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Showing content with the highest reputation on 23/10/19 in all areas
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Just bought an ACG Recurve Custom from @Bigwan of this parish. And it's the absolute business! I can see why there's so much raving about them... It does just about everything my Wal does, but is lighter and possibly even easier to play. So do I sell the Sandberg Bassic or Parker PB51?7 points
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To help out with the upcoming gig booking season, my band booked in at Unit 26 Studios in Trafford Park near Manchester for a 'recorded rehearsal'. 3 songs, recorded live, warts and all, with a multi camera setup in a 2 hour slot. First hour was setup and warm up, second hour was 2 takes of each song. Then mixed down, edited and sent to us 2 weeks later all for £150. We're very happy with the results. As a pub covers band paying for a full showreel was a bit much so this was a nice in between solution. I'd absolutely recommend the studio. For those who are interested, the bass rig was all bought from the sale boards on here: Stingray Stealth 5H - via @derek Handbox R400 - via @TPJ Barefaced Two-10 - I forget who from and can't find the PMs about it. Here's one of the vids, would be interested in your thoughts. Cheers!5 points
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I'm sure you're all aware of "One step beyond" syndrome by where anybody in the audience who doesn't dance, is over 50 years old and usually has a career as a QC, a surgeon or chartered accountant suddenly starts strutting around the floor and throwing upper-cuts at the air. Well, as a special request, we busked "I wanna be like you" a little while back. Singer only knew a few of the lyrics and we guessed a key (Em) to have a go. BLIMEY, I can only recommend that if your band is up for a little fun, get this in the set list. They go crazy. They sing along and, we've even had 50 people trying to dance like apes. We rocked it up a little as the guitarist had heard a version by Fall out boy which really moves. Highly recommended at the end of the evening or if you have a lackluster audience and need some response.4 points
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Norman Watt-Roy. Went to see Wilko Johnson in Portsmouth years ago and ended up stood in front of Norman for the whole gig. He was just mesmerising and had this awesome sound. I was a guitarist up until then, so I went out and bought a bass and started to learn it. Now I play Bass in a couple of bands and rarely play guitar.4 points
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There are several things the young me could blame on Suzi Quatro!4 points
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Suzi Quatro and her leather jump suits on TOTP in the 70's. It's all her fault!!4 points
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And there you have it. The electronics aren't done yet because I lost the tone cap I was going to use, but other than that it's pretty much done. I cracked the scratchplate (again) but it's not that noticeable. I'll make (yet) another one when I can be bothered, but it's a minor quibble for now. The thing I'm happiest about is the balance. It sits perfectly - not a hint of neck dive!3 points
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Bit of progress today. First of all, I got the frets in. This is a always a bit nerve wracking. I press them in and the little buggers occasionally decide to jump around, gouging the top and leaving me in paroxysms of anger. Not this time though, oh no. Lovely well behaved frets. I'm using Evo gold, which look nice against the black ebony background that MOP dots... Unlike most builders, I fly in the face of convention and sometimes don't glue in the frets. I've never had one come loose, maybe because I use a radial arm saw (and a stewmac blade) to cut the slots so they are a very consistent size. These ones went in very smoothly, tight but no issues, so they're going to be glueless. As I go I check each one is seated properly (meaning I can't get the thinnest fealer guage underneath; 0.038mm), and when sighting down there's a consistent look to them... I then cut the frets back as close to the side of the neck as possible before starting filing them flush. This. takes. forever. Even with a diamond file. And gives me tennis elbow, so I've only done half of it. Photo to follow tomorrow once I've done the other half. Looks lush though😁 Also today I finished the binding the f holes. I didn't find it easy at all. I always think guitar building is all about process, getting an order of jobs down that causes the least amount of aggravation. I can plainly state now that I will NEVER do f hole binding again on a guitar that has already had the top glued on. Having said that, it has turned out rather nice, even if not perfect - there are some gaps at the sharp pointy ends that need to be filled, but that's what epoxy is for, right? I'm now officially looking foward to introducing the body to the neck😎 Edit: forgot to mention, that my technique for bending the binding (which in reality is just thin strips of constructional veneer) was just to soak them in water for a minute or two, then bend them by hand around a drill bit that was approximately the right size. No heat, just water. I found the key was not to soak it for too long. The ones I left overnight immediately split.3 points
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ANYBODY buying this before I get the funds together, will get a visit in the small hours, with a shaped piece of finest willow!😡😂3 points -
Getting past the fact that it's a Fender video - there's some great insight about Paul Simonon himself here: 👍3 points
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Have a listen to the few clips of Father Christmas playing through the pedal scattered through this thread. Steve Harris sounds like none of those. Hope this helps.3 points
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Nice Hohner 'The Jack'. I always fancied one of these back in the day but never quite got on with headless basses at the time. Mind you, in respect of strings on a fretless, I have to say I've mainly always used rounds on my various fretlesses (apart from the EUB). I've tried flats in the past but just found the sound a little too 'dull' or 'muffled' for my own taste/style. In fact, at the recent South-East Bass Bash -- to quote @BreadBin -- we both agreed that "...moves should be made to start the Fretless Deviants register for all of us round wound users..."3 points
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I wasn't thinking about him then, just trying to construct a sentence without spilling my wine.3 points
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I’ve been mulling this over for ages now but as I’ve now retired from gigging I’m going to free up some space, win some brownie points and free up some cash for a desktop amp of some variety. So up for sale (or possible trade for something with 4 strings) is my Trace Elliot Twin Valve combo with a rather under estimated ”Trace Elliot” 115 watts RMS with a GP7 graphic Eq and 1 x 15 speaker combo. It dates from the late 80s / early 90s and is in really good condition. It also benefits from a recent re-valve and service by Tech to the stars Dave Lunt who replaced the old valves with a really expensive matched pair (GEC equivalents if I remember but I’ll have to check the make. The valves alone were in his stock - and he has some stock - and he let me have them for £175 which was way way under valued). I have the receipt from Dave’s service. I’ll also include the old valves (wherever they are) although one of them is a little rattly which is why they were replaced. I’ve had the combo for about 2 years and had the intention of returning to gigging but I’ve accepted that it’s not going to happen. If I was going to gig, I’d use this as the sound is stunning. The watts of 115 are Trace Elliot watts and are valve watts so it comfortably rattles the windows. It also runs at 8 ohms standard but can run at 4 ohms so you could add a 2 x 10 for a truly trouser flapping rig. I’d love to keep it but it’s wasted in my office. Needless to say it’s not been gigged by me and judging on overall condition I’d say it hasn’t been gigged a lot. It’s got the original speaker which still sounds perfect. I had previously been an Eden stalwart but always felt that there was some depth and resonance missing despite their amps being so lively and wonderfully hi-fi. When I got this Trace I realised that this has the resonance and depth that I was missing. Maybe it’s that valve sound or maybe it’s classic Trace engineering but either way it really is a fantastic sound. Anyway, I’m in Chester and will drive up to 75 miles to deliver, swap or trade. Trade wise I’d consider any Fender 4 string. I could even add a little cash for a USA Fender. I’d prefer not to courier as it’s valvey but may courier it within the UK. It will be very pricey though as it would be insured. Dimensions are a compact 33cm x 48cm x 65cm. The weight belies the compact cab at 30+ kg. Here’s a summary of the features. Features: Front: Active / passive inputs. Input gain dial & overload indicator, pre-shape EQ button, an in/out button for the graphic EQ and the 7 band Eq faders. Jack sockets on the right are FX loop send / return, Line in / out and a head-phone socket. Lastly are master volume and standby switch on the far right of the panel (speaker on/ off switch). Rear: Rocker switch for 4 or 8 ohm load with two outputs - XLR and 1/4” jack. On / off switch. Thanks for looking.2 points -
Some years ago I was in a guitar shop where a young lad was explaining to his Obviously Very Well-Heeled Father that the Marshall DSL full-stack on display was the ideal home practice amp. To his eternal credit, the salesman tried to dissuade OVWHF from this course of action, suggesting a smaller and less expensive option. 'No, if that's what he wants then that's what he'll have,' harrumphed OVWHF, oblivious to the hideous fate that awaited him.2 points
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My middle daughter (average height, arm length etc) started out at 7 with a 3/4 size Squier Strat. It was the perfect introduction for her. We did spend quite a bit getting it fettled so it stayed in tune. Once she'd had it for a couple of years, was regularly playing & serious about it, she invested her pocket money in a full size USA Strat deluxe plus when she was 9. She plays in a band with other (much older teens) now, and has even taken up bass (now 10 she manages a full size 4h Stingray). She picks up an acoustic now and then, but her tutor teaches her the RGT syllabus for Electric. You need to make it fun for them, find a teacher that your kid can gel with & by the time they are in their mid teens they'll be the coolest kid in the school. If your kid does take up electric, invest in some good ear protection too.2 points
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And yet people here still claim they can't play a Precision because they've got small hands2 points
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I'll miss your dulcet tones. Good luck with the sessions.2 points
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Looks rather jerry built to me.2 points
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My previously listed MG fretless has flats on it, and I'm not really fully bonded with it. I'm not sure if the flats are the reason. I didn't put the LaBella flats back on the Hohner because while they are the only double ball end flats I could find, I wan't impressed with the quality. I have a precision Warmoth fretless neck in the post (due Friday), but I already have a set of pyramid flats for it. I'm wondering if I shoudln"t get a set of Ernie Ball Slinky's to put on her first. I have flats on all my fretted basses except one, and that's because I was too lazy to change them. I don't want to open the set of pyramid flats unless I'm sure... They are quite pricey on this side of the pond. And if I don't use them I will have to buy another bass to go with them.2 points
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I started with a BassState B150 and I have fond memories of not only the excellent sound, but also the complacent attitude I took to gear. I owned one amp and it was heavy, but it was my amp so I had no choice but to grab it by the fingertips and climb those 3 flights of stairs!! Now, I'd need yet another amp set up, or maybe a suitable dolly, or maybe.....2 points
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In The City another one from The Jam, so may not be a simple riff but the intro, alongside Weller's guitar, is so direct and grabs your attention - the first bars of their first single, the promise of so much more to follow. From the same era how about Too Much Too Young by The Specials? The album version, particularly, with Terry Hall singing at the end about 'Beans on toast for tea' just supported by Horace Gentleman's grooves.2 points
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2 points
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For sale is this bitza Fretless Jazz Bass. The body is 70's Columbus with original pu's etc all working ok. It's had a few knocks and bangs over the years so would make a great relic project J Bass. Scratchplate has been badly cut around control plate. Another bridge fitted as the old one was seized up. The Rosewood fingerboard neck is from a later 90's? Hohner Precision Fretless Bass. Plays well and sounds great, currently with flats, and a cheap Bass for trying out Fretless. I can throw in a cheap soft case. Collection from Poole or can courier at cost. No trades please. Thanks.2 points -
Actually it was Skank that hinted at it. All I did was confirm that it would be a valid way to go in certain circumstances. On a slightly more serious note, and just to be tediously repetitive for the hell of it... Chords on an electro-acoustic is only one of a number of ways the topic can be approached. If, for example, the young lad goes through a course at school, he'll most likely use something like 'The Guitarist's Way' series as mentioned above. If he does that then he won't be seeing any chords for a good while as it focuses on learning the notes and where to find them on the fretboard using standard music notation (so he'll be learning to read music as well as learning to play the guitar). Not classical as such, but definitely more compatible with the classical approach than the song-based, chord-based approach that many Basschatters will be familiar with, and very likely to require a nylon strung 1/2 size classical guitar. As I hinted though, not everybody wants to do it that way so knowing what sort of music and what sort of approach is anticipated has consequences for the choice of instrument (among other things). This in turn means that these kind of questions are important to ask (for me at least) before suggesting an instrument. Boring I know, but it's something I'd make a point of clarifying as much as I reasonably can with the parent of a new student at the first point of contact. In primary schools it's normally a routine procedure since most of it is laid down by the local music service (or at least it was where I worked). For private home-based tuition it's more of an issue that needs to be explicitly covered. This is just the way I'd do it and the OP is under no obligation to take any notice of it. Since I no longer teach there's nothing I have to gain or lose by offering the advice so I'm happy to give it freely.2 points
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I think foam under the strings might still produce a bit of noise unless the foam is REALLY thick or solid. Worth a try though!2 points
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For me as a 12-year-old metal fan back in 1986, it was Steve Harris and Gene Simmons at first, followed by Duff McKagan, and Tom Hamilton of Aerosmith. Started off playing finger-style (thanks to watching Maiden videos) but then got into using a pick too thanks to Kiss and G'n'R. Still use both, and still trying to be as cool as any of them....2 points
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2 points
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You could maybe cut some slots in a fairly firm piece of foam and push it over the unused strings, similar to this but on the top 🙂2 points
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That's one possibility, certainly.2 points
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Hopeless with favourites, but here are three that I highly recommend. The first I only just discovered and is super obscure, I don't know if it's available anywhere except youtube but needs a shout as its rare gold - From - Power On! (German psych-era Miles meets Neu meets Mahavishnu) Kompost 3 - Epigenesis (Incredible Austrian hip new-wave jazz) Kamchatka - Volume II (Swedish power trio , a perfect album)2 points
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So basically you're saying that a half-size steel-string acoustic is the way to go. God, it's like pulling teeth2 points
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That is what I have, although it was a lot cheaper than £200, and the frets are fine. It has the two battery compartments even though 1 was wired, and it was also wired wrong, so it didn't disconnect the battery when you unplugged it! But to be honest, it plays fine, I have gigged it.2 points
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You can either fit a rack shelf to the rear rails or just wedge a block of scrap wood between the bottom of the amp and the rack floor.2 points
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Cheers gents, appreciate the comments. The bass sound came out with more mid and treble than I'd usually dial in, but I like it a lot. @Beedster Our singer was really struggling that day, lots of coughing between takes etc. She did a fab job of covering it up but her power at either end of the range was down a bit which affected her ability to really go for it. And then we made her do this:2 points
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I was at that one too.. Small world!2 points
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Paul Simonon, Sting and the 2-Tone guys like Mark Bedford, Horace Panter and David Steele. I was ten in 1979, just getting into music and I thought all of them were great. Still do.2 points
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I’ll have a P please Bob 😁2 points
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Off-Topic is staging a hostile take-over of General Discussion. Insurgent forces have seized control of government buildings and the TV station. Remain calm and stay in your homes. Further communiqués will follow. PFLOT (Popular Front for the Liberation of Off-Topic)2 points
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+1 A Precision is a one trick pony. The magic is that the trick encompasses everything from James Jamerson to JJ Burnell.2 points
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I think G&L have always been a bit obscure and niche, possibly from lack of big-name players as you suggest, and less marketing than the big names. I believe they were difficult to get hold of in the UK for a while with distributor problems. It will be intersesting to see how they fare now with being exclusively sold by Andertons (and 2 other shops I think). There's always comments and views about them being 'the authentic/true (Leo)Fenders' versus 'not a proper Fender(Musical Inst Corp)'. I think there is plenty of room for both to exist alongside each other. The other thing that seems to put people off is the teat on the headstock; it's not something that I really notice but each to their own (not all of the Leo-era instruments had this actually). The 3-bolt tilt neck may still be seen by some as a point against them, this is from association with Fender's poor implementation of this in the 70's - it was actually Fender's poor workmanship and construction that was the problem, not the 3-bolt neck per se. G&L's used 3-bolts until 1996 with no problem, only changing because of the hangover from the poor 70's Fenders. Look at the classic model that @Jadenacre has advertised, 30+ years old, still great. For those who do take to them, they are great instruments and very good value. I have 2 from Leo's era, a 1987 ASAT and an 1987 SC-3 (marketed at the time as a student or beginner guitar, it has a beautiful ebony fretboard - imagine that now). I also have a 92 Legacy, this still has a lot of the features from the Leo era but over the years, BBE (the new owners) standardised the production and removed some of the little touches and quirks, although making a consistent and still very good product. e.g. the bass that @bloke_zero is selling will have a hand-shaped neck which is a nice feature, the necks became all machine made from about 2005. All this plus a slow market, as @White Cloud said, can make them a hard sell. The other side of this is that there can be some good bargains. That went on a bit...apologies for the ramble, you can probably tell that I'm a G&L fan.2 points
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Hi All, Up for sale is my Fender Bass VI in its original sunburst finish, assembled in 1965. Overall, the VI is in terrific condition with just a few dings and dongs and some signs of buckle wear on the body rear. It plays and sounds fantastic. The neck dates to late '63, pots to late '64 and the serial number to '65 (L63999). The VI was assembled to order and was not popular at the time and so this range of dates is not unusual for this model. (For example, there is one on Andy Baxter's website at the moment with similar ranges) Original mute and trem bar included. Feel free to contact me with any questions or to arrange to view with no obligation. Cheers, Si1 point -
My main advice would be to pay good attention to setup. I'm sure most of us here would be able to fit new strings and drop the action of a typical guitar set up like a cheese grater, and perhaps file the nut down a bit. Easy fretting is by far the biggest benefit to a new player. Ironically setup doesn't seem to improve with price - I think many manufacturers of high end guitars assume the player will get it set up to their preference. Bless all shops that get guitars into reasonable fettle before putting them on show. Parent: "What's the most important thing about a guitar for you?" Child: "Is it good for metal?"1 point
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Not really - it just depends if the wax is just thick around the edges (which is enough to stop the taking of an ear impression), or actually thick enough so that it occluding the canal deeper in your ear. If you have the latter, you tend to have a brighter and more airy sounding hearing post microsuction... a bit like restoring the uber highs on a graphic eq! Only advice is to avoid getting water in your ears until the ear can build back up it's natural level of protection (because wax should be in there( to protect and avoid infection).. just not in abundance!)1 point
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Just bought a new bass that looks like it is fitted with a walking stick end. It's rock solid in terms of avoiding slippage, but it creaks really loudly on solid floors. And as I found out on my first gig with it this weekend, the Lifeline pickup actually amplifies the creak!1 point
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Holy crap, that is a GAS explosion waiting to happen. GLWTS my friend ... if you get a message from me about a courier please tell me to take a cold shower 🤣1 point -
It's not free, but iReal Pro.1 point
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I just got another (I think this one is now my 3rd) loom from John. As always, the build is neat and tidy & he always uses quality components. The screw in solderless connectors are fantastic. No more soldering, changing pick ups is so easy now. John also replaced a year-old pot that failed from another loom for me FOC. It goes without saying, but he is definitely recommended by me. Thanks again John.1 point
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Guitarists reviewing basses is as insightful as Clarkson writing the forward in Greta Thunberg’s biography. 🙄1 point
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Here's some footage from a gig.1 point
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