Leaderboard
Popular Content
Showing content with the highest reputation on 29/04/20 in all areas
-
My amazing jazz, in the super rare Antigua finish. Fantastic condition. All original. Tons of tone. These are so rare now. Beautiful maple neck with pearl blocks. Hardly any wear to the frets. 9.9lbs or 4.5kgs on the bathroom scales. OHSC in lovely condition too. Based in sunny Swindon.13 points -
For sale my shiny 1979 Music Man Stingray pre ernie Ball in Tobacco Sunburst This baby looks like new, no dongs , no significant scratches. Weight is 4,3 kg which is rather lightweight for a pre ernie Ball. Frets are in good shape, truss rod works well in both directions Pots are dated 1979, neck dated early 1980 , Ser. B020xxx I have some additional goodies to offer with the bass, if a potential buyer is interested : an original vintage Music Man leather gig bag or a MM teardrop case. drop me a line , i will offer them for a fair price Shipping is obvious No trades please9 points -
So my downsizing continues apace. Bought an Ashdown 12" RM cab from @phil-m and paired with the little Elf I have recently acquired, it's just lovely. The sound is a match made in heaven and I very much look forward to hearing them in a bigger setting. And with the Zoom B1Four this is a great multi functional lightweight mini rig.7 points
-
Yes! If you plug your phone (or whatever music source) into one of the 'CHAIN' inputs rather than 'AUX', then the input knob only controls your instrument volume making it easy to balance the two levels (with your foot while you're playing, do i really do that?), ie not fiddling around with a phone. Phone volume on a decent level, then 'ME' up full 'PHONES' to a comfortable level and then just add your bass to suit with the 'INPUT' knob.7 points
-
Mint S2 Classic with custom options. Rob made this beauty for me based on the wood configurations from some 30th anniversary series... The black walnut body without center toneblock, a figured cocobolo top, blue sideleds, … And the paramatrix EQ upgrades this bass so much more... This is a high-end S2 for shure! 😊 A real Status, clear and huge tones, fabulous neck, low action, … 34" scale, 5-string, 18 mm bridge. Weight 4,7 kg or 10,36 lb. Please check the pictures for more info. With the Original Fiscox case of course...! A great chance to purchase this beauty in new condition far below the original price. For sale with some regrets though, but have to finance some projects at home. So downsizing the herd a bit. Never used this bass on small gigs. Twice on a bigger set... Beyond that never left my home... No dings or scratches at all! Secured shipment through Europe is included. Newprice was £ 3806. Cheers, Yaezz6 points -
For sale is my G&L L2000 , full fat made in Fullerton USA, which I believe is dated 1992. Good condition but has buckle rash and several dings etc which is hard to photograph, nothing major, just well played as it's a great bass. Everything works as it should, plays really well and balances perfectly on a strap. It has a very nice smooth neck , locking bridge and all the usual features. I only use it in passive mode as the MFD pickups are so punchy, but the active pre amp is great too. Included is the original G&L hard case , which is quite roadworn , but has provided good protection for the bass as expected. This was my main bass for quite a while, but it's not getting used as much now and I need to make way for an incoming bass soon. Delivery at extra cost is preferred due the the current situation , no trades thanks. Any questions just ask !6 points -
Surely if you want to be a real Master Craftsperson; after you’ve used 80gsm printer paper, brown packing paper, rolled up clingfilm (when it tears wrong and you need a metre of it to cover a yoghurt pot), and then dandelion fluff, the real final step is to give every piece of the wood a good hard staring at until it damn well smooths, shines and flattens itself to perfection.6 points
-
Yup keep mine all out on stands, I like to see them and choose them as I feel on the day. Eagerly awaiting some Ashdown goodies to keep them company too 😁6 points
-
Brought this bass from christopherbassmay from this forum. The price is very cheap for an AB1 of this condition, but it's what we agreed so it's what I'm selling for. I realise that this bass far exceeds my needs, and lately I've been focusing on different styles of music for which this bass is just overkill for. That said, this bass fits all styles of music, the pickups and switching are very versatile, you can select neck, bridge or both in series/parallel. The Dingwall name speaks for itself, this bass is perfect in every way honestly. I've played a few 6 strings, and is is by far the most easy to play and sonically balanced. The B string is incredible, the C string is fat sounding. The bass is very very light, and there is a straplock button on the underside of the body to shorten the reach to the low notes (when I use a strap, I always fit it to this button) Comes with the Dingwall gigbag (super super sturdy.) I would very much prefer collection after lockdown has ended, but I'm willing to post at buyers expense. I would also prefer payment via bank transfer, but I could also be tempted by a trade + cash (trade value would be more however) Any questions, feel free to message.5 points -
Perfect for Steinberger basses then.5 points
-
The white non-x version is not too shabby either, just sayin' 😁5 points
-
Decal on, waiting for it to fully dry then I'll seal it5 points
-
The story of the Shadows celebrating 60 years, Friday 1st May 2130 BBC44 points
-
There is (seemingly unbeknownst to the seller) a rare 1970s Bunker bass advertised in the Netherlands, with a tension-free neck. In the only picture provided in the ad it is missing it's headstock (which is supposed to be bolted to the metal frame inside the neck. The outer wooden shell is just that: a shell. Interesting concept. Dave Bunker built the high end Ibanez USRG guitars and USATK basses in the mid 1990s. https://link.marktplaats.nl/m1543395287 Here's what it should have looked like, with the headstock attached:4 points
-
If you have an old cow handy that's fine but it's a little wasteful of livestock. A whole packet of printer/copier paper is only a fiver... Cricketers. Cuh! This is just not cricket.4 points
-
I've commented with my thoughts in a previous, similar, thread. My actual thought is it really doesn't matter, but, on the opinion that hanging basses by the headstock can't be good for them, surely simple physics says it's better if anything. My reasoning is simply gravity working in the instruments favour. The string tension constantly wants to pull the head towards the bridge, bowing the neck forwards as there is a slight cantelever action due to the angles. If you stand a bass on it's bum then the weight of everything above the bridge is helping those strings pull the head towards the bridge. If you hang it by the head then the weight of everything below the headstock shoulders is working against the tension of the strings, thus helping to keep the neck straight. In reality the gravitation pull is negligible compared to the much higher string tension so whether on a stand, hanging or laying down is all but irrelevant, but hanging cannot be worse. 🙂4 points
-
Most certainly, especially after their very helpful and friendly attitude when FedEx managed to deliver mine to a house miles away. Drew from Kenny's was on the phone everyday keeping me updated on the progress they were making with the courier, despite to being only a ten quid sale. They're top of my list for whatever I buy next.4 points
-
I'm intrigued by the 'relic' market, so I think I'm going to chuck my Precision in the ditch down the end of the garden for a while. I might then leave it in the road outside for a few days.4 points
-
I can sympathise with that. Whenever I’ve been asked by beginners on any tips for learning bass or guitar I always say ‘don’t put your instrument away, leave it out on display’.4 points
-
yes i beleive the octavius squeeser is as you say. There are other companies doing it aswell, chase bliss? there are probably others.... I now have a fully working prototype and controlling my strymon deco with it (yes i can see the irony). Im able to store 4 presets on 3 pots. So effectively its the proof of concept ive been working towards. Im currently in talks with a patent lawyer, and developing the next version that will be controllable via midi PC and CC, and able to store over 100 presets over 8 channels of controll (8 pots)4 points
-
4 points
-
I was bored, so I bought a body and neck, plus the hardware, to create a new P-Bass for my collection. P-Bass body and neck (with a fantastic neck pocket join. Gotoh "lollipop" tuners EMG active P-Bass pickup. Gotoh battery box Fender '58 True Vintage bridge Off-white pickguard Nitrocellulose lacquer: white primer, Seafoam Green colour coat, clear gloss topcoat for body and neck. I spent an evening sanding the neck to a super smooth finish, scraped the fingerboard to get it really smooth to the touch, rolled the fingerboard edges, and smoothed off the fret ends so that the neck feels really comfortable in my hand when playing. Grain filling the body wood was a real pain, but it's worth it to ensure that the colour finish is super smooth. EMG active pickups - did you know that they don't utilise an earth wire from the bridge as happens with passive pickups? I installed an earth wire anyhow, but just left the wire in the control cavity (so that it's there if I ever decide to change the pickup).3 points
-
arrived this morning. Birdseye maple facings, ebony fingerboard I've had a couple of Wal's before (one second hand from the mid '80's, one that was new but not my custom order from the late '90's) and those never quite felt like they were "mine". Also, necks a bit on the chunky side. This one is most definitely mine, and the neck is unbelievably slim and fast. Plus, you know, it sounds like a Wal. Just all round gorgeous - now that I have it the two year wait seems completely worth it. Another reason to hope for the end of the lockdown so I can take it to a studio and play it through a cranked up amp And Paul and Philip at Wal were excellent to deal with - top marks all round. My boss thinks I'm working this afternoon. My boss is wrong3 points
-
Just a bit of fun to help relieve the lockdown boredom. Be nice now - I haven't been doing this long! 😄3 points
-
As usual there's a few ways and none are right or wrong as long as they work, it also depends on what type of paint you're using. In general there's two types of colour coat, basecoat which dries matt and needs lacquering, and topcoat (or solid colour, different folks call it different things) which dries gloss and needs no further lacquering. There's a lot less build with basecoat so less of an edge to worry about, but masking onto basecoat that hasn't been lacquered can leave marks so if using basecoat I'd first basecoat and lacquer the first colour, not masking an edge, let it dry, prep the entire thing again, mask for second colour using fine line tape (I'll get to that in a minute) and spray basecoat, whilst still wet peel the fine line tape off, let the basecoat dry enough to lacquer and de mask the rest, then lacquer over the whole thing sealing in both colours. Or if using solid colour topcoat (ie gloss) paint first colour as above, dry, mask for second colour using fine line, paint second colour and remove fine line whilst still wet, let dry. Then de mask and prep for lacquering (although it doesn't have to be lacquered) and rub the raised edge slightly if needed. Lacquer completely and let dry. Now, the fine line tape. It's a thin plastic masking tape, about 3mm wide, that you can shape around curves nicely and gives a much cleaner edge to the paint than normal masking tape. You mask up with normal tape just a smidge back from where you want your edge, and then finish masking with fine line last, so it can be removed without disturbing the rest of the masking. I always peel the fine line off while the paint is still wet as the build up on the edge will flow slightly and you won't be left with as sharp an edge as if you'd let it dry first. Leave the rest of the masking on until dry so you don't get any contamination from it in your wet paint. Then prep the whole thing for lacquer giving the join line a slight flat if needed. You don't want to try and remove the entire edge as there's a risk you'll feather the colour back, just smooth it a little. Then lacquer the whole thing. You can then flat the edge back after the lacquer has dried as well but doing the above will reduce the amount you need to, so minimising the risk of rubbing through. I hope that all makes sense but any questions just ask away.3 points
-
On the firm's time, obviously3 points
-
Also a vastly under-rated trouser fabric. 👍3 points
-
3 points
-
Sorry - haven't got time to post, cos supper's ready3 points
-
My (!) builder taught me that the finest finishing abrasive is a sheet of clean paper and I have used that several times to smooth off stuff. Check me out offering advice in the build forum!3 points
-
Yep - using the angle cut jig to keep everything nice and steady - as it was a uke bass, the cut depth was about 60mm (2 1/2"?) I normally use baking parchment for the non-stick aspect, but had run out after a sudden need for fruit cake the previous week.........😜3 points
-
I'm gonna guess that high profile players who already have a relationship with Ashdown will be inclined to favour and/or use them, as it will give them a single point of contact for the tools of their trade, however I've been around far too long to be impressed with 'celeb' endorsements, as they come and go depending on which direction the wind's blowing. None of which changes the fact that they're visually uninspiring rehashes of designs which have been rehashed thousands of times already, and which will have been done with better (and worse) quality a thousand times.3 points
-
You are all very kind In terms of yesterday's activities, first thing I did was drill the tuner holes. Matt was happy with the compromise of strings bending at the nut to retain a more traditional headstock shape. I always draw headstocks full-size and only when I physically have the tuners at hand! Been there, done that! I then started the treatment of the neck. I will be using the Tru-oil slurry-and-buff method - fabulous for necks - but recently I've started using Danish Oil rather than Tru-oil (although I still use Tru-oil for the bodies). Reason is that I've found that over extended playing, the tru-oil necks sometimes get a bit grain-furry where they are most regularly used. All it needs is a quick rub down with some micro-web or similar to sort it, but I've found that decent Danish Oil applied in the same way gives the same organic silky smooth result, but appears - certainly on the ones I've done this way - to be just a touch longer lasting before you need to re-buff. The main thing I have found with both, though, is that the wood needs to have absorbed a decent amount of oil before the slurry and buff starts. I usually apply at least two generous coats of oil to soak in and fully dry first: And this is how it is this morning, dry and ready for the slurry and buff process to begin - probably starting with 400 grit emery to be applying the Danish Oil with. This is broadly the colour it will now stay at: Again, the light stripe of the maple veneer is subtle but really adds to the look of the fretboard join. I think @Jabba_the_gut 's builds were the first ones I saw using such thin veneer for demarcation - my previous ones used to be much thicker - so a nod of thanks to letting me pilfer that little gem : I'm pleased with the heel - it is the great, great advantage of through-necks, particularly with slim bodies, in spite of some of the challenges of doing them. Matt should find this very nice to play. Oh - and even with the tuners fitted and no body hardware...it balances! Phew!3 points
-
With the Sessioncake deal, I now have another retailer in my list, that I was previously unaware of, which may be true for a good many others who bought one.3 points
-
yes. No. A waveform is the same wether it comes from an analogue or digital source. of corse every piece of gear has its own sound, and this may stem from its ability to produce these waveforms "perfectly". Remember a square waveform is the sum of all the odd harmonics of a sine wave. differing amplitude/amount of any of these harmonics will result in an imperfect square wave. the same is true for a triangle/sawtooth wave but with different harmonics. there is no analogue sound processing in either pedal. most synth pedals are digital. and therefore run code/software. In a digital world, everything is done precisely. repeatability is unavoidable unless programmed in. that is to say, that the same input will generate the same output every time. Anologue circuitry generates the waveform as the circuit parameters allow. its kind of a living breathing thing, so the output will depend on a number of factors such as temperature, (humidity?), power stability, current supply, condition etc. older analogue synths typically have tuning stability issues for these reasons, and often have to be "warmed up" before use to make sure they play in tune. All of these characteristics are seen as desireable for many die-hard analogue purists. I personally find analogue gear does "generally" sound better and is more responsive to my inputs. But there are also drawbacks with analogue gear, as mentioned above, as well as as lack of presets which we are all becoming acustomed to with digital systems.3 points
-
Rock N' Roll Radio is a good example. Now, I like Dee Dee has a bass player. He showed up did his job and did it well. Rock N' Roll Radio has a bassline that is not very Dee Dee like. The bass follows the melody instead of sticking to the usual root notes. Dee Dee wasn't really known for adventurous bass playing so maybe someone else ghost played on that track? Dee Dee could still play that line live with no problems.3 points
-
I’m very impressed with mine, I even did a bit of iPad recording with it for a collaboration project. However, I had to use my Rob Allen (which has a very hot output) to get a decent line level and some proper low end. This has now spurred me on to order a proper USB recording interface (arrives today) but the ‘cake will remain as a practise tool because of it’s simplicity and silent operation. All this means I’ll reckon I’ll definitely be moving on my Phil Jones Cub once we can move around freely again. Much kudos to @krispn for bringing this to our attention in the first place 👏👏👏.3 points
-
So the final piece of the collection arrived today, Fender Deluxe Precision, P/J configuration, active/passive. Had wanted a P/J in my fave black/black/maple but when I saw this one in pretty much my equal fave of white/black/rosewood it just had to be. Plays and sounds like a dream - am leaving it on passive as it just sounds so good like that.3 points
-
The FI is great, fantastic machine and as @Quatschmacher points out it is a real labour of love and triumph for a small team of excellent professionals. Straight out the box you have fantastic sounds to use, and you can tweak. Source Audio C4 is hardly a monster, comes with 6 stock sounds, popping a new sound to the pedal requires about 2 clicks from a phone, tablet or PC, will hold about 128 presets accessible by midi. There is an open library where people make sounds you can freely use and if you want you can easily design your own sounds or tweak made ones, and unless I am wrong that is a synth. The whole PC editing thing is guff, some people will bemoan one software saying pedals should work without a deep dive but happily use another’s software. It’s there if you want to and not if you don’t, we barely scratch the surface of most tech we own and it’s certainly easier than the programming and code we were taught in school on ZX Spectrums, BBC’s etc. Loads of horses for courses3 points
-
Hmm, there was a lot more to my post when I posted it yesterday. But other posts of mine from yesterday have also gone missing. Maybe I've upset someone. 🤔 I also said that the session cake has actual helped me pick up a bass more often. I leave a short instrument lead, phone lead and my headphones plugged in permanantly so I can just grab it and play bass anywhere I fancy sitting, especially in the garden.3 points
-
really enjoying it, cant do any full songs yet but getting use to it and loving it, having to fit the saxophone practice in to, which i know isnt bass related but if you or anyone is interested, please check it out here:3 points
-
I'm probably in a minority opinion here, but in my small sound company I've shifted almost all of our stock over to passive boxes and separate amps. You add a bit of pack space and weight, but you gain a little flexibility and, importantly for me, it's better for redundancy and maintenance. Whenever I've had an amp fail in a powered speaker, it's an expensive bespoke part from the manufacturer, often costing as much or more than the S/H value of the speaker itself. If I have an amp in a rack go down, I can swap an amp out for another generic item. If it happens mid-show, I can run more than one speaker off a single amp channel to get through the gig. There's less cabling mess on stage too, as all your signal and power stays localised in one spot and you only run speaker cables out to each box. With regards to monitoring - this very much depends on what your band are used to/happy with. Personally, when I've played pub gigs I've always just made do without, but doing function/corporate work I've always made sure there's proper monitoring on stage. With only two aux sends available for monitors, you'll struggle to satisfy a six piece band. You've mentioned that two of you use IEMs already. That leaves no monitor mixes available for the rest of the band. If that's an issue, you'll have to look at upgrading your mixer at some point - a popular low budget choice is the Behringer XR18, which gives you 16 mic inputs, a stereo line input, six aux outputs for mons, and a lot of processing options. I've got one in our stock and have it racked up with a WiFi router hardwired in and a tablet that lives in the case, and it's a very tidy solution for small gigs. Got to be honest, not a fan of coloured cables. Looks terrible on stage IMO. Colour coding the ends is one thing (or tape with a name/logo under clear heatshrink wrap) but I'd keep it black purely for aesthetics.3 points
-
I’ve been very - no make that incredibly - impressed with the Player Precisions. Easily within budget, great playing, great sounding basses, and light too, I think mine must be less than 8.5lbs. Def worth checking out imo, and that’s from someone for whom the US versions are king.3 points
-
Up for sale is my Warwick Streamer Stage 1 from 1992 - Given the below I'd prefer a buyer to view the instrument. ****Since Original Listing The Bass I have been contacted by a previous owner and an employee of Wilkes Guitars***** ****Comments are copied below - with permission***** The previous owner has contacted me to say that the bass was professionally repaired by Dougie Wilkes Of Wilkes Guitars. The bass had a knock that caused the crack. The headstock was not detached. The age of this repair is approx 8 years ago. ********************************************* Also from a Wilkes Guitar Employee Hi, I’ve just come across your Warwick bass and saw Doug Wilkes name so read the description. I was actually Doug’s assistant (one of many) and I remember this bass in the workshop. I was there in 2013/2014. I wouldn’t worry about it, once Doug has repaired a guitar it’s better than new ********************************************* All flame maple body and neck (I believe), wenge fingerboard. Very little fretwear indeed. The stock electrics have been changed to EMG pickups complete with EMG pots and wiring (and knobs!). The bass is quite light at 3.62kg on digital kitchens scales, that just under 8lb! There are a few scars on the body and a little wear over the P pickup as shown in the photos but overall in pretty decent shape for a 28 year old bass. Now then - Full disclosure, the bass at some point in its life suffered the almost legendary for some Warwicks of this era - a neck / lacquer split / crack at the headstock end. Please see photos, I am more than happy to provide any more information and photos are requested. I've taken many photos of the neck and below I've attached the best ones. I, of course, realise this may put off many a potential buyer. I'd describe this crack as minor, I hope that my feedback and reputation on here gives some comfort to any potential buyer. I'd say it has had a crack but never completely broke off completely as the crack doesn't extend along the full width of the neck as far as I can see. The neck is functionally fine and the truss is sound and adjustable. Also, note that the truss rods are easily user replaceable in these early non volute Warwicks. In my opinion there is no ongoing issues whatsoever with this now or with any repair that was historically made. This is not something that negatively influences the playability whatsoever in my view - the bass is well set up and tweaking the relief action and truss rod to suit is not a problem - I've adjusted it many times.2 points -
Hi, Well I thought I would share this Custom Bass I hade made for a 50th Birthday present to myself. It started life as a Moosehead Beer crate from 1963. The crate joints had to be soaked in vinegar to try and break down the glue to separate the corner joints as they had to be kept intact as the side panels were too small to make a full size bass.. The neck is from a 1979 Fender jazz bass, Geddy Lee pickups and fender relic machine heads The faceplates,bridge etc. were new fender items so I did some patina on them just to give them an old look. The Moosehead facing was then placed on a custom made mahogany body and assembled by Gerry in Haze Guitars here in Ireland. The workmanship and attention to detail carried out by Gerry was fantastic. It was an idea I got from Grove Guitars in America ,who use loads of old crates to face their bass's with and I think it turned out very well. Might not be to everyone's liking but I am chuffed with it.2 points
-
Our band's drummer owns a rehearsal studio which is where we rehearse (or used to, in the days when we were allowed to go out and see people). He has equipped them all with Mark Bass rigs and I was somewhat wary of them to start with, and found it very difficult to get any sort of useable sound out of them intuitively. Then I downloaded the manuals for them, and suddenly they came alive. The only problem I have with them now is that I've forgotten how to get the best out of my Ashdown gear!2 points
-
2 points
-
Graham, that rig should sound absolutely epic! I have been using Markbass for donkeys years, trust me, I know! If it doesn't, then you have a fault somewhere, and that may be your amp, cabs or bass..... has it sounded good with previous basses, or is this your first Markbass rig? Has the bass sound good though other rigs? So, forgive me in advance, not trying to teach egg sucking here, but here's the best start point, and then work from there. 1. forget the compressor for now (the effect of well configured compression will smooth out your overall sound, and balance your loud/quiet notes, but won't necessarily help your tone!) 2. Set the bass with all knobs on 10 o'clock. Is it active, and have you a new battery in the bass? 3. The knob on the side of the cab attenuates the tweeter. Full on its full tweeter, roll it off to reduce the level of the tweeter. For now, set it at full, at its brightest. 4. Make sure the speaker cable is good quality and working properly. DON'T use a guitar cable, use a speaker cable. 5. Set all four tone controls at 12 o'clock, set both the VLE (Vintage Loudspeaker Emulation) and VPF (Variable Pre-shape Filter) at zero (VLE at maximum probably will make it sound dull!) 6. Turn the Input Gain, Line out and Master Output to zero. Plug your bass in with a known good cable, and play as loud and with as much attack as you would usually play and slowly increase the Input Gain on the amp until the blue clip light flickers, then back it off until it hardly ever flickers. 7. Turn up the Output level, and you should have glorious, bright, punchy Markbass tone. If none of that works, you may well have a problem, but this could be as likely to be the bass, preamp battery, guitar cable or speaker cable, but yes it may be the amp or extension cab.... you'll need to work through your signal chain to work out where the problem is! Hope that helps!2 points
-
https://www.amazon.co.uk/All-Good-Stuff-How-Practice/dp/1981976000/ref=sr_1_1?crid=35JW1ZUCNPEI2&dchild=1&keywords=janek+gwizdala&qid=1588107254&sprefix=Janek%2Caps%2C170&sr=8-1 Great exercises, ranging from easy warm ups to some really challenging exercises. Janek describes what he uses each exercise for.2 points
-
Another amateurish knock-up job then... kit from China was it ? 😭2 points
.jpg.93bcb57e7270b71ea38802d3ca0540a6.jpg)
