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Showing content with the highest reputation on 29/08/19 in all areas
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7 points
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Blimey, once you start looking they turn up in all sorts of places!7 points
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The above replies are all good. Suppose someone hands you a chart. Your eyes see this: || G | G | G | G | | Gm | Gm | Gm | Gm | | Am7b5 | D7b9 | Bm7b5 | E7b9 | | Am | D7 | G | G || But your brain needs to think like this: || I | I | I | I | | i | i | i | i | | ii7b5 | V7b9 | iii7b5 | VI7b9 | | ii | V7 | I | I ||5 points
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4 points
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Nirvana - Bleach been a long time since I listened to Nirvana, Krist Novoselic’s playing had so much bearing on me when I was a kid. Love what he does. Anyhow, Iris is dancing around, so it must be cool.4 points
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Ernie Ball Musicman Caprice - £1125 (firm) plus £25 to ship Mainland UK, Or collect from Chorley Lancashire. No Trades. I need to thin the herd and raise cash. A lovely EBMM Caprice, the colour is Diamond Blue and comes complete with original MM Branded hard shell case. Discontinued now too I believe. Weight is 3.55 KG on my digital kitchen scales. Very Good overall condition with just one blemish as shown in the photographs which is on the underside of the bass near the output jack. EBMM'ss Blurb: The Caprice is a modern-vintage masterpiece. With an offset body similar to a J-style bass and 2 pickups that give you all the versatility you'd need for any style of music. You can blend between the 2 passive singlecoil pickups for a number of different sounds. Each pickup has it's own volume control and there's a master tone to control the overall brightness of the bass. The top-loading bridge is made of hardened steel and ensures that you get plenty of resonance from the strings against the bass guitars body. The Caprice's sleek design and comfortable neck design are par for the course for a Music Man and this bass would easily serve you on stage or in studio, night after night. Music Man Everybody knows Leo Fender started Fender - but did you know that after he sold Fender, he went on to create both Music Man & G&L Guitars? Well you do now! Music Man are based in the USA and make a stunning range of guitars & basses from both their US based custom shop, and also under licence in the far east. The most iconic Music Man instrument is probably the Stingray Bass, but in addition to this the Music Man Axis & Silhouette guitars have become extremely well known. With artists like Tony Levin, Steve Lukather, John Petrucci & Albert Lee (plus a lot more!) using Music Man guitars & basses, you'll be in good company should you choose to buy one of these! CAPRICE BASS SPECS : Body Wood Alder Body Finish High gloss polyester Bridge Vintage Music Man® top loaded chrome plated, steel bridge plate with vintage nickel plated hollow steel saddles Pickguard Shell (Heritage Tobacco Burst); Parchment (Diamond Blue); Black (Black); Mint (White) Scale Length 34" (86.4 cm) Neck Radius 7.5" (19.1 cm) Headstock Size 9" (22.9 cm) long Frets 21 - High profile, narrow width Neck Width 1-1/2" (38.1 mm) at nut, 2-1/2" (63.5 mm) at last fret Neck Wood Select maple neck Fingerboard Select maple or rosewood Fret Markers 5/16" Black or White dots Neck Finish Ultra-light satin polyurethane finish Neck Colors Natural aged yellow finish Tuning Machines Schaller BM, with tapered string posts Truss Rod Adjustable - no component or string removal Neck Attachment 5 bolts - perfect alignment with no shifting; Sculpted neck joint allows smooth access to higher frets Electronic Shielding Graphite acrylic resin coated body cavity and aluminum lined pickguard Controls 250kohm neck pickup volume, 250kohm bridge pickup volume, and tone - .1µF tone capacitor Pickups Music Man® inline humbucking; Music Man® offset humbucking3 points -
Good point....What about "Breezin'" by George Benson and "Summer Breeze" by The Isley Brothers both contain excellent solos....do they even get a mention?? (can't be rrrrsed to look)3 points
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I suspect those poor Planet Rock chaps think that guitar solos are only ever done by long-haired fellows playing in pretty standard late 60s/70s rock bands, plus those who later imitated them. So they would never have looked to funk or jazz for some serious widdle-fests; frinstance, they could have got some kudos by name-checking Mike Stern's solo on Miles Davis' "Fat Time". Or Mark Hicks and Danny Webster's guitar work on "Slide" by Slave... Never mind that anything ever done by David Fiucynzski makes Slash look like a beginner doing Smoke On't Watter in a music shop! Then there's "Maggot Brain"!3 points
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Four, if you include the intro and the outro. I know you already knew that, your's being the rhetorical observation of a seasoned professional and a respected commentator. But younger people might not know this and might in consequence venture into adulthood unprepared for the tsunami of opprobium that would break over their heads were they not to be cognisant of the 'four-ness' of Hendrix's Watchtower solos. It is for the benefit of our nation's smiling children that they be apprised of this grave matter; our knowledge is our legacy and it would be churlish to deny them this boon.3 points
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P, J, PJ and a fretless. You can only play one at a time (and nobody listening cares - we're bass players, remember 😉). .3 points
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All sorts of stuff going on there! +1 to getting at the very least an introductory lesson from a pro, learn how to stand, how to position yourself, etc. Learn to pluck before you think about learning to slap; these are two very different techniques and you'll confuse the hell out of yourself if you try both at the same time. Re-think every bass line. DB is NOT like a big electro-acoustic bass, it's a totally different animal. Play only in the first five positions to start, use lots of open strings, play half as many notes. In haste ...3 points
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You cross your heart and pray thanks to all deities whose names you can remember that, as a bassist, you only have to transpose the changes, and not the head of the tune.3 points
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As @Ed_S says, try it without the Sansamp. The classic P sound has that big low mid rich kick that sets it tonally apart from classic J and MM type sounds, but the Sansamp has a huge void in the mids that will be detracting from the classic Precision sound. A Precision through a Sansamp is a tried and tested sound that a lot of guys use but it's not the same as a P through a clean amp. Just don't scoop out those mids 😀3 points
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Yeah I was going to say gearslutz too but I’m not averse to trying a live sound forum and sales area if there’s a call for it.3 points
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I'm guessing this is a jazz thing or something as my answer would be 'never'. TBH, I have never been with a singer who knew what a key was, let alone that it had a flat or heaven forbid, a double flat! And my other thought would be if you are playing something in e♭ and they want it in d♭♭ can't you just move it down 3 frets or across 1 string and up 2, or a combination thereof or am I missing something obvious ? This is what I have always done.3 points
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Not need to run for cover, the other two will cut through no doubt, by it totally depends on what other instruments you play with and what your goals are. The P will ‘sit’ in the mix Fine and dandy, and you may need to EQ differently to what you are used to to pop through, whereas MM’s have a nasal honk and Preamp to rip through, and jazz has the bridge placement for bite (for want of better terms). The other question is - way out in audience land and not just on stage - how does/will it sound with a P once projected - it may not come into its own till you stand out there. Ate your ears more used to the Jazz/MM and hence a different sounding P is alien? Maybe you haven’t found the strings that suit you and the P bass best. No right or wrong, variations on what works3 points
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Right, the body is routed to shape and a bit of tidying up around the lower horn and I have this: The neck heel will have more wood glued on to make it thicker, but just to check my neck angle is correct, I put a 6mm mdf shim in the neck pocket then used a straight edge to check height at the bridge.... My plan said 7.8mm, so 8mm is pretty much spot on.3 points
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There is a solution...3 points
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Quite literally a pup cover3 points
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Just completed today. A reclaimed oak & mahogany 4 string through neck bass with a Rocklite fingerboard . Gotoh tuners Kent Armstrong PUs and pre/ Schaller bridge. Small offset body weighs in at a very well balanced 10 lbs . Made from rails of an oak door and all parts provided by members of Basschat many thanks. Gary2 points
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2 points
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The joy of plucking properly is that when your forefinger is blistered you can still play electric bass with the unblistered part in the normal way 🙂2 points
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I can't believe I missed "Leo got it right first time" from my cliche list! I particularly enjoy that P bass trope since his "first time" bass wasn't even a P bass.2 points
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I spent ages trying to work out how to get a neat 'join' where the fretboard, nut and headstock veneer meet. It's the sort of thing that drives me mad if it's not perfect. In the end I decided to sand the headstock 'veneer' (3mm of ebano and w/b/w veneers) like this, setting up the platform in front of the sanding disc at the same angle as the headstock, about 13 degrees. That meant when the headstock and nut meet, they're both vertical: I then glued the headstock veneer on, using my normal brad nail technique to stop it slipping around. I've started using these spring clamps more and more after I saw a B&G video that showed them using 20 of them to glue on a fretboard. They seem to provide plently of pressure but are really quick and easy to use. I'll be doing the same....2 points
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Did the felt. Didn’t glue on the bottom parts yet, but cut them so they are ready to go. From the front: Looking through the woofer hole: Looking up to the top left of the cabinet: And over to the right and up: As per Stevie, there’s no felt above the upper brace except on the left hand panel. The port and its surrounding area are to have no damping material. The felt needs sharp scissors, but once cut, can lose tufts easily. I treated it carefully. Once I can glue in the bottom bits, it will look like this: I need to buy the battens tomorrow, and get some scrap wood to practice painting on.2 points
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Not in Never Neverland2 points
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Had a ‘66 EB2D. Necks are prone to snapping at the headstock so check it. The Mudbucker pickup is powerful, the Baritone switch tames it down a bit and originally were a push button. Short scale of course and some of the necks were a bit dogish (is that a real word?) Whilst I got rid of mine I still have a hankering for one but the prices now are prohibitive.2 points
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Is there a guitar solo in that song? Whenever I hear it, I'm mesmorised by Jimi's playing of the bass. 😮 😍2 points
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I have three and was thinking of selling one. Clearly I should just be buying six instead.2 points
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Shuker Horn x 2 Shukerbird Dingwall ABZ Yamaha BB414 Michael Kelly Acoustic Aria ZZB project HB PB50 project Bitsa PB project Which equals...nine... This means something, I tells ya... 🙂 Although I have a new Shuker incoming in the next coupla months which will ruin the theory, but do I care? 😀2 points
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Yeh, I tried that back when I was calling my collection 9 (excluding the ones I didn't count). It doesn't work, turns out she can count2 points
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Not sure what is defined as super wide but for a non-leather option I've had a Levy's 3.25" Neoprene strap that was pretty comfy. https://www.levysleathers.com/product/guitar-strap-pm48np3-blk/2 points
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I've just bought a Gruvgear solo from BassDirect... Once you've sorted the slightly fiddley screw fixings it's incredibly comfy - no pain at all from my heavy Wal! And it's made of neoprene and plastic.2 points
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Learn how to pluck a double bass properly. DON'T pluck it the way you pluck an electric - your wrist will eventually get b*ggered. The fingering is also different. Hence the need to have at least one initial one-to-one lesson, so someone can actually grab your hands and place them in the correct position on the fingerboard and by the bridge, and show you the movements. The simple fact that you are interested in starting on double bass justifies the £40-50 you will spend, and will save you more than money in the long run.2 points
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2 points
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Double bass is a great journey! Check out Discover Double Bass online. Geoff is a member here and the resource is brilliant! I’d thoroughly recommend getting at least a couple of lessons from a pro. If you do things wrong with your technique you could hurt yourself. Which is never good.2 points
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The assembly originally came from a lap steel guitar and the cover was actually a pair of horseshoe pickups which also formed a wrist rest. In the 70s the horseshoe pickup was replaced, but the surround was retained. Rickenbacker teleased a subsequent model, the 4004, which had no surround, but customers kept buying the 4003. So, the reason it is so big is because that is what customers want!2 points
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Cobalts CAN sound like roundwounds that have lost some of their brightness, but they're very much a flatwound string and sound like one if you want it to. That's the strength of that string: it gives you a flats sound, and a bit extra should you want it. You can easily remove that extra brightness but you can't add it if it's not there. I found some other bright flats have the brightness but can be lacking a bit on the mids, sounding scooped. The cobalts seem to have everything I want there, so it's for me to remove anything I may not want in any given situation. Disclaimer: not associated with EB, I just liked those cobalt flats2 points
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It's an option and most builders would have no problem doing this - but I am personally rubbish at lining up such things Some builders actually rig up a false bridge and string up, then use a bone sliver to intonate on the strung up guitar to set where the saddle should be (a bit like a jazz guitarist would intonate with a floating bridge). But again, for me there are more possibilities to introduce errors than emininate them The secondary reason for the rig is that for Matt, the distance of the two E strings from the fretboard edges is critical - so the lining up of the string runs is as important that the position of the bridge. But...that lack of squareness might bug him. If so, there are a number of things I will be looking at: - first is double check that I got my jig right! - look at simply squaring up the external faces of the present bridge - get an unslotted bridge, slot it, check it's OK and then use the jig as originally planned - cut a perfect slot in a blank of wood, then cut the bridge from around it Of the above, squaring up the external faces is probably the most straightforward. All of this sort of thing is why this is such a great hobby. I've said before that building an acoustic is "a series of compromises held together by hope" Watch this space - more than enough opportunities for me to c**k it up yet!2 points
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Incidentally, I've a Rickenberger project on the go..2 points
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....for the most part..... I use the smaller rig more often than not 😊... 🤖🍌👻🌚👽2 points
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The wait... is almost over! I got today The Email. Production according to plan, I should be able to have it in my hands in a couple of weeks!2 points
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Being able to make a living ( owning a home, a car, support a family and save money) from playing in a rock band is like winning the lottery. Out of all the guys I grew up playing music with only two made it. Al Anderson guitar Bob Marley and The Wailers. Al left for London with a one way ticket right after High School 1972. Chuck Burgi , drums Billy Joel . Chuck also left for London after High School and landed ajob with Brand X. Both are in their late 60s and currently on tour. Blue2 points
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In other words, you are thinking not in terms of literal chord letters, but instead the function of each chord and how it relates to the home key. That's the trickiest bit. The rest is then applying those changes in the singer's key. For the example above: the first line is just four bars of the root chord; the last line is just a 2-5-1; etc. In fact, I think like this even if I'm not transposing.2 points
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Mine is an Ibanez Talman TMB100M. It weighs exactly 8lbs and balances comfortably on a strap. The fitting and finish is of a very high standard. The frets are level with no sharp ends. I have a low action without buzzing or rattles. I think it could go a little lower but I'm happy where it is. I haven't needed to adjust the truss rod, having only lowered the bridge saddles by two turns. The hardware is doing its job as well as on any other bass I own although the tuners don't feel as refined as on more expensive basses - they work perfectly well though. The pickups are rich and powerful and the active preamp needs tiny adjustments to be very effective. This Talman range is fantastic value for the little money they cost. I recommend them wholeheartedly. Frank.2 points
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2 points
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2 points
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It's an acoustic - so it needs yet another jig made Fitting the bridge. Always an area needing accuracy - but particularly with an acoustic where, basically, once it's on it's on. Intonation adjustment is limited to the 1mm difference you can make filing the bone saddle angled towards the back or towards the front. So it has to be right. I use the Stewmac fret calculator app to give me the nut to saddle distances for top E and bottom E, but a steel rule isn't really accurate enough to measure the distances AND get the sideways positioning right. So last night, while watching the box, I made this from some maple binding strip: This is eminently possible to get the measurements right with a long steel rule. Then, the bottom cross-member hooks over the nut end of the fretboard and the top cross member fits into the bridge saddle-slot: I line the jig up to give an even distance between the fretboard edges bass and treble... ...and the bridge should now be in exactly the right position. Fingers crossed2 points
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Instrumentals?2 points
