Leaderboard

I returned today, to one of my old, favoured bass places, Promenade Music in Morecambe. Used to go there every few weeks but hadn't been for 2 years. Anyway, Gary's still working there and is a great bloke for loads of friendly, knowledgable chat and a cup of tea. Had a hankering for another 4-stringer and after some discussion, we more or less narrowed it down to 3 basses. A Marleaux Consat Custom 4 (used), a Fender Flea Signature Active Jazz Bass, in Satin Inca Silver and a Musicman Stingray Special, in Chopper Blue. The Marleaux is a superb bass, with a classy, hand made feel and quality woods. The only part that didn't impress me was the pre amp, it just didn't seem to deliver, to my ears. I was a bit dubious about the Flea Jazz but I have to say, I think it is a great bass. I reckon Flea told Fender to take a JB and make as much like a Stingray as they could. And they've done a bloody good job, IMO. Very solid and resonant, really well built and a rather good pickup. The only changes I'd make would be a 3 band EQ, instead of 2 and a slightly wider string spacing at the bridge end. I would have been very happy to bring it home with me but as the title suggests, the winner was the Stingray Special. Now I already have a standard 2014, EBMM Stingray, with a single HB and 3 EQ, that I reckon is great. So why get this as well, other than the usual excuse of permanent GAS? To me, there enough differences between the 2 Stingrays to give enough of a different playing experience. The Special has a slightly different pickup, with Neodymium magnets and an 18 volt pre amp, to deliver even more bassy goodness. The gorgeous, roasted maple neck feels a tad narrower, with slightly more rounding off, of the rosewood fingerboard's edges and lovely stainless steel frets. The tuners are definitely nicer, with a more 3D ergonomic, comfy feel to them and the body is rounded at the neck heel to improve one's upper fret playing experience. Also, overall the bass is a little lighter. So does all this make the Special better than my old Stingray? Probably yes but I do so enjoy my older model, it's not going to be left on it's stand. I really like the Chopper Blue coloured body, with the pearloid white pickguard, black pickup and chrome hardware. This is a pretty bass and definitely feels like it's got all the iconic, classic aspects you have to have in a Stingray. Yet it's subtle improvements feel like a natural evolution, with no revolution needed, thankyou. I'd test driven this beauty through a rig very similar to my own and so am looking forward to the next band rehearsal. Specifications: Model: StingRay Special Size: 13-1/2" wide, 1-5/8" thick, 44-7/8" long (34.3 cm wide, 4.1 cm thick, 114.0 cm long) Body Wood: Select Hardwoods Body Finish: High gloss polyester Bridge: Vintage Music Man® top loaded chrome plated, steel bridge plate with vintage nickel plated steel saddles Scale Length: 34" (86.4 cm) Neck Radius: 11" (27.9 cm) Headstock Size: Only 8-3/4" (22.2 cm) long Frets: 22 - High profile, wide, Stainless Steel Neck Width: 1-5/8" (41.3 mm) at nut 2-1/2" (63.5 mm) at last fret Neck Wood: Select roasted maple neck Fingerboard: Fretted - Rosewood Neck Finish: Gunstock oil and hand-rubbed special wax blend Neck Colors: Standard – Natural with finished headstock Tuning Machines: Custom Music Man, lightweight with tapered string posts and ergonomic clover design Truss Rod: Adjustable wheel - 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: black plated aluminum control cover Controls: 3-band active preamp with 18 volts of headroom; vol, treble, mid, bass Pickups: Standard - Single Humbucking with Neodymium magnets.

Its going to be 1972 everywhere in the UK by the time he gets here

I thought this was another 'show us your rig' thread......😇

Basically, doffing one's kecks and flaunting one's trouser trout is something that a tiny minority of male singer / front-men were wont to do back in the late 60's - early '70s. Indeed, among big-name performers I can think only of Mr Mr Pop and Mr Jim Morrison who embraced this approach, though lesser or local luminaries will doubtless have followed suit in homage or in imitation. (As an aside, it should be noted that Mr Fee Waybill of The Tubes was accustomed to wear a fake penis, this peeping coyly from his shorts). We should remember that the 1960's was a decade where going 'sky-clad' was very much a thing among young people, in part because to do so symbolised a rejection of bourgeois values. Nowadays, of course, young radicals never take their clothes off, for fear of triggering other young people. Indeed, it would seem that today's adolescents and young adults consider sexual intercourse to be a hate crime. But I digress. Going butt-nekkid in front of an audience is something that almost never happens these days and in olden times it was pretty much only the singer who did it*. Back then the rest of the band customarily remained fully clothed (though I am open to correction) possibly for aesthetic reasons though - more likely - to accentuate the singer's nudity. Nobody attended a Doors or a Stooges concert in the hope that Ray Manzarek or James Williamson would haul his winkle out and in the event that other band-members had brogged off I would have expected both Mr Pop and The Lizard King to have given them a swift punch up the throat. To be honest, most audiences today would be surprised if the singer took off his clothes but bewildered if the bass player did so. 'Why has the chap with the big guitar dropped his strides?' they'd cry. 'It just doesn't make any sense'. * Apart from the dancer Stacia out of Hawkwind

And finally ready to return: Machine heads refitted and nut lowered ( @Sibob may want to tweak them when he resets it but it is at a level where those tweaks should be pretty minor). Because the nut / nut slot is lower, I've chiselled a dropaway angle behind it to ensure the strings have a clear run to the machine heads: It'll be in Monday's post back to @Sibob . No doubt we'll all find out if it's done the trick or not soon

A few bands ago, in a trio-plus-vocalist, I was teamed with a very good drummer who was also very inventive. We did "Sultans of Swing" - the original, of course, has keys and a second guitar as well as the lead guitar. After we'd rehearsed it a few times, rather than upping things when the first solo came round, the drummer dropped back. I realised what he was doing and followed him, so we were really underplaying below the first solo which suddenly didn't sound empty. The second solo got full tilt boogie which worked well, but probably wouldn't have without that alternative dynamic on the first one. It wouldn't work on a guitar solo using searing distortion, but fitted nicely with the slightly overdriven Knofler tone.

A conflict of interest will occur sometime in the future, it’s what happens when musicians play in more than one band.

Just listening to Lemon Jelly’s excellent album Lost Horizons for the first time in many years, so good. Several tracks are joyous, not an epithet I can attribute to much music I listen to...

I did a few dep gigs for a blues singer a few years ago. He was well into his 50s, short and very overweight. Imagine my horror when halfway through the encore, he appeared from the rear of the stage totally nude. Not a pretty sight, though surprisingly, the ladies in the audience loved it.

You make an excellent point, Mr W. I am sure that various bass players have disrobed before an audience. It's just that advancing years have taken their toll and I can't remember much before last Tuesday.

I've seen the Chilli Peppers during their only a sock phase... I've also played a gig in naught but a codpiece fashioned from a heavy duty rubber glove... But the band that does much more than take the biscuit is Rockbitch. I've never seen a few thousand bikers, patch club members and Hell's Angels look so scared!

Let’s not forget the young lady who used to dance in the buff at old Hawkwind gigs. Her name was Stacia.

I've learned loads of songs over the last six months. I find Ultimate guitar easy because it allows you to quickly change between versions (some songs have eight or more tabs, they can't ALL be right). There are several types, the best are pretty accurate and give an idea of the rhythm. Some just give you little more than a set of riffs and a few are people 'interpretation'. Many have minor mistakes, most have bad fingering choices, and a proportion are just totally wrong. At the moment we are trying to build a setlist of about 40 songs, so lots of playing songs on YouTube and trying to sight read the tab (it can be done and makes me even more convinced I'm dyslexic when it come to the dots!) The worst songs are the really complex ones that don't have a clear bass-melody to stick in your head. For complex ones I find Troy's bass covers on youtube are good: https://www.youtube.com/channel/UCQPqVw7y59QuPZdQ6QkuXKQ You can slow down 50% and play along to the sub-bass to learn hard bits 🙂 I find there are two separate things to learn, which rarely go at the same speed: learning the technical bits and learning the song, ideally you want to be good enough so that if dropped in at a random point you can join in quickly (i.e. if you get lost playing with others you can recover and make it seem like you put in a jazzy little fill...)

Last year my girlfriend gave me a rather fetching pair of tiger skin pants as a joke present. I play guitar in a glam punk band and wear a tiger skin suit. She dared me to wear them for a gig, not being able to resist a challenge I went for it. I'd also taken to running to keep fit and the thought of my impending exposure made me keep to my exercise regime in order to look my best. At the gig I played most of the set fully clothed and when the singer and I left the stage to change for the encore I stripped to my underpants and walked back on stage to shocked gasps (and some laughter) from the audience. The encore was only two songs but when almost naked it did seem to last an eternity and once I'd smashed my guitar (it's a special one that I can smash and rebuild) I felt very exposed. I can't say I would do it again but it's certainly something I can tell the grandchildren.

A number of the Phil Jones amps are dual input. A cheaper option which may be "good enough" could be to use a decent 2 channel mixer in front of the amp to save yourself the cost of a new rig?

I’m thinking of tasking @Jabba_the_gut to build his basses with a tit chamfer, I’m sure it would be a money spinner.

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I don't mind either way though if I was ordering my dream fretless I'd probably have lines at the edges only, Alain Caron style. Overall, my preference is for lines as I like them for a very quick visual reference though I can do without. My first fretless was unlined. A large part of the game for me is the feel of each fretless bass. Even on a lined bass, you'll soon play without even really considering the lines as your innate sense of muscle memory and intonation takes over. Once your hands are 'tuned in', you're ready to motor. I certainly don't subscribe to the stuffy attitude that unlined is superior despite having first learned that way (I even had a lovely unlined fretless Alembic Epic years ago). Gary Willis plays with lines and I've never met an internet critic that could play like he does.

Another reason to play flats ...

So right. When we started out the drummer was in another band. We got a great offer to support a well known band, playing early. But he had a gig with his covers band the same evening. Now we would have been on at 7:30 - 8, his covers band would have started at 9:30. It was a 30min drive between venues. But the other band refused to set everything up, saying they all needed to be there for that, so we didn’t get to do the gig. Now there is the argument that he was in the covers band long before we formed, so in reality it was us diluting the covers band, and not long after he did leave as he couldn’t stay in 2 regular gigging bands full time.

What would be amazing is five toneprints. Any you want, any combination. Swoon.

Hope I love them. Never had one and there’s one incoming! 😆

Also, Lionize - who are protege's of Clutch - have a new album coming out soon with Jean-Paul Gaster on drums. If I could play with any drummer it'd be him - he's such an expressive player, with so much groove

It's a less sophisticated unit than the FI that lets a bassist, who doesn't want to have to spend hours and days deep diving into PC editing, get some very usable sounds quickly. Where the FI wins: overall more capable and more tweak-able synth engine midi enabled ability to provide 99 presets Where the SY-1 wins: flawless tracking all the way down to a low B (and not requiring a staccato / muted style to avoid glitching) immediacy of dials (no need for an app/midi/PC) to access some great synth sounds £175 vs £329 (new) arpeggiator polyphonic straightforward parallel loop capability ability to use an expression pedal smaller footprint So for me it was a no-brainer in going for the SY-1, which I'm loving, and I'm not missing my FI at all. For others, the pros / cons may push them to getting an FI.

I loaned the little vtbass to a mate who has a full ampeg rig, complete with 8x10 fridge. His response was “it rocks!”. I will take that as a vote of approval.

Don’t forget the dressing up in a French maid’s outfit with roller skates...

From what I can see, at £500 it makes you significantly poorer, but marginally taller.

I've accidentally ended up with a new rig this week. I've been looking for a backup for my Hiwatt DR103, but haven't found another for less than £1500! an idle look at ebay came up with a hand built point to point wired clone at a fifth of that price...... in Portugal. the seller had put up some youtube footage of the amp in action, so I took the plunge... mine was the only bid, and it turned up on Tuesday. meanwhile, Stealth had put up 'The Beast' , his Ashdown 8x10 up for sale on Basschat. I really shouldn't have, but I bought that too. Here's the old and the new n an A/B test. Probably a bit much for a 12x12 foot room!

Love King Hobo. And Kamchatka.

Awesome, great place, reasonable stage, but the onstage sound was perfect, awesome monitors, lighting not so great but that's a matter of preference. Most importantly very cheap local Ale! Enjoy dude it's a cool place

@razor5cl - you mentioned you'd tried a 735A at a store, was that the main Yammy store in central London? I'm guessing you're still loving it compared to your Ibby Talman, although I have to 'fess to being a big Ibby fan, particularly of their SR Premium range. @TRBboy - the only caveat about the Yammy store is that they just have a couple of pretty basic combos to play through and there is the whole noise and buzz of other folk in a music store. So IMO it will give you just a taster of tonal palette, but you if you take your usual strap you can at least assess how they feel to wear and how comfortable the necks are to play etc. My BB 1025 is very noticeably better than it sounded in the store, so whatever you're hearing in the store you should treat as a kind a base case!

I had the hh ic 100 s ,which is pictured above , but I still have a hh vs amp what I use to play my iPad through and it’s still going strong 😁

Called in at the venue last night but the music had either ended or they hadn't turned up, we were a bit late getting there . Smallish room, so acoustic is entirely feasible. Totally transformed from the sh!thole it was in my youth it's now quite nice with most folk seated. Supposed to be a rocknroll outfit playing tonight and Blues tomorrow so will try again. Got my first pedals set up and working; Vox, Wah and Line 6, Tremelo. Banned from messing around with the Wah at the weekend until I've got the hang of it. Will be interested to see how the Uke bass sounds through them.

Like many “this bass is this or that” threads to me it seems we are overlooking what actually makes up a large portion of your sound, your fingers and where you hit the string. Whatever bass I play, it will always sound like me and any 1 pickup bass (be it a P or Ray) has many different sounds in it by changing your technique.

*My dream is to play anywhere in the UK. Wish I were on better terms with my ex-wife she lives a little North of London. One thing, from all I heard from you guys , on average you have to drive a lot further to gigs than me. Blue *If I ever make it across the pond , I hope it's 1972 when I get there.

Gary forgot to mention that you need to bring chocolate for everybody and you have to get the first round in ...😉😉

The nearest thing I got to play bass was back in the late 90s when my old Who mate the Ox (John Entwistle) and his then girlfriend Lisa Pritchett-Johnson (who used to go out with Joe Walsh) rented out Kilsheelin House in Clonmel, County Tipperary in Ireland. With characteristic aplomb John immediately christened the place 'Castle Ox'. He had retreated there with our sound engineer Bob Pridden to start writing his book on Keith Moon....a book which Pete had said that if John had lived to a hundred he would still never quite finish. I had amassed a huge amount of facts and anecdotal evidence on Moon and the Who for my co-authored book The Who Concert File. John had been a great help to me taking landline calls from dodgy street corner phone boxes in Cork to his splendid residence at Quarwood. So, we're in Clonmel....'Castle Ox'...we're going out on the fosters...and characteristically John has found it necessary to include among his vast overspill of luggage for a month's stay...three or four bass guitars! One of which is delicately leaning against the wall of the great hall in 'Castle Ox'. It's like a woman undressed or a grand piano with the lid open...I can't resist it. The bass is strapless. I pick it up and clumsily try to find the riff for my song Happy Jack. John stared at me and said in a threatening tone..'Jack, drop that bass and you'll be paying for it for the rest of your working life..' I leaned the 1963 Fender Precision back against the wall with applied delicacy and looked back at it lovingly as we exited the grand hall and headed for a country pub. Lisa was driving. John didn't know how to.

Any musician worth his salt and with time on his hands is often in more than one band. Just remember the rule re: booking clashes.... "First in the diary".

I'll be quitting this band. I've been in this situation too many times and my patience is too thin to put up with it. The kicker last night was they couldn't even play the songs they'd supposed to have learnt for last week, let alone the ones for this. The basses will be going back in their cases and will, at some stage, probably be seen in the for sale forum. This year was the first year in the last +10 years where I wasn't in a band, and it's been a good year. I've spent a lot of time fishing with a mate of mine and taking my kids. Last Saturday I took my eldest fishing, I loved every second, we had a belting day. I've not felt like that in a band,not that I can remember. So...day off Tuesday, weather looks good, I'll be getting the rods out, NOT learning songs.

I prefer the sound of a 6x10” to a 8x10”, it’s just a bit less ‘rumbly’.

Best of all worlds, Ibanez SRC6, more addictive than crack.