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Showing content with the highest reputation on 01/12/19 in all areas
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Bass started off with no amps at all for a good few hundred years, briefly moved to small amps for a few years and then big amps emerged for the lucky few who could afford roadies. That time passed and we are now back to small amps and the future looks like we're heading to no amps again. We've gone full circle and when the apocalypse happens and electricity gives out double basses will be king again. The guys who held on to their 810 cabs will be laughing, at least they'll have somewhere to live.5 points
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Sooo if i buy a set of stings, but they come on a bass thats cool? 😎4 points
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I don't care how good he is. I wouldn't hire him. Never trust anyone who speaks about themselves in the third person. Newfoundfreedom doesn't like that one little bit.4 points
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Good networking skills are better than auditions.4 points
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Following on from last years ever popular abstinence thread (technically still this years at time of writing) started by @Sibob I thought I’d start another for the forthcoming year, not wishing to steal the idea from Si ! I made some bold claims last year and failed within a month. I ended up buying an amp, cases, several basses, an in ear system, pedals ( I don’t even use effects!) and other sundries, and as far as my better half is concerned they all fall within the category of “necessity” or “strings” if she asks. 😂 So this year I don’t need an amp ( unless @Bergantino Audio Want to send me a BAmp for Xmas 😂) I don’t need basses, pedals or sundries. I casually explained this to some good friends on here and after they picked themselves up of the floor laughing they suggested I should start this years thread... so, here it is. The same gauntlet thrown down, the same rules, there are no prizes, just a huge feeling of satisfaction in January 2021 when you go off on a buying frenzy for bass related gear GAME ON! 🏆 Its been suggested that as a bit of fun, I keep track of those who sign up and how long they last 😃 I might even throw down the challenge @Al Krowand @walshyand @dave_bass5, although I fear the FS forums might collapse if I do! Master List: Bassfan OUT 29/01 Drop pedal Crawford13 AngelDeVille Hiram.k.hackenbacker OUT Lozz196 OUT Al Krow OUT 20/03 I know it was earlier I’ll update again with actual date 😂 Walshy OUT 06/01/2020. 2 trades. dave_bass5 OUT 16/01/2020 GK MB200 Si600 OUT FinnDave OUT 04/01/20 with a nice a sandberg and loads of other stuff!! bassbiscuits OUT loads of gear! quilly OUT 26/01 Reverb pedal Lozkerr OUT pedal Chiliwailer OUT 23/02/2020 Lull PJ simon88wilson OUT invertigo Twigman Mudpup OUT berg cab feb ? Trueno OUT pedal board micguy Merton MikanHannille jimmyb625 OUT Storky3 points
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Having a family shifts priorities for spending time and money. That said, some of my basses have to go; by taking your pick, you'll tell me which to keep. On the block Acacia Custom, this I'll keep Clover Slapper, £ 900 gone Hanewinckel Custom, £ 900 sold Jerzy Drozd Excellency IV, £ 2000 sold Tobias Classic pre-Gibson, £ 2000 sold Overwater Progress III Deluxe fretless, £ 1200 gone Cliff Bordwell D-Bass, £ 1200 sold All instruments are in great condition - well, the odd miniscule ding, superficial scratches - and necks are slim and adjustable for very low action, which I'm partial to. All the basses have been with me for a minimum of 10 years and have lovingly been looked after (and, though not as often as they deserve, even played). Time for new strings on some. Price includes basic GLS shipping to your doorstep, provided the address is within the European Union. Anywhere else, or any other shipping services, lets talk. For those that count their coins in €, please assume 115% of the £ price. Since I know how risky it is to buy a bass unseen, unheard, unfelt, I'll accept returns within 3 days of delivery. Full refund minus shipping costs, given undamaged/untampered condition. Easy to offer, they're keepers. Not looking for trades please, as it wouldn't quite answer the purpose.3 points
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NOW SOLD For sale is a rare Parker Fly 5. I bought this on a bit of a whim last year, but I'm finding the string spacing is a bit tight for my gorilla mitts, so it's not getting the use it deserves. A huge tonal range from magnetic and piezo pickups, specs are below. A few small dinks, shown in the photos, but in very good overall condition. Specs: Sitka Spruce laminated body with Quilted Maple front and back, the neck is Mahogany wrapped in carbon fibre, the headstock is Curly Maple. The fretboard is glass and carbon fibre with stainless steel frets. Fretboard radius 10"-15", 34" scale. 24 medium size, hardened stainless steel frets, lightweight aluminum locking Sperzel® tuners. GraphTech® nut, width: 1.8". Mono-Rail II bridge with individual Fishman piezo pickups, gain of each adjustable from within the control cavity. 17mm string spacing at the bridge. 2 Custom DiMarzio Ultra Jazz™ hum-cancelling pickups with active Fishman EQ. Controls are: master volume, magnetic pickup volume, magnetic pickup pan, stacked magnetic active 2 band EQ, stacked piezo tone and volume.3 points
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Fender JV Squier 62 Precision (made in Japan early 80s) £850 with fender soft case £900 with fender vintage style hardcase (as pictured) Collection preferred - cash in a brown paper bag. Courier possible, or preferably meet up within 75 miles of KT2. Demo any time - it lives in my smoke free studio. This is a fantastic bass, only a couple of small dings to the body and general very minor scuffs & bumps - see pics - and has a great vintage authentically worn mojo. I have not had the neck off so not sure of the year - 82/83 I expect. 3.85kg (8lb 8oz). Reverse tuners, threaded saddles with slotted grub screws, strap button on rear of headstock. The neck is great, much better players than me have remarked how well it plays and I think you really need to play it to appreciate it, so please drop in (PM me to arrange). All original apart from frets and jack socket -refretted at Charlie Chandler's Guitar Experience a couple of years ago at huge expense but they did do a top notch job Strung with DR Sunbeams 095 Treat yourself, it's Christmas 🎄 and Santa can't fit it down your chimney Questions fire away!3 points
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NOW SOLD Selling this beautiful MTD 535-24, sad to see it go, but needing to make room for other gear! It's an incredible example of one of Michael Tobias' 535-24, it's one of the most comfortable basses i've ever played in my life, with an incredibly multi timbral sound. £3400 NOW £3200 (open to sensible offers) Collect from West London, or shipping at the buyers expense. The only trade i'd consider would be a Fender American Elite Jazz Bass V (Champagne) + cash.3 points
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Black Friday deal saw me parting with my credit card for a new one. BUT omfg. Lovely brown hard case, holding a bass that was so covered in dust, a fingerboard that was so dry it was pink. Pink dust everywhere that looked like the paint had not adhered to the corners or crevices and a loose jack socket. spoke to the dealer, who said it had come direct from Gibson, and the security label was intact when it arrived so I believe them . secured a further discount on the price, dusted it off, oiled the fingerboard, tightened up the socket, and its wonderful to play . Im surprised ( despite hearing lots of nasty comments about Gibson) that they allowed this sort of lack of final inspection lack of quality.3 points
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I really love the classic look of the Ashdown CTM300 head but unfortunately it's just not in my price range at the moment. To tide me over until I can save up a couple of grand, I decided that I'd try to at least achieve the look of the amp even if I can't get the sound of it right now. I've spent my spare time over the last week building this new case from scratch for my ABM 500rc Evo iii and I'm really pleased with the result so thought I'd share it here. 🙂3 points
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I don't know what I am going to buying or selling next year. How should I know? - I haven't got 2020 vision.3 points
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That graph isn't quite right actually... [Engage pedant mode] The compression doesn't begin to stop until after the threshold is crossed in the downward direction. In fact the crossing of that threshold is the point from which the release time is measured. Achieving 0dB compression only after that. The attack and release are also non-linear. Compression is seriously complex to draw. I have never seen a really accurate compression graph drawn... [Pedant mode off]3 points
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Well, just in case it's of any help in the future, I bought the Hipshot BT2 from Jose, the holes match up with the Schaller, so it was a straight off/on. Five minutes. The Schaller ferrule won't accommodate the shaft of the Hipshot (radius too narrow), so you need to fit the Hipshot one. All in all, very pleased. Took a couple of minutes to set up the drop.3 points
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NOW SOLD I'm offering for sale my very rare Lakland 55-76 Deluxe. This bass is the holy grail for Stingray fans who would like a wider string spacing and 35" scale. It has a Teal burst finish over a flame maple top, maple neck with ebony fingerboard, and 19mm spacing at the bridge, with thru-body or bridge stringing. It also has a removable Stingray-style see-thru scratchplate. Weight is 4.3kg. I bought it a while back from a guy in the Netherlands as a fretless, and had it fretted by a very skilled luthier who has the distinction of having re-fretted some of Peter Green's guitars, so I knew it was in pretty safe hands. The result was astonishing - the ebony board has such a sheen on it you can literally see your face in it. Not surprisingly, it also plays beautifully, and has that big, fat Stingray sound in spades, with the legendary Lakland B string. The oddity about this particular bass is that it has no serial number - the assumption is that it was made very early on, perhaps even the first or prototype of the model. This would place its date of manufacture at somewhere in the mid-90's, when Lakland was still in its infancy. Although it will certainly be US made, it also doesn't have the usual 'Made in the USA' stamp on the back of the neck, giving more credence to its early manufacture date. The tuners are Hipshot in design, but with no markings. (I have a Lakland 55-94 whose serial number dates it to 1998 that also doesn't have the USA neck stamp, and has the same style of tuners.) It's in excellent condition for a 20+ year old bass. There's a small crack in the lacquer next to the neck pocket, and a couple of tiny dings on the body that I've tried to show in the photographs, but otherwise it's in extremely good shape. Now we come to the colour. I've tried photographing it with three different cameras, but it always comes out more blue than it appears to the naked eye - in reality it's closer to a Teal Green. Any interested parties are very welcome to pay me a visit to have a closer look at it. Social distancing will be observed, obviously. I'm near Woking in Surrey, a few minutes from junction 10 of the M25. The pickup is wired to a 3-way coil tap switch (parallel, single coil, series switching) with a Bartolini NTMB-L918 3-band preamp with a push/pull volume pot for active/passive switching. I fitted the chrome knobs, but the original black rubberised ones are also included. The bass comes complete with a Hiscox Liteflite case. I believe that you can still get this model from Lakland as a special order, but with the build cost, deluxe burst finish, ebony fingerboard, Bartolini electronics, custom pickup, shipping and import duty, it would take several months and you wouldn't get much change out of five grand. Also (and I say this as a huge Lakland fan) in my opinion the older ones are just better made. Taking all that into consideration, the price I'm now asking is a steal. Payment by cash on collection or bank transfer/Transferwise. Sorry, but I'm only looking for a straight sale, so no trade offers please.2 points
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NOW SOLD For sale is my MTD Kingston Super 5, bought new from Bass Direct for £949 about 18 months ago. It has huge amounts of tonal range from twin MM-style pickups with dual 3-way coil tap switches and 3-band eq. It had a shade of neck-dive due to the tuners it came fitted with, so I upgraded them to USA Hipshot Ultralites (£125 for the set) and now it sits on a strap or the knee beautifully. The original tuners are also included in the sale. It's 35" scale, 19mm string spacing at the bridge, with a great low B. Satin Black finish, Laurel fingerboard. There's a bit of finger swirl in the finish below the strings, but otherwise it's in excellent condition. Here's a link to the specs: http://www.bassdirect.co.uk/bass_guitar_specialists/MTD_Super_5_Black_maple.html2 points
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I went "Bass GAS' over the past 18 months, but have now moved back into Guitar mode again, so I'm selling my Ashdown amp and Berg Cab (see other listing) Ashdown CTM100 100w of KT88 valve power and dynamics with loads of tone shaping options and a great switchable DI Original owner, never left the house, totally mint Sounds great! ..went through a number of amps before settling on this I'm in Dorking, Surrey and I have the original shipping box for the amp - will ship at cost to your preference of service2 points
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Hi everybody, Talking about passive DI boxes in this thread, we were wondering if there was any noticeable difference in sound between cheap and expensive passive DI boxes. Obviously, with active boxes there are big differences, especially with those that aim to purposefully colour the sound, but what about passive boxes that are just transformers in boxes? Radial (and everybody else) make big shakes about how Jensen transformers are amazing, and how important it is to have a decent transformer, especially for bass. Now, I like DI boxes, I have a lot. Chiefly for the purposes of this though, I have both a cheap and an expensive passive DI. Specifically I own several Millenium DI-Es, that currently cost the princely sum of £8.19. I also have what may be the only LBP Inc passive DI in the country (at least the maker tells me he's never sold to the UK before), which after taxes, shipping and such will cost around £150. These boxes are made by a one-man company in the states using the finest materials including a Jensen JT-DB-E, so it's basically a hand-made Radial JDI. In other words, you're unlikely to find either a 'worse' or a 'better' passive DI box. Testing methodology was thus: Sprained wrist > Fender USA P-Bass (DiMarzio Will Power pickup, quite dead D'Addario EXL170BT 45-107 strings) > Brightonion Router (providing a buffered output to both DI boxes) > DI boxes > Behringer XR18 > Ardour. I even went to a special effort to keep the cables identical brands and lengths. I used a pick a lot with rounds aiming for a trebley sound thinking that that might show up more differences, but there's some more mellow stuff too. There are 4 sections: open strings - pick/tone full on riff - pick/tone full on riff - fingers/tone 75% riff - fingers/tone off I'll apologize for my playing now, I fell over on the ice yesterday (I'd only popped out to get more wine, turns out that whilst I wasn't too drunk to drive I was in fact too drunk to walk) and I've really done a number on my left arm and wrist! So, how do they sound? Well, in the thread that started all of this, BigRedX said you'd be unlikely to hear any difference in a band mix and I thought that might be the case, but I assumed there'd be some noticeable differences in a recording. Ermmmm, nope. Not really. Not to my ears at least. I mean, if you open the files in a DAW you can see differences in the spectograph, but I can't really hear anything dramatic. To my ears, there's a little more distortion on some of the Millenium notes and it perhaps sounds a tiny bit darker and bassier overall, but there's less than 1% in it and I wonder how much of even that is psychosomatic. Having said that I'm only listening at home volumes at the moment, I'd be keen to fire up the recordings through a loud PA system. LBP Inc DI.wav Millenium DI-E.wav2 points
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https://www.joinmyband.co.uk/classifieds/styxx-is-now-taken-t1207694.html2 points
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Do you remember when You remember, you remember when you nearly lost your mind There was something so pleasant about that place Even your emotions have an echo in so much space... My first gig was actually a long time ago, when I was 17 and foolishly on lead guitar and portable video cameras were still 2 years away from being released. Decades passed and the first gig that I played in as a bass player was this one at a venue in Camden that was subsequently closed down! The band is still going strong; it's been through a few line up changes, but the two founder members are still very much involved and loving it. Feeling brave and / or nostalgic? Please share footage of the earliest gigs you have video clips of!2 points
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The first Sandberg I every played was a VS4 with Aguilar pickups... sounded fantastic and got me hooked!2 points
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The rate I’m buying gear this week I should be selling only in 2020!! But we all know about dreaded new year GAS! However I will give it a whirl, how hard can it be 🤪2 points
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Hi Graham. You really aren't going to find much difference you know. Moving from 500-800W is only a 2dB shift in volume, the same for a 300-500W change which is what you'd get at 8ohms. Doubling up your speaker with the same amp would give you 5dB increase in volume. To make sense of this 1db is a just noticeable increase in volume. That is you'd notice it if you suddenly switched up that amount but in normal use you probably wouldn't notice. 3db is about where you would notice in practice and you need to double the power to get that using the same speaker and just changing the amp. Barefaced claim 97db/W sensitivity for the SC so with 300W that is a max of 122db with your amp. That's loud enough to match just about any drummer and to permanently damage your hearing. If your amp/speaker combination is distorting then you might find it worthwhile to find out why. I know with my MB amp it is relatively easy to get the input stages to overload, turning down the input volume and turning up the master will clear this problem. Using an HPF will reduce subsonics getting into the amp/speaker and overloading things and using a lot of bass boost make that worse, what does your eq look like? Then you could also use a limiter or some compression, that would enable you to raise the average volume but just cut out those millisecond peaks that cause the problems. When the sound reaches a certain level the pursuit of more power just stops looking like a good idea, there may be a cheaper and more convenient solution.2 points
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An audition should be a two way thing. It's been said on here before but as well as being auditioned by the band you're also auditioning them. Twice I've been offered a position in a band after an audition but I've (politely) declined because I found out things during the session that meant it wouldn't be the right move. In neither case was it something I could have discovered in advance by research.2 points
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Think body shape. The attitudes (particularly the black one) sounded brilliant. Anyhow, the Modulus is one sound, Jazz another and if I want a bit of both, the bb.2 points
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Finally got to take this to a gig for the first time last night (we'd had to cancel all our gigs through November because our singer developed an abcess on his tonsil). I also decided to try a little experiment running my big rig and my little rig together. Anyway, I posted up a picture on Facebook and got a share by none other than Mr Mark Gooday himself. 🙂2 points
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There are indeed too many variables. Despite being often ridiculous, I prefer when the ‘wanted’ ad gives some specifics. I recall seeing one looking for a ‘tall, skinny, punky bassist’, citing Duff McKagen or Sid Vicious as examples. The band seemed interesting, but being so image focused put me off straight away. I had a telephone conversation with another guy who was more interested in how I dressed and what my gear looked like than anything else. I didn’t audition for either of these, but I don’t think I’d have got either gig due to some non-music requirements. On the music side of thing, a drummer friend of mine recently failed an audition for a cover band for playing the songs properly! He spent time nailing ‘Hundred Mile High City”, only to be stopped after a minute to be told he was doing it wrong. After letting them hear the original, they agreed he played it properly - but they just wanted a ‘simple 4/4, like their last drummer played it’. This would have sounded interesting, given the song sounds like it’s in 6/8!2 points
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And to prove the point... I was recently in a cover band called ‘Loose Cannon’. There’s at least one more with the same name... I had to handle a complaint via our Facebook page from a gentleman in the US regarding our namesakes disturbing his elderly father with noisy rehearsals and late night load-ins!2 points
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Tonight’s gig, Cramped, as usual, but, by far the best sound I’ve had in years. Guitarists brother who is a bass player and seen most of my dalliances with kit was impressed, said it sat well in the mix. Keeper2 points
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I think it's a small minority of listeners that really listen to lyrics - I don't think anyone really needs to - there are other reasons to like a song (I still think Da Da Da by Trio is great!). I've been writing lyrics for my songs since 2005 and poetry - the documenting real life type - since the death of a close friend and work colleague in1999 (reading contemporary poetry for a lot longer) and I've written 3 one act plays so words matter a lot to me - I will always listen to the lyrics - even for songs I don't like - I find them interesting - I think people can miss out on something if they don't take the lyrics in but there are still plenty of good songs even if the lyrics are mediocre at best - I do wince at bad lyrics, clichés and lack of imagination. Writing lyrics is a real challenge but a satisfying thing to do - much like solving crosswords (which I also like doing) - I listen because I get ideas about what other people write about and how they go about it and it's inspiration for me to keep writing. I also read a lot so I'm just someone who is probably more interested in words than a lot of people - even read a dictionary when I was about 14 - and found a spelling mistake in it.2 points
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I have to say that I do not disagree: most of the stuff that I should be able to produce, can be done with the bass and me. There is a lot of stuff that is done in the studio and some of the stuff includes reverb, compression, distortion, envelope filtering and so on. As the stomp effects are pretty reasonably priced today, I see no reason not to use them. The big thing is, which ones work with the instrument. I have few fx boards. One is for my hi-Z fretless. One is for my lo-Z basses and one for experimenting (synth etc.). I did not think about effects so much, except that OC-2 when Mr. Palladino came out with Paul Young. But later on I have started to think that they are just tools, so why not to use them? As I have some background in acoustics and broadcasting, I looked for a X-over and they are probably the best thing related to fx. When the effected signal does not touch the low frequencies, there is a possibility to drive the effects further. And now effects are more fun than ever before. Try it, you'll like it.2 points
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Thank you, so far so good. Managed an hours practise yesterday with the neighbours out, great fun with the sire, trying out different tones. Dress rehearsal for a show tonight, elbee vs drummer round 1.1 point
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Class D amps use power amp modules that are bought in from manufacturers such as B&O/Icepower or Hypex. The technology is well established and it is just not worth amp designers attempting to design/build their own. Generally, they are not repairable. However, that doesn't mean that if they fail, the amp is scrap. Provided the preamp is fine, the power amp module can often be replaced.1 point