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Showing content with the highest reputation on 05/03/20 in all areas
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Sean's a great player, currently touring with Squeeze. I like this. What a tone.8 points
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And of course, coping with the hot-desking fad. Not the electric-heater-under-the-office-tw@'s-paper-trays that was popular around the turn of the century, but the ability to locate a desk among a group of people whose work is entirely different to your own. If you're a software developer, you either work on your own projects or have a wee kip while seemingly concentrating hard on a screen full of code that will just be gobbledegook to the admin people around you - or if you're in PR, you plonk yourself among the geeks and play on YouFaceTwit all day. And of course, you always use the printer that's furthest away from where you are. That lets you master the art of carrying a piece of paper while walking briskly, thus making you seem Big and Important. When it's time for a brew, you pull out that elderly phone stuffed full of MP3s, plug in your earphones and conduct an intense but one-wordy conversation with Iron Maiden. Need to watch the volume, though. For added points, start a detailed reply as you walk out the room. Plus, when printing stuff for home, make sure you submit it in a batch and make the final document something to do with work. Make sure there's no-one near the printer before you send it. Then, as your set lists and charts are printing, if anyone approaches you, you take it off the printer looking really annoyed, make some comment about 'don't some people focus on their business objectives' when your own document finally appears and flounce off with your home stuff while making some comment about reporting misuse of resources. That's so no-one can reasonably ask you to chuck it straight in the recycling bin. There we are, kids. Laura's Thursday Tips for a more satisfying working day. Tune in next week for tips on how to leave boring meetings and still look good, how to deal with food thieves and how to provide your odious manager with a managed exit. Book and motivational speaking tour coming soon!8 points
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I think you’re all being a little harsh. It’s a little known fact that, like 1982’s effort where everyone came back together to bail out Gabriel’s WOMAD (World Of Music And Dance), this reformation is in aid of WOPAP (Wiping Out Phil’s Alimony Payments).7 points
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I will only play in keys of C, G and D. If you want me to play in other keys like E, E flat, B Flat it'll cost you extra. I will also charge extra to learn difficult songs with lots of notes. I expect to be paid a minimum of £10 for turning up to rehearsals. If you have any weird key changes in your songs I will just sit out those bits. I have some songs I have written and will expect you to learn and play them at gigs. If I join your band I will suggest songs from my repertoire and expect you to take on quite a few as I'm not prepared to learn all your material. If your guitarist can't play without chorus effect turned on constantly and is stuck in the eighties, I'm not interested. I will only play gigs within the M25. I will want a minimum payment of £100 per gig. Please make sure your gigs are on the H37 or 218 bus routes or you can pick me up from my place. I'm not one for helping out unloading, setting up and loading kit and I will expect someone to help me with my gear. I like to play at full volume for 20 minutes to get warmed up while you are setting up. If you object to the noise I will just walk out. I normally turn up at venue around 25 mins before performance and just play and then I'll expect a lift home before 11pm as I have a curfew. I can't play at certain venues for legal reasons. I get a lot of offers for my services so don't be disappointed if I turn you down. If you are a "60s Band Reforming" take your empty promises of world tours, fame and riches and shove 'em where the Sun don't shine! I will expect to hear you play beforehand as I normally only play with very skilled musicians and I will want to know what you do for a living as I don't approve of some occupations like banking, lawyer, accountant, police etc. If you voted "Remain" don't bother contacting me. If any members of your band are clingy, constantly needing approval and are over familiar and think that they work harder than the rest, forget it...I'm not a social worker. I will be moving house soon and need somewhere to crash. It would only be for a few months. I can't pay any rent but I would expect one of my muso brothers to help out. My gear is at the pawn shop so I'll need an advance to retrieve it. Also, I won't play with anyone called Harry.6 points
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Not sure where to post this as it contains amp, fx, wireless and accessories. Finally finished a pedalboard. Fits snuggly on top of my cab with plenty of space round the edges so wont risk falling off. Contains - amp (quilter bb800), wireless (line6 g75), line 6 stomp, 4 way. The idea is so I can just take out of case place on cab, plug one socket in, attach Speakon into cab and I'm good to go. Easy, easy one hand lift. Set up should take 5 minutes max, instead of pfaffing around plugging 3 or 4 different thing in, making sure stuff doesnt fall off etc. Hopefully itll stay in one piece after first gig this weekend.6 points
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Well, I took the plunge. £85-ish for seats on the floor at Newcastle, next to FOH.6 points
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My dear old love, PR people - like the rest of the meeja - don't go to wine bars these days, even if wine bars existed. Christ, they don't even do Charlie anymore and that used to be a sine qua non, believe me. No, they're all 23 year-olds stuck at their desks from six in the morning till eleven at night, frantically tweeting corporate bollocks in between messaging their little friends and whimpering 'Oh, I'm so depressed, I'm working all the hours that God sends and I haven't got a life and I'll never be able to afford a place of my own because fascist baby-boomers, obvs, do you think Zoe likes me?'. Then they go home and lie awake all night sobbing into their Greta Thunberg pillowcases and cursing mankind for burning the planet. They're all stressed out of their tiny minds so no wonder they're doing weird shít like mocking up fake synths and pedals to annoy some dweeb 'journalist' who shouldn't even be on their radar and even if he was, just pay a couple of guys to break his fingers. If only they'd just relax and go down the pub at lunchtime and slope off early at half-four and throw sickies so they can spend the day in bed with an extensively tattooed hooker they'd be far happier and probably much more efficient.6 points
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STATUS GRAPHITE S2 Classic 5 Headed Through-neck, the very one tested by the German magazine Gitarre&Bass in November 2000. For sale only as I'm thinning down the herd (again). Asking price including shipping fully insured with tracking number to your place in these European countries (ask for other countries) : Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding French overseas departments and territories), Germany, Hungary, Italy, Latvia, Lithuania, Luxemburg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom : £1750 GBP !!! In fully working condition and in excellent overall condition. Here are the specifications : Body : mahogany with black pin-stripe and book-matched burl maple facings Neck : through-neck woven graphite with walnut center tone-block Fingerboard : phenolic resin with side and front dots (no LED's) Frets : 24 jumbo (very very little wear) Headstock : 3 + 2 shape (angled) Pickups : 2 Status Hyperactive High Resolution soapbars Preamp : Status board-301 (18 Volts) Controls : blend, master volume, treble cut/boost, midrange frequency, bass cut/boost, midrange boost/flat/cut switch (see pictures for full specifications) Tuners : Gotoh GB-7 Bridges : separate ABM 3D locking Strings spacing at bridge : 18 mm Nut : phenolic resin Strings spacing at nut : 9.5 mm Knobs : original metal and plastic (see Gitarre&Bass test) Scale : 34 3/4 inches or 880 mm as it's a headed Status Hardware colour : gold (tarnished on the tuners and parts of the bridge) Truss rod : 1 dual action (fully working) Finish : amber burst, hand polish gloss polyester lacquer Land of craftsmanship : England Serial number : 02002542 Year : February 2000 Weight : 4.7 kilos Action : from 1.5 mm under the G string to 2 mm under the B string at 12th fret (can go lower, but was perfect for me) Will come with the original Status/Hiscox hard case. Non-smoking environment as usual. I'm only selling this bass because I'm thinning down the herd as I've just acquired an S2 headed fretless, which suits my taste better than the fretted. This bass was bought new by a friend of mine by Music Store in Köln (paid by his wife : some guys are lucky) on the 2nd of December 2000 (original invoice will be delivered) ! He then asked Christophe LEDUC to put some front dots as there are only side dots. Here is the link to the Status Graphite main specifications : http://www.status-graphite.com/status/frames/index_home.html The bass has been fully set up professionally by Christophe LEDUC. It has two new batteries and is fitted with a (now) used set of Elixir nickel plated Nanoweb coating strings (45 - 65 - 80 - 100 - 130tw), which fit the bass to perfection. What you see is what you get ! Look at the pictures taken under different angles to see the real condition : almost in new condition with the very few visible light dings photographed, the most important ones being on the headstock (bloody low ceilings). The lower milky line on the headstock photo is a reflection of the case lining. Don't hesitate to ask for more.5 points -
I have had a GK MB150 amp and an SWR Baby Blue speaker cab stolen from the back of my car at Aust Services near Bristol. Has anyone seen them? It was in 1993 but I am still hopeful.5 points
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Theo is a total legend and a gentleman The Vigier is an absolute cracker, just a masterpiece of bassly beauty "I believe somebody is going to be grinning from ear to ear with this purchase" I smiled all the way home I am still smiling yep, still smiling........4 points -
I'm subscribing to 'Laura's Thursday Tips'4 points
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Quite so. Are the worlds of PR and Meeja any more productive, efficient or 'ground-breaking' since a bunch of po-faced puritans took over, insisting that they are 'passionate' about doing things even though 'passion' is about the last thing you'd associate with these bloodless, rule-making bean-counters? No, they are not. My poor niece works for a global PR behemoth and her life (and that of her colleagues) is pretty much as I describe above. When I outlined the 'spare jacket on the back of the chair' ruse to her she reacted as if I'd suggested robbing the poor box, so inculcated is she with the corporate BS. I hold out little hope of bringing her over to the Dark Side just yet. For all their so-called freedom and open-mindedness many young people today are little more than bowing, scraping sararimen which is why I am launching an outreach mentoring project where old industry hands such as myself and @FinnDave teach our shining-faced youth such valuable lessons as how to successfully function in the workplace after a lunch comprising four pints, two bottles of wine, a large brandy and a pork pie.4 points
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Not my usual taste in basses, but once brought to my attention by Andy and John, I couldn't resist, especially given that it - or an instrument very very similar to it - was responsible for the bass parts on my fave album of all time, parts that I have been learning for about 10 years! What do I love? The nut is close to 45mm, the board is pretty much flat, the PUPs are light years apart, and it's bloody light. What do I not like? The colour Should be strung through, so a Badass III is going on at the weekend. The board is going to receive a damn good oiling at the same time. At some point in the future the finish may come off also. But in the meantime, I'm going to Graceland3 points
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OK, Tom's preference is Prototype 1. So this is the final version, ready to fit: The base plate will be sunk the 2-3mm flush with the body and be securely held in place with a fixing screw in the centre of each curved wing. I know the angle and broad positioning that Tom would prefer but - before I cut the chamber - am going to pop a couple of strap buttons on (it will eventually have the Dunlop insert straplocks so when those are fitted, I will just use the screwholes as my drilling pilot holes) and strap it up to make sure that the jack is going to end up in the right place an inch or so right of the player's right hip. But tomorrow's main job is probably going to be making a start with carving the neck profile3 points
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Here you go!3 points
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The LM2 / LM3 is going to be perfect for what you're doing (as you already know!). The EQ gap between upper mids at 800Hz and treble at 10 kHz (which is way too high) effectively gives a pointless treble control, is the key issue for me. But nothing that a half decent EQ pedal can't sort. I'd also personally prefer the low EQ at 40 Hz to be centred at 65 Hz to 80 Hz MB have completely sorted these points with some of their current line up.3 points
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Sorry! I'm keeping it3 points -
WTF are we expected to do with our time now that the major drama of our lives is gone Andy. Can you fire your drummer perhaps?3 points
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Short scale Series 2 from 1982.3 points
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I think they cancel out each other's weight right?3 points
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Rickenringer or Behrenbacker3 points
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Greetings guys Can you help!! I own a Wal Pro 2 active fretless - bought it 2nd hand in a music shop in Fulham, London for £350 in '83 (my how time flies!!!) it is a beauty, original signature brown ' gold fur case with leather handle. all intact, had to get one of the pots rebuilt, but serviced etc and sounds like a dream - not selling!! I have had a lot of trouble identifying / valuing this bass!!The serial number is W1112. It has the pick attack switches under the pickups, and the XLR balanced out. any ideas - from my search the serial number implies it may be a bit special / early model... or? Thanks in advance!! Gavin.3 points
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So finally got the bass back from being wrapped. I’m sure it’s not everyone’s cup of tea but I am a Batman Fanboy. It was wrapped by a company in Oxford called Vinyl Revolution and I can honestly say they were an absolute pleasure to deal with. They have wrapped the pickguard to match the image but also wrapped the same image underneath in case I ever want to change the pickguard for a clear one. I supplied the image(found on the internet.) They did the rest. Cost £115 + VAT. It’s obviously cheaper if they just supply the wrap and you do it yourself. I think that was £30 + VAT to produce a wrap in an image you supplied but I’m not that patient or handy to fit myself lol.2 points
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I tried to return this guitar. I said it was a lemon, but the shop said 'No sir, it's a melon'.2 points
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I have never gotten a decent sound out of a Trace head or combo but that could just be me Having owned a few Ashdowns and used rig supplied gigs, I would go with the big A.2 points
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I've always found good ones quite tough to locate. There's a huge number of pianists calling themselves keyboard players, who'll vamp big heavy full-sounding two handed chords through everything because it sounds great in their house on their own. Good keys players who understand their instrument and how to get the right sounds out of it, and that sometimes they only need to play with one finger at a time are gold dust. If you find one, grab on tight!2 points
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The first album I ever heard by them - and it remains my favourite Genesis studio album (by a whisker over TOTT) - was And Then There Were Three, so its the same band I fell in love with, in essence. And my favourite album by them is Seconds Out, which is the second Genesis album I ever heard/bought. I love most of the early Gabriel material, but to be honest I tend to prefer the later band playing it, because again, that's how I heard it first. It's strange, I never see anyone slagging off old blues, jazz, classical or folk artists when they trundle out in advancing years. I cant help wondering why it is that pop and rock artists aren't given the same leeway.2 points
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We have a default scene which was created in a large, bright, cavernous hall with a high vaulted ceiling at the loudest monitor and FoH levels we could tolerate - the theory being that if we started a gig with the desk set for the most unfriendly conditions we could think of then we're not starting off the night fighting feedback etc. So far this approach has worked well with monitors rung out, channel EQs sorted and in reality apart from a few gain/EQ adjustments the only real change we make to each gig is the FoH EQ curve which has a significant bass boost to compensate for the bright 'setup' venue. It's worth investing some time and maybe even bringing in a local sound engineer to help steer you in the right direction. We took this approach and it saved us hours of experimentation/head scratching. He also pointed me in the direction of a few tricks that I'd quite likely never have found or thought of myself.2 points
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No harm, no foul. Replacing broken stuff gets a ‘pass’ I think.2 points
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I don't have anything rare at the moment, but here are some rarities I've owned in the past: 1. Guild B402-A - one of only 335 ever made. 2. G&L El Toro - don't see these very often 3. G&L Tribute M-2000 - wait, what? These aren't rare! Not normally, but the one I had was rare in a sneaky kind of way - it was part of a batch which was supposed to be the GTB model (white body with black binding, matching headstock) but the factory messed up the first batch and forgot about the binding - they flogged them off cheap. 1 of 24-36 ever made - in this particular esoteric finish combination2 points
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I just wanted to add something about what I am doing with this thread. I am a staunch advocate for the value of reading music and by that I mean dots not tab. It is not just about turning up at a gig and being able to play sessions without rehearsal (you can rarely do that even if you CAN read the dots). It is about recording ideas (I have ideas and transcriptions I have written down from 30 years ago) sharing compositions with others studying bass lines and solos by other people it takes you to places you may otherwise never go it often shows you details in compositions and transcriptions that may be missed otherwise it allows you to access study materials that would otherwise be unavailable to you it has the potential to make you a better and more informed player and, last of all, you might get some reading gigs. My transcriptions are made available so people have something to use to help them improve their reading - not everything I transcribe has chords so studying the note/chord relationships is problematic. Also, chords symbols above the stave can make you lazy in terms of actually reading the notes. These transcriptions are prepared to allow people to practice READING. I have said this elsewhere but I am learning how to read treble clef guitar music at the moment and it is making such a difference to my guitar playing and the insight I have into the music I love. I picked up an Astor Piazzolla violin part the other day and played it through without any mistakes. What a buzz! I sometimes read twenty pages of simple guitar tunes in one session or work through one of the easier Al DiMeola transcriptions in one sitting. I can play Ralph Towner tunes (badly, but there you are). It's a marvellous skill that I wish I had developed more early on. My bass clef reading is improving now I have a regular gig but I still get caught out at every gig/rehearsal - 5 sharps or flats and I am done for. The practicing is helping though and I really consider this as time well spent. For the younger guys out there, get this thing done as soon as you can and you will never regret it.2 points
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Because "popular" music and rock music in all it's various forms has a history of being performed by the people who wrote it. And IME they have a better connection and understanding of the music because of this.2 points
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I loved the early Genesis, the Peter Gabriel fronted stuff. The only later album I liked as a whole was Invisible Touch. It spoils the legacy for me, a little, when old bands decide for whatever reason to re form and tour, usually simply for the money. I have very fond memories of late 60s and 70s bands pushing the boundaries and being the backdrop to my earlier years and it disappoints me to see them as old men, and women, going through the motions with mainly hired hands filling in the blanks. Dont get me started on the sky high prices they also charge for what amounts to a karaoke night.2 points
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This is good news as I am trying to behave.2 points
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That really makes me grin. Like a small boy standing next to his dad in the bathroom pretending to shave along with him. 😁2 points
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Our video for Death Rag seemed to generate a bit of interest so here's our vid for 'Three Line Whip'. Follow us on insta / facebook / youtube etc. It makes our harmonica player feel like he's a real human when people pat him on the back! Let us know if you like it too. You'd be surprised how many people message to say they dislike it; its significantly higher than those who seem to like it!2 points
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My GAS has come to an end. I’ve tried a lot and sold a lot. I now go everywhere with a Puma 500 and I have another one for spare which lives under the passenger seat.2 points
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Ok. My Wal playing pals on Facebook say that what you have there is a "rear loaded pro 2e" built by Wal and Pete Stevens In the early 80s whilst they were developing the pro 2e into the Wal Custom ( now called the MK1). They only made 2 or 3 like this and from the serial number, this was the first. Valuable to a collector indeed, to a player it's a very nice pro2e which would currently sell for £3k to £3.5k. I lived in Putney in 1983, used to walk or cycle past that Fulham shop every day. Never saw,a Wal there. Did buy a carlsbro cobra bass amp there, and wheeled it back to Putney high street on a sack truck.2 points
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I am now out of the group! I have said all along I was waiting for a cog grand tarkin to come up and one (tarkin and 66 combined) did yesterday, so it should be on its way to me over the next couple of days. im not disappointed about it as it’s been in the list for a while. I think this group has helped me stop the needless (gas?) purchases though and changed the outlook on the gear I already have. thanks for having me and good luck everyone!2 points
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If anyone wants a great read, go and have a gander at Behringer and Music Tribes (parent company) Glassdoor reviews. For those not aware, Glassdoor is a website that allows employees, current and previous, to anonymously review companies they’ve worked at. Si2 points
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I’ve had a good few, Ampeg, Markbass, GK, TC Electronic, Orange, Aguilar, all been good but the one I’ve liked most and which I’m keeping hold of is my Ashdown RM500 EVOII. I can get pretty much any sound that I want from it, and it has a depth to the sound that the others - well apart from the Orange Terror - didn’t have.2 points
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I used to own this very bass! Got it from someone I was in college with who had done some trades with Dave Pegg. Can't remember what happened to it, I may have part exed it for an Ibanez Studio bass2 points
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That or a 'hot pork lunch', as we were accustomed to say at that time. One afternoon about five o'clock I left the pub and worked my way along the Strand buying and eating a burger from each of the major chains and from a couple of independents. I think I must have had about 6 burgers and after all that salt I needed a drink, so, back to the pub. This is what young people are missing out on. Please give generously to my crowdfunding effort.2 points
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Time for my fave Lemmy quote (hey, its nearly bringing it back to bass-related matters) “That was a great time, the summer of '71 - I can't remember it, but I'll never forget it!”2 points
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I have 5 tattoos and am available for fun and friendship2 points
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AFAICS the real mistake Behringer made was leaving themselves open to (wildly overplayed) allegations of anti-semitism. Other than that, I thought it was quite funny. Sure, it's not a good look to have so many pops at the same journo over a short space of time but sometimes people get under other peoples' skin to such an extent that they just lose it. Over time Kirn seems to have said some fairly unpleasant things about Behringer so a degree of pushback was probably inevitable - but Behringer overdid it in some peoples' eyes. Silly spat between an Internet 'influencer' and a gear cloner: who really gives a rat's anyway?2 points
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That would create a black hole and the universe would implode2 points
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Like every other nearly Fender builder out there .They have only mentioned the headstock because its been slated and they've answered with why its that's way.If you think its codswallop so be it .Just seems way way over the top the way they are being grilled .Not everyone's cup of tea ,fair enough2 points
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Am I right in thinking all these people have done is design a bass and are selling it ? We seem to have a major issue with that on here 🙄2 points
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