering a wide frequency range with definition and superb accuracy. Both pickups offer an incredibly balanced string-to-string pickup response, delivering a warm, soundscape with a tight bottom end and a full midrange. 3-Band EQ With EQ Bypass Switch One of the most unique features of this 5-string bass guitar is the 3-band EQ, featuring an EQ bypass switch to shape and craft the tone of your guitar with maximum control. With controls over treble, mid, and bass, the 3-band EQ lets you to mould every nuance of your sound to find the perfect tone for your playing. The bypass switch flicks between the original and affected tone, letting you experiment and create a range of tonal possibilities. Mid-Frequency Select Switch In addition to 3-band EQ, the SRFF805 also features a mid-frequency select switch, letting you instantly switch between 250Hz, 450Hz, and 700Hz, the heart of the mid zone, to create a more dynamic and ideal tone when needed. About Ibanez Basses Over the past 30 years, Ibanez have always been at the forefront of developing the right tools for players pushing the boundaries of music. For decades, Ibanez designers and luthiers have been the embodiment of this ideology, pushing their skills to the edge of imagination, consistently creating some of the most versatile and unique instruments ever. Ibanez basses have been used on some of modern rock's most poignant albums of recent years. The preferred instruments of many awe inspiring bass players, amongst them Fieldy from Korn, Paul Gray from Slipknot and Peter Iwers of In Flames, Ibanez Basses continue to be the first stop for learners and professionals alike, no matter what musical genre they exist in. Specifications Body & Bridge Body: Ash Bridge: MR5S (16.5 mm String Spacing) Construction: Bolt-On Finish: Black Stain Neck & Fingerboard Neck: 5-Piece Jatoba/Walnut Profile: SRMS5 Scale Length: 35.5’’ – 34’’ Fingerboard: Bound Panga Panga Radius: 305mm Frets: 24 Medium Inlays: Acrylic Special Nut: Special Slunted Nut Nut Width: 45mm Electronics & Hardware Bridge Pickup: Bartolini BH2 (Passive) Neck Pickup: Bartolini BH2 (Passive) Controls: Balancer, Volume, Bass, Mids, Treble (Passive Tone Control/EQ Off), EQ Bypass Switch, Mid Frequency Switch Tuners: Die-Cast Hardware: Black Matte String Gauges: .045, .065, .085, .105, .130 Case Included: No
    2 points
  15. And one more then I must walk the dogs ZOOM B3, OD into Chorus into ZTRON Looks like this Patch here Ma SYN 02 .b3p
    2 points
  16. Not all Prog was as whimsical as Jon Anderson's Yes. Greenslade had songs about sado masicism, Animal Farm and corrupt journalists. The Prog bit was the length of the track, the sections, the keyboard solos etc. Even JJB's tone is pure Chris Squire. Labels don't always stand up to scrutiny.
    2 points
  17. Respect to Ashdown. That is proper.
    2 points
  18. Erm.....I posted it as a bit of light hearted p155taking. That was also the spirit in which it was given at the backstage shown - the techs were great. Please view it in the spirit it was posted. As you were.....
    2 points
  19. Less of a diary and more of a look at wot I made. I got a Line6 G30 from BC and it came complete with the they-all-do-that-sir broken strap clip. So I made a little pouch for it. I've left the flap unsecured as I'm not sure what to do with it, glue on some velcro or put a popper in it.
    2 points
  20. Beautiful, just beautiful. I love it when a plan comes together.
    2 points
  21. It's a right stitch-up and no mistake. Well done.
    2 points
  22. Why I hate selling stuff ,had strings of questions then nothing .90% have no intention of buying I do my research then look for something ,if I find it its done in a couple of messages
    2 points
  23. 2 points
  24. Two points, one in favour of those asking questions (well, more a defence) and one against (well, more of a rant) In favour/defence, while I'm the same as you and wouldn't start asking questions until I was sure I'd got everything I can gather for myself, sometimes it's not as easy to understand for a novice. While the mandolin owner should probably have led with that, he may well not have been well versed in any of the stuff that you see as being stupid questions and hasn't been able to follow the technical stuff that he has been able to find out. And sometimes buyers just want some extra reassurance before they part with their hard earned cash - I recently sent a "stupid" message to a seller on Discogs, to make absolutely sure that the record I wanted to buy from him was definitely the one he was saying it was, because if he's cut and pasted the wrong ASIN and he's actually got a different version of the same album then I'd be massively overpaying for the LP in question. So the potential buyer asking for confirmation that the only ever made in Germany model of that bass was actually made in Germany might simply be after reassurance that there isn't some Korean made version that they didn't know about until they find themselves unpacking one. Against...as a man of a certain age I do find that there is a massive difference between how I communicate and how millennials and kids communicate. While it's not fair to tar everybody with the same brush (and I have plenty of examples of millennials who are nothing like this) the worst of them don't seem to be able to do anything for themselves, and need to be spoon fed. A recent example was a friend telling me that her daughter, a recent graduate, received a tearful phone call from a uni friend (also a recent graduate) who was in bits because the power lead to her laptop had stopped working and her father was too busy to help her buy a new replacement. Without her laptop she had no life, and why was her father being so unutterably cruel to her? How could she possibly cope without her laptop? The daughter, being a bit more self reliant, replied that actually it's fine, tells her just to pop into town and get a new laptop power lead from Currys or Argos, she doesn't need someone to help her with that. The tears stop and the friend's world is now alright...but why has nobody ever explained to her how to do that before now? I have a much longer rant about certain millennials that I have to work with, who have no idea that, for instance, when they are supposed to be working they cannot also be watching Love Island on their phones and texting their mates about what's happening, and when you pick them up for doing it are genuinely surprised because nobody ever told them that they shouldn't do that in the office. Add to this that they live in a digital world where they don't actually speak to each other very much - friends with teenage kids tell me that their offspring never leave the house to go and play or hang out with their mates like we used to do back in the day, but as far as they are concerned they are still "with" their mates, just on some social media platform. The millennials at work tell me that they have fully "discussed" work issues when despite sitting opposite each other they haven't actually said a word out loud, they've sent messages, and they are extremely reluctant to ring anybody to ask a question when they can e-mail it instead. So while I'm saying this is a rant against them, in fact they probably see me as a complete dinosaur who is making them do stuff like talking out loud when there's no real benefit to them in doing it. And they may be right. So, back to the point, they don't see asking a load of stupid questions as any sort of intrusion or inconvenience to you, they see it as having a conversation, and asking you is no different to googling it and doing some research if they get the same answers, in fact it's probably better because you can tell them about where the bass was made and whether it's got a piezo. Of course, some people are just annoying idiots. Add to that the anonymity of the internet, where there are no consequences for a bit of trolling and wasting other peoples time...
    2 points
  25. Bit of both. Excessive questions can mean a buyer who hasn't done any work, but it can also easily mean a poorly drafted advert. What annoys me more is that if I have to ask a question about an item, the person selling then doesn't have the good sense to update the advert with that info for others. Cut and pasting the specs into an advert takes 5 seconds and saves the seller a huge amount of time because 99% of the questions have then been answered. So on balance I'm in the 'the advertiser is to blame for not including all the info' camp. And don't get me started on the "If you are looking at this you know what it is..." type advert. Flogging's too good for them.
    2 points
  26. I can believe this. We played a festival in Milton Keynes years ago - all original bands and massive local attendance. I was chatting to one of the punters after our set, and I mentioned how nice it was that so many locals had come down for the weekend to support all these unknown, independent bands. He explained to me that they couldn't hear original live music anywhere else (apart from the Stables or the Bowl), as the pubs in the area stuck to booking tributes or covers bands almost exclusively. So any locals who wanted a fix of fresh, new stuff would come along to festivals like this one. (It's not often I hear about the supply:demand ratio being skewed the other way when it comes to live music!)
    2 points
  27. Thanks for all the replies everyone - I found a picture that hopefully illustrates the problem I’m trying to fix – I’m in the poncey shirt, and that’s my gear behind the keyboard player… It sits on top of his combo, which I usually like because it’s a bit higher up and projects better than being on the floor. In a small stage area like this I reckon 6 metres / 20 feet will be plenty for my needs, so I've ordered a good quality cable safe in the knowledge that I’m not tempting bad things to happen! In a bigger area the problem doesn’t really exist. Regarding putting the amp in the firing line of enthusiastic beer slingers, I’ve hatched a plan involving using one of the flight cases that comes to every gig as a makeshift stand that will fit neatly under the keyboards (by the wall), so everything should be safe and out of the way (i.e. well behind the front-of-stage line) but still easily reachable. Hopefully problem solved 😊
    2 points
  28. Good luck! It took me a while (and lost of auditions) to realise that if something isn’t making you happy, don’t do it. What I mean by that is you’ll probably go through some band iterations or different groups where it’s just not working - and you’ll probably know that fairly early on. My advice is rather than slog at it unhappily for months only for it all to fall away, cut your losses early and move on - eventually you’ll find something that works for you and you’ll be all the happier for it! Unless you’re looking to make a living from playing music, the main reason we play is for enjoyment - if it’s not fun, move on!
    2 points
  29. Safest way is to gently push the neck backward to 'flatten' it out thereby taking the tension off the rod and adjust the nut. Never had a problem in all my playing life. note - always loosen the nut first to check movement to unstick the nut and then start tightening in small turns. If in any doubt go to a reliable tech.
    2 points
  30. Thanks, BB. For two hundred quid he ought to describe it properly....
    2 points
  31. Finding this a lot! Playing with a classic punk covers band at the moment. We are very good if I say so myself,wherever we play,we go down a storm,even with folk who think they don't like punk. I say punk,it's the lighter stuff,Undertones,Blondie,Ramones..pop really! Anyway,being semi retired,I have more time than most of the band to phone pubs,or facebook folk for gigs.I have manged to get a handful of decent pubs to take us on,but more or less the same after every gig,the original booker is no where to be seen,you phone during the week,they are not in,you get them on facebook,they promise to check their book,after another couple of goes,they say they are full to the end of the year,phone back in 3 months,or if they do offer something,it clashes with other gigs we have! I chased a certain gig up last year for weeks,managed to get hold of the person who claimed to book the bands,on facebook,they suggested I drop by t some point,I did and they seemed to forget who I was.I suspect the person on facebook was not actually who booked the bands...anyway,landed a date that suited the rest of the band,thats another story,getting folk to use the online calender,the gig is in 3 months....We do the gig in Feb of this year,go down a storm,the person who booked us,the owner of the pub is not in that night and I have to start over again with the phone calls and facebook messages,finaly get offered a gig,which we can't do,cause we are already playing,get offered one for this December,which we take. I know what will happen,as the whole thing will go on,with us being told,thats us booked up for the year,give us a phone next July.......flip!!!!
    2 points
  32. I have had this a lot recently. I know a couple of people who do 'original' music, and now look down their noses at cover bands. Unfortunately, their music is anything but original, it is just stuff that they have written, there is a big difference. You are sitting on an acoustic guitar bashing out C, F and G chords with the occasional little riff, you are really stretching the bounds of original. But then don't complain that the public don't have the imagination for original music, of course they do, its just not very good!
    2 points
  33. Just back from rehearsals, and the SB is a keeper (for now anyway). Just the right amount of tone change, and i was surprised that i used the Mid setting as well as the Fat setting. Nice warm break up, or nastier dirt with ease. I suppose its not the best out there, but much more versatile for me over the Mojomojo. Very happy.
    2 points
  34. The simple laws of physics suggest that trying to adjust the neck under tension is just wrong. The increased friction on the threads of the truss rod/nut under load for one thing, especially as they don't (usually!) get adjusted that often and are therefore probably a bit sticky. The less load on the threads, the more likely they will move easily (or at all) and so the less likely you are to round out the truss rod nut. The less load on the threads, the more easily they move, and easier it is to tweak the adjustment a fraction at a time. If you don't have the patience to slacken the strings and then re-tune after adjustment and then check the neck relief, fret buzz, action etc.and repeat as necessary you should probably just give the job to someone else. One thing worth a mention: Don't use cheap tools. Cheap Allen keys (or "wrenches") round off very easily: good quality ones ("Unbrako" or similar) are not that expensive and are a world apart form the cheapo variety. They fit the nut better, and don't twist so easily or lose their edges.
    2 points
  35. It worked out OK in the end, not perfect but a lot lot better, there was four of the things when I checked closely, this id what they looked like before the first dose of thinners but after cutting back along with my mini sanding block (an offcut from a nut ) I left them for most of the day to harden off and continued with other bits, fitting the hardware, making a nut setting the neck. I also fitted the Lull pickup, I have to admit to not opening the bag it was in until today and had a shock when I saw it, it was covered in some sort of thick stuff for want of an idea what it was. I can't imagine it was shipped from Mike's place like that, I assume it got there at the dealers. Thankfully it came off with white spirit At the end of the day I removed everything again and sorted out the repairs and reassembled it all again, soldered in the electrics and gave it a whirl, nice is what it was everything a T bird should be and more. I've still got a few jobs to do, the pickup isn't adjusting in height smoothly and I need to set the intonation and fine tune the bridge but that can wait for a week now for everything to settle down. I was surprised how little I needed to use the truss rod to get the relief low, the carbon rods give quite a bit of stiffness, I'm interested to see how it all is on the other ebony one as that has that super slim neck
    2 points
  36. Post it down to us we will sort. Also are you using speakon cables with genuine Neutrik connectors? Only reason to check is that we often find that generic speakon cables can have issues with the connections not connecting properly...
    2 points
  37. I am involved in a long and winding search for an elusive octave sound. It is probably that synthy, bouncy sound the OC-2 is famous for. I have reached the TC Subnup which is a fine pedal with poly and mono options and of course the Toneprint setting which allows much variation. But it doesn't quite do that thing, the thing I'm after. I noticed the Valeton OC-10 is the same price as the Subnup and I haven't tried it yet. Anyone want a trade?
    1 point
  38. Instead of scales, you need to be thinking chord tones as a primary way of playing over chord changes. Lots of scales (including the major scale) have what are called "avoid notes." These are notes you can't resolve your lines to. However, if you first think about the chord tones, you can resolve your lines over any chord tone. These are the basics from beginner to advanced.
    1 point
  39. Lush! Health to enjoy @ped!
    1 point
  40. You say "This is a 1969 Fender Precision Bass that is almost all original. The scratch plate is a new one and this could well be a refin" it might be worth getting a professional opinion on whether the finish is original or not as this will greatly effect the value of your bass GLWS
    1 point
  41. 1 point
  42. Tense moments replacing the volume and tone knobs on my VM 70's Jazz. No screw, so deciding whether to yank the things off was a real palm-sweater. Looks champion now.
    1 point
  43. Sorry yes still for sale! I really need to get on and sell now, no trades as I have just acquired a P-bass which will suit me fine. Location is Nr Dorchester, Dorset I will measure nut width later and get some more pictures up later today. Anyone wanting any more info let me know. Thanks TK 😎
    1 point
  44. So good to see you're at something outstanding Christine! And right, what else would you be at, of course. Always a treat to see your work.
    1 point
  45. I did a favour for some friends last month. They were stuck for a bass player for an unpaid charity gig. A festival in a field and several bands. The guys who set up the stage got paid, as did the sound guys, the stall holders made money, security got paid and maybe the guy who owned the field got paid. The musicians were the only ones working for free. I wonder why that was? Why would the musicians be the ones expected to work for nothing? Maybe we are the only ones gullible enough? Maybe it's because so many musicians don't realise what they do has value.
    1 point
  46. I'd hazard a guess that the most effective thing they can do is encourage musicians not to volunteer for it. The thing is, that although it's pretty s***ty of REMT to expect highly qualified musicians to play without receiving a fee, there's nothing illegal about it. Nobody's rounding up vagrant violinists or homeless harpists and forcing them to play; their participation would be entirely voluntary. In REMT's defence, it looks like they've been (reasonably) upfront about what they are willing and not willing to pay for - to be honest, getting your housing and food paid for is a step above what I've received for some gigs in the past! And nobody's being forced to do it against their will. There may well be some musicians who feel charitable towards the Tattoo and wish to do play it just for the fun of it. That's up to them. I hope there are not too many highly-qualified-but-very-naive musicians who hope that playing this event will help them tap into some treasure trove of more lucrative opportunities; unfortunately many of us only learn from making these mistakes in the first place. In any case, REMT aren't breaking any laws, which limits what action the MU can take from a legal standpoint. But, as I say, their attitude towards the musicians' livelihoods is pretty s***ty - hopefully it will deter a lot of suitably qualified musicians from volunteering their time for such an event, and if they come a-cropper and have to pay for appropriate musicians at short notice, perhaps that will teach them a lesson. So now we just have to hope for a shortage of applicants, the better that justice might prevail...
    1 point
  47. Episode 4 May 2019: Episode 4 contains a chat with bass player Jimmy Simms, who has played for Amy Macdonald, The Saturdays, Bryan Ferry, George Ezra and many many more. His touring and recording schedule is non-stop, and in this episode he talks with us about balancing work with family, being a gear nerd and accordion factories.
    1 point
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