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Showing content with the highest reputation on 13/11/19 in all areas
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The more appropriate question is whether you should be banned or not. For asking if 42 is too old. 😂13 points
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Hi Folks, This is a bit of a feeler really as I have my eye on something else.. So, this is - as far as I can tell from the serial number - a Made in Japan Fender Precision bass, circa 1991/2. I'm looking for £SOLD or very near offer for this beauty. It sounds and looks great, has a beautiful Ash body and a slim, almost Jazz like maple neck and is in brilliant condition for a 27 year old bass. It's everything a 70s P Bass should be IMHO ! 😊 Full disclosure ; there's one tiny ding on the neck which I'll try to photograph tomorrow when there's hopefully some decent light.. It has been set up professionally and is currently strung with a set of Rotosound steels. Comes with a functional hard case. As ever, I'd prefer to sell this to someone who could come and try it out in person here in Littlehampton West Sussex first however, I am prepared to ship it at buyer's expense by insured courier service. If you've any questions, please PM me or ask away here and I'll try to get back to you ASAP. I am away in Birmingham from tomorrow afternoon for 3 days , so please bear in mind that I may not be able to answer certain questions.. Thanks for looking as ever! 😊 Nik5 points -
So, long story short.... I drove through to the Ashdown offices, had my amp repaired, had a lovely chat with with Guy and wasn't charged a penny!!!! I started off with Trace Elliot amps, then switched to Ashdown (that glorious silver faced unit) then made a brief move to an American brand, and then returned to Ashdown... This trip to the source aside, I can't see myself moving again. Thank you so much Guy and company for not only your stellar service, but the amazing relationship you have built. Love you all... @Ashdown Engineering5 points
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Hi Folks So, this really, really is a feeler, but as I said in another for sale thread, I have my eye on something else, so am putting this beautiful example of a Fender Roscoe Beck 5 String & OHSC for sale. I'm looking for £SOLD or very near offer for this beautiful Fender signature series bass, which many have described as the best Fender 5 string bass ever made. The bass is in superb condition and has one ding on the underside of the body which hopefully can be seen in the photos. A completely passive bass, it has two double wound Bill Lawrence pick-ups that offer you series/parallel/single configuration for each pick-up , offering you a plethora of sounds/tones from standard Jazz Bass to the most modern Humbucker sounds. It's perhaps a little bit darker tonally than a standard Jazz bass, but with stainless steel round wounds, this bass works with any genre of music and any type of band. Here's a great thread about the RBV bass on TalkBass: https://www.talkbass.com/threads/roscoe-beck-bass-v-5-string.38034/?amp=1012489606 And here are some YouTube links: The bass is currently strung and set up by mecto my taste, which means it has quite a high action and heavier gauge Carvin strings, so it would definitely benefit from a professional set up.. On that point and just to clarify, the truss rod is working perfectly so that won't be a problem. As ever, I'd prefer to sell this to someone who could come and try it out in person here in Littlehampton West Sussex first however, I am prepared to ship it at buyer's expense by insured courier service. If you've any questions, please PM me or ask away here and I'll try to get back to you ASAP. I am away in Birmingham from tomorrow afternoon for 3 days , so please bear in mind that I may not be able to answer certain questions until I get back. Advertised elsewhere btw, and I reserve the right to change my mind as I really do love the RBVs that I've had over the last 12 years... but that dreaded GAS does come along to fry the common sense circuitry in my brain from time to time.. Thanks for looking as ever 😊 Nik5 points -
Here's one in toughcab green moss, waiting for material for the grille. The green isn't as blue as it seems in the pictures - its more of a british racing green. I got it all assembled and then remembered I don't have any cables that will fit, so can't tell you what it sounds like I'm afraid. But it looks ace. Thanks again for brilliance of Stevie and all the other helpers.5 points
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I listen. The sexual innuendo of Jethro Tull, the navel gazing of Yes, the deep and dark lyrics of Josh Homme. Conversely, a load of stuff is just disposable pap, a mere something to bounce along with the tune, but doesn't mean it's any less entertaining.5 points
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I'm just about to form another new one aged 56. You're never too old to be an idiot.5 points
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I went out today, ostensibly to check out a MusicMan Cutlass bass, in Diamond Blue, with maple fretboard. But with a whole day at my disposal and visting a shop run by a friend, I had to check out a few alternatives. My 2 main basses at the moment are EBMM Stingrays. A classic and a special. So the Cutlass seemed a very nice alternative to the Rays. I also played a mapleglo Rickenbacker 4003s, which despite it's rediculous hardware (bridge & string cover-rest), felt very nice to play and was a nicely built bass. But I didn't like the sound of the pickups at all, thick, harsh and a little crude. I had a quick go on a couple of 5-strings, an MTD Kingston and an EBMM 'Ray. Neither convinced me to have another go with a fiver. Alao had another try on a Marleaux Consat 4-string, I'd played before, but still didn't gel with. The Cutlass was pretty much exactly what I expected. Like a passive Precision but IMO, better. I was close to saying I'd have it, when Gary, the shop guy suggested a Jazz Bass. Now I've owned/played a load of Jazz basses but had gone right off them, about 3 years ago. But he pulled out a real nice one, although my intial comment was "not a pink bass!". It was indeed shell pink, with an off white (mint?) scratchplate, being a Fender Limited Edition American Pro Jazz Bass. But what grabbed my attention and got my juices flowing, was the all rosewood neck. A thing of beauty that played as well as it looked. But it had the narrow nut of a Jazz and it was pink! I plugged it in and was surpised at how much I liked the tones available. I mainly settled on middle pickup up 100%, bridge pickup and 75% and varying the tone from 100 to 75%. Then I said to Gary, this would look much better with a tort scratchplate. He agreed and produced one. We slid it into place and it transformed the looks of this bass. Wow, now I was really interested. So Gary said he'd replace the plate and put some Elixirs on for me. Yes please! Trouble was the plate fitted everywhere, except there was a small gap between it and the chrome, control panel. stinky poo! So the original went back on, with the Elixirs and Fender are sending a tort plate for this series, for me to put on ASAP. Got it home and have been blasting along to my tunes and loving it. I've been playing actives for years but my ears are enjoying this passive bass. And my hands are feeling very comfortable on this lovely neck. Just need that tort scratchplate, to perfect the aesthetics.4 points
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Hello, I am considering selling my 1994 Pedulla Pentabuzz bass. I bought this bass in late summer 2017 through Basschat, and owning one was a goal and a dream come true but the reality is, I always tend to grab a fretted bass first. A change is as good as a rest, so I thought I'd offer this up tentatively for sale or trade to see if anything should take my fancy (fretted basses only). This 1994 Peacock Blue Pedulla Pentabuzz comes with the original branded hard case, which is well-used but in good working order. The bass also comes with the Pedulla truss rod tool, though aside from having the bass set up a year ago, I haven't needed to use it. The bass comes with the proprietary Bartolini electronics, namely a P/J pickup set and active preamp (controls for balance, volume and active tone control). The bass is 34" scale, with the original gold hardware. The wings are solid flamed maple and the fretboard is ebony, coated with the proprietary Pedulla Polyester treatment. It looks like glass and gives a distinctive tone. I'm not sure on the weight, and despite it's relatively small proportions it isn't a lightweight instrument due to the maple body. The balance is excellent, testament to Michael Pedulla's excellent design. Edit: weight as per the listing when it sold through Bass Direct is 4.7kg. The bass is in good condition though has obviously been a player rather than a case queen. This is reflected in the price. Before I had the bass, the previous owner had it cleaned and set up. The notably thin Pedulla clearcoat had worn in a few places on the body and neck, these were sealed over and feel as smooth as satin. There are a few small minor dings, and the control knobs are a little worn and slightly stiff (I never touch them, but I expect anyone with a desire to do so could take them off with an Allen key and lubricate inside, if not replacing outright). The bass plays very well with a low action, and I have adjusted the pickup height to balance the volume. When I bought the bass, the bridge pickup was notably quieter than the neck pickup, though since I never use the neck pickup when playing this was a quirk that I didn't address for some time. I can ship in the UK and Europe at the buyer's cost and with adequate insurance. I will entertain any trade offer as I don't have anything particular in mind other than a thought that I would find more use for a fretted bass than a fretless. I do have a particular fondness for anything with a bit of graphite in it, but other than that I am open to ideas. A few pictures (including some from when it was sold at Bass Direct before I got hold of it).4 points -
Folks thanks so much. Really, everyone. This has made great reading so far. I hadn't really considered the 'practising for what?' point. But it's a fair point - and I did enjoy playing in my last band a billion years ago. I guess since I'm not in a circle where these opportunities just appear that I'd convinced myself not to bother, but I am going to bother. I might even get Facebook just to look at local groups! Thanks again everyone. Anyone near Bradford?4 points
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Good lyrics are a joy 👍4 points
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Absolutely loved it. I have the RM500 EVO II with two of the RM210 cabs that I got Ashdown to swap the speakers to Eminence Betas to increase power handling (for when I had an ABM1000). Anyway, this eve was the first time I’ve used them all together. We played at The Brook in Southampton, fairly decent sized venue/stage, but amp/cabs only needed for on-stage sound as everything goes FOH. I don’t like bass in monitors so started off with the amp on same levels I use at rehearsal thinking I might need to turn up once all was going and I was amazed, the sound was so big and full, with a real presence. It was angled towards centre of stage so if I drifted too far away the sound changed a bit, but on a 30ft wide/15ft deep stage I’d pretty much expect that from most set-ups. I went back to the RMs as I just can’t manage my ABMs anymore (gonna be up for sale on here soon) and considering this is supposedly a budget range the performance was far better than I’d hoped for. Sure I’ve had more expensive cones put in but even then it’s not exactly broken the bank. To say I’m chuffed would be an understatement.4 points
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Ha ha, I was 55 when I started playing bass. I've been in bands pretty much ever since. I actually don't really get why people would play bass other than to be in a band. Music for me is to be enjoyed and shared. Bass in particular is about how music fits together to make a whole which you hope is greater than the sum of it's parts. It's rarely a solo or lead instrument and so much more fun when working with a drummer. Working with other people can be an issue, usually fun but sometimes really frustrating and you have to compromise; sometimes quite a lot So what are your options? Join a covers band? There is a limited choice of songs, you have to go where the money and audiences are but immediately you have a hobby that pays for itself, people tell you that you are wonderful when the reality for me is that I'm just about OK but watching a room full of people dancing to the rhythm in your fingers well that is a blast! You don't want to compromise what you play? Maybe you can't afford that level of commitment, 30+ songs take a lot of learning and keeping up to performance standard (I practice every day) and a gig can take 6hours out of your day which is a big chunk out of every weekend. Well it's still fun playing with other people. Just playing half a dozen songs over a few beers with mates is a nice way to spend an evening and you'll inevitably end up doing the odd jam at a party sooner or later. If your mates don't play then there are loads of open mics around. Go along have a listen and chat with anyone who plays songs you fancy a go at and see if anyone bites. Talk to the organiser and they might be able to match you up with someone. I run a kind of open session for people whose lives are too full to cope with proper gigging bands. It's tough to find time if you have a family and a job. There's loads of really good musicians who can play to a high standard but just want a run out once a month or even once a year, but it makes the hours of nurdling away on their own worth it and every now and then some of my musicians do go off and form bands. Good luck, get out there, persevere until you find what you want and yes, you may have to kiss a few frogs on the way4 points
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Another satisfied Ashdown customer here... Ashdown do not get the recognition that they deserve IMO. British built, well priced, great Customer service and VERY under-rated gear - seems like a not very closely guarded secret that should be more acknowledged.4 points
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I’m terribly camera shy - hate posing for pics and hate looking back at them! - so there’s not many to choose from but this was taken a handful of years ago at a charity gig (guess the charity anyone?). Damn I looked a lot younger back then...!3 points
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So, long story short.... I drove through to the Ashdown offices, had my amp repaired, had a lovely chat with with Guy and wasn't charged a penny!!!! I started off with Trace Elliot amps, then switched to Ashdown (that glorious silver faced unit) then made a brief move to an American brand, and then returned to Ashdown... This trip to the source aside, I can't see myself moving again. Thank you so much Guy and company for not only your stellar service, but the amazing relationship you have built. Love you all... @Ashdown Engineering3 points
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I have also had this and I play EXL165 nickle wound. I don't recall actually finding a metal splinter so the Phantom splinter thing may be what it was. It was very sensitive for at least two weeks. Solution - Just play open strings and hold your sensitive clenched fist in the air in a display of defiance. 😎3 points
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Many people don't listen to lyrics - for when example brides request 'band of gold' to be played at their wedding reception3 points
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All I can say is my two One10s have coped easily with a loud drummer and 50w of valve loving rock guitar player and pack away with my Minimax and associated cables etc into two well padded cajon carry bags which cost about half as much as a cover does. My only complaint is I can't find which font the logo is because I wanted to make stickers and change it to read ' barearsed ' !3 points
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Playing music with other people is both the best and the worst parts of being a musician. Best when it works - nothing like when the band clicks, better still when it happens in front of an audience. Worst because, well, other people. And musicians are the worst of humanity - petulant toddlers the lot of them. I've just hit 50, and have been in and out of bands since I was a teenager, often with a few years between bands. Something usually turns up. However, I'm quite lucky in that a good chunk of the people i hang out with are also in bands, and when they need a bass player they'll come and ask me, so I've never had to audition or reply to small ads and demonstrate my bass playing skills to a room full of strangers. If I'd moved to a new area and didn't have any contacts then I'd probably be having the same thoughts as the OP My advice is to give it a go. If it doesn't work, sack off that band and try again (or sack the offending band member who is responsible for it not working), at least until you decide that maybe bands aren't for you after all. And do keep that in mind - if you're not enjoying playing with a particular individual then don't - either quit or sack them, life#s too short (especially at your advanced age 🤣) If you can network, then do so - jam nights, local live venues - have a few pints and start chatting to people. In my experience jam nights can be a bit limited in terms of music played, but that said i was once in a band with two guys who had met at a jam night and agreed that while it was fun to play every week, they'd really like to do something completely different. Beyond that, decide what you want to do - covers (easier choice if you just want to play, especially if you want to be paid for gigging) or originals (harder but not unheard of at 42), which style of music, etc. then start looking for small ads, or place some yourself. You may get lucky and find exactly what you want, but I'd suggest working out just how far you're happy to compromise on music choices - you may only want to play Nine Inch Nails B sides, but you'll find it a lot easier to get into a band if you're happy playing the Foo Fighters and AC/DC The other comment I'd make is that things have changed from 15 years ago. Back in the day, especially playing originals, it was always serial monogamy - one band and one band only. these days it's a very open relationship - you can easily be in two or three bands at the same time, and nobody will judge you for it Good luck3 points
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I had the 4ohm version of the RM410, it sounded great, a bit less scooped sounding than the ABM but tonally not that far apart. I used it with my ABM600 and it handled the power really well. I only moved it on due to vanity of wanting an ABM stack, in reality it was an excellent cab that was more than sufficient for my needs, I’d recommend the RM cabs to anyone (my current gigging set up is two of the 210s).3 points
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Teenagers. Every word really means something during teenage years!3 points
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I've 2 Maruszczyk Jake 5's. Both chambered and both around 7lbs in weight. Both perfect.3 points
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Myself and a few other Tyneside-based BC'ers did this recently... More here.3 points
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I gave up bands when i was about 35 various reasons. Got interested again when i was 50 when i was asked to jam with couple of old mates. Enjoyed it so much i started looking. Joined a Deep Purple tribute band. Did the audition and got offered on the spot. Did that for about 12-18mths and it folded and i've never been so busy playing in varying styles of bands from Classic rock thru Prog to tribute bands and 70's / 80's covers and some funk / blues rock and then onto my current fav band ever a 70's Glam Rock covers band that i'm just loving. Guys are all first class now that we got rid of the keys player who was a pain in the butt. We have a new guy depping with us till after Xmas and we'll see where we go with it. He might even stay. All in all i've been busier since i turned 50 than i ever was as a youngster and far more enjoyable. Not as many ego's when you get older. I'm now 59. Dave3 points
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I had my first gig at 51, now 62, been in bands all the interim. if you still have your health and wits* go for it. *I should have given up around 3 years ago by that criteria...3 points
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My experience is very similar to yours : I'm 44, played in originals bands for 11ish years - that finished a decade ago. Since then I've been playing at home, learning bits & pieces & working through the grades material. Earlier this year, I was asked to run the open mic night at my local bar, and ever since, I've been playing nearly every week. During that time I've met lots of musicians - some good, some not so good - but have had offers to join existing bands on bass. None were right for me, so I decided to ask some of the other musicians if they fancied doing something. First rehearsal tomorrow! My experience might not work for you, but you never know who you'll meet at open mic nights. Good luck with everything 👍3 points
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Just got back from my first rehearsal with the FX. It was so much easier to use than the Stomp,, although I still kept hitting two switches at the sam time. I’ll get used to it though. Definitely the right purchase.3 points
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Similar for me - a square of soft foam folded in half, tucked right up to the protruding screw ends of the bridge saddles. Tried it tonight on only E and A , lwhich helps kill some unwanted rumble and lets D and G ring out. Works well to my ears with the La Bella light flats!2 points
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Well I have tapes on mine..... Do I have to go and start another rival thread? 😂2 points
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I can only confirm the comments from @EBS_freak - moving from a mono IEM with my XR18 to a stereo mix from the X32 Rack is night and day - instead of the everything being sonically stacked on top of itself, making it sometimes tricky to distinguish between different instruments in the mix, the audio is now panned across the stereo image with each instrument being placed as it is on stage, with the option of bring each artist's own instrument/voice to the centre of the mix if required for added clarity and being 'dominant' in the mix without swamping the levels.2 points
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Bit of jazzprogrock from Germany...2 points
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This. A bit like Born in the USS being used by an American president as a election song. Shows how stupid our leaders are.2 points
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Good thread... I've lost count of the number of times I've taken my rounds off and re strung my P bass with flats only to change back again after a couple of weeks... maybe its down to technique and gear to a certain extent, certainly in the right hands a P with flats can sound glorious but I think in a live setting (mostly noisy pubs in my case) I still need to hear a bit of bark in my tone to help me to cut through the mix and I only seem to get that with rounds... DR High Beams have been my round of choice for up on 20 years, they last for ages and to my ears sound even better as they get played in... obviously there comes a point when the need changing but I get ages out of a set 🙂2 points
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I try not to listen to lyrics much of the time. Most are truly awful 😁2 points
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Well, there's lyrics: and there's lyrics:2 points
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Aston also plays a 5 String Alembic bass2 points
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I have this discussion with the singer in our band a lot, this is absolutely my take on it; good lyrics enhance a good tune but can't polish a turd. I don't know if it's because I listen to a lot of instrumental music but a good melody is way more important to me than a good lyric.2 points
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53, originals band, had more fun and success with this band than with all of the others put together.2 points
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I think that some people do try to work out what the lyrics mean, and others are just happy for the words to fit the tune. BJ and Cameron probably just said that they liked these bands 'cos they thought it'd make them sound cool, rather missing the socialist message behind the words.2 points
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The Behringer is probably built better than the Fischer unit. Having had some P2s in my arsenal for some time, the only real downside is the battery clip inside. In normal circumstances, it's fine... but if the unit is ever dropped (which you shouldn't do - but it can happen), the chances are the batteries will jump out of the clip and the unit won't power up. It's easy to fix - just pull the housing apart (as you would to replace the battery) and reinsert the battery. It's a small gotcha but can be frustrating in the heat of the moment when the thing won't power up and you forget about this little quirk and you know that the unit has fresh batteries in it. The main difference between the the P1 and P2 is the fact that the P1 enables two balanced feeds to give you a stereo signal whereas the P2 is only balanced in mono and unbalanced if you run stereo. For most people this is a point not worth mentioning - but obviously, in problematic environments, the unbalanced feed can give you noise on the line, so to speak. Battery wise, it's worth getting into the habit of getting rechargeables and getting them charged for every gig. Having said that, the battery lifes on both of these units are pretty good and will easily get you through a few gigs. However, nobody wants to look like a clown when the power goes down mid gig and you are scrabbling around to replace batteries. The mix function of the P1 is generally for dual mono where one feed is from the PA, and one is a "more me" function where you can boost/cut your own feed in relation to the other feed. I personally don't like them... especially if you are using modern desks where you have control over the whole mix from a tablet or phone anyway. It certainly wouldn't be a make or break feature for me. The other thing mentioning is that the P2 is designed to clip onto your belt. The P1 is a bit clumsy in this respect. With two XLRs hanging off it, it can be quite a weight. You'll want a twin core XLR to minimise the trailing cables... or better still, use it as a headphone amp and get a headphone extender... but then you should take into account that your headphone extender is unbalanced also...2 points
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Put 4 of them on the back so the tension pulls it the other way, voila a straight neck!2 points
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For me, they're a bit of a mixed blessing. I find the grades material a bit daunting at first, I have a go at everything, lose confidence, then come back a week or month later & it makes more sense. I've definitely improved from doing it, but it hasn't been a particularly enjoyable experience Have a go - it may be that you take to it, or maybe you struggle abit like me.2 points
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I'm 35, been in a band for 2 years with 2 guys over 40. We're giving 'making it' a go at the mo. Still doing the pub circuit but writing and recording too. Sure Radio 1 might not want a band that are over 25, but pretty no one else cares.2 points
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Practice to achieve what? I could not commit to practice simply to fill in time, for me it has to have a goal. The goal for me is to maintain and hopefully improve my ability to play in my band or to ply in other more difficult environments. I could never commit to hours of practice simply for the routine, or work through music grades with no end goal. I cant see the point in being top grade in bass playing if im not going to use it. Just my take.2 points
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Yes - it's a rocker mute, from the Fender Jaguar. It firmly presses the rubber foam against the bottom of the strings when lifted. You can still find the Fender part and install it to any bass, e.g. https://www.talkbass.com/threads/installing-a-jaguar-mute-on-a-p-bass.1021488/2 points
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I don’t think there’s many people under 42 in bands these days anyway are there? 😕2 points
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Congrats, I have one of these and they are great amps, the fact that a continuous gear shifter like myself has had one for 3 years shows how highly I rate them.2 points
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Here for sale is my Stingray 3eq from 2010, it's in immaculate condition throughout. In Tobacco Sunburst it looks wonderful and plays superbly with a low action. Bass weighs 8.85 lbs or 4kg on my digital scales which is very good for a Stingray. Also the straplocks will be back on too. Comes with the EB hard case too. No trades thanks. ***forgot to mention you can have either the scratchplate that's on or the original black one* Price is posted to the UK.2 points -
Can’t get away from playing a Jazz, but mine bear little resemblance to their original spec. Left: Roasted Alder Body in Daphne Blue, Babicz Bridge, EMGs (18v) and 80s Squire neck. Right: Mexican Alder body in Midnight Blue (special edition colour in 2003), Babicz Bridge, Bartolini 9Js with Richter passive plate, Status fretless neck. Love em.2 points
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