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Hi everyone, I received my Sandberg Lionel short scale last week and I could not be happier. This bass plays like butter, so smooth. This is my first Sandberg and I'm glad I made the leap and ordered this Bass. Took some pics and shot a video...The sound quality on the video is not the best but here it is. https://www.youtube.com/watch?v=psIB4sISIww

"Pass the Parcel" for example would have fitted perfectly, and made for a family-friendly parlour game-themed hit.

This one makes me crazy.....😈...Sandberg Rayman. 4 in the line Headstock, and Humbucker at the sweet spot

Incoming NS5H2 from 2010. Looking forward to my first Spector Will hopefully arrive next week.

Space rock overlords Hawkwind are getting me through my day.

From Eric Clapton towards thorny issues around racism then via Bob Mould and Eric Cantona to the sad demise of Scottish Association Football. A glorious Basschat diversionary manoeuvre well executed

Watch a film with a nurse and they will criticise any scenes involving medical procedures, watch a film with a rugby player and they will criticise any scenes involving rugby being played, watch a film with a soldier and they will criticise any scenes involving using weapons correctly. Every moment of a film could be broken down into parts that displease some specialist or other in that particular field, if the story isn’t good enough to forgive such details then watch something else. Monty Python & The Holy Grail - they aren’t really on horses, they are just banging coconuts together.

Clapton Thread: Training Wheels for New Forum Members? I'm beginning to think that this thread should be co-opted into some sort of induction programme for new BC-ers. It's a perfect example of how the forum works and how to comport oneself. Imbued throughout with the spirit of give and take and IMO, it starts with a bold contention, garners some useful critical analysis, wanders briefly into controversy (and a promptly extinguished flame war), derails across ever more unrelated issues and finally collapses, chortling like a madman, into a stream of appalling puns. The thread shows BC at its most typical and is therefore useful instructional material.

I did commit to updates on the 'legal' purchase. Here it is on the right (next to the prototype) just needing the pickups and string tree to arrive.

Surely this...

Just trying to gauge the response and layout the options. Sorry if we’re getting off track but I think you’re missing the points that are being made and not seeing the signals. This is a platform that we can use to discuss whether a model train thread will be successful or whether we should shunt it into the bin.

Loving that Lionel short scale. I was close to hitting the buy button on the white one in Bass direct but I`m on a Jazzish trip at the moment and instead bought a TM 4 in blackburst, Delano`s, split coil option, the complete opposite to the Lionel really! It feels good to be back in the Sandberg camp again, the feel and shape of the neck is perfect for me and Holger is such a cool dude that he makes me want to own one of his products. Should be here next Tuesday or Wednesday. Just need to sell other things to pay for it now

The worst depiction of musicians in films, has to be KISS in Phantom of the Park, and they were playing themselves! 🤣

Latest itteration. Goodbye to the MS3 and Aftershock (for now at least) and hello to HX Stomp. All still on probation.

I dropped a jar of marmalade on the floor once and, when clearing it up, found there was broken glass inside! A narrow escape. I wrote to Robertsons but they ignored me. Nicked from Viz. 😁

I'm a Scot so football obviously not important for us any more

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Eric Idle is a pretty useful guitarist, but the reason that he may not be 100% convincing as a Bassist here, is the fact that he’s a right handed musician, playing the role of someone who’s left handed. Here’s a little test- flip your bass around the other way and try and play something that sounds like music and look convincing while you do it.

Yes, still open to new music. In that I include: - Old music I never heard before - Old music which I used to dislike when I was young (e.g folk) - New artists making music based on the old music I like - New music in a new style. I guess only the last of those counts as entirely new, and although open to it, probably does represent the smaller part of my new music uptake

I'd forgotten I was in this.... I'm out now, a Zoom B3n "appeared" at the beginning of last week.

This thread has gone so far OT I may have to tender my resignation....

Thank you, Douglas, for your five-star review 🤩, the website meanwhile has been updated, shipping costs now should be easy to see for everyone👍 https://en.alfredkallfass.de/buch.

Replicating a journey of mine - G&L’s went out the door when Sandberg came along - congrats

Can you not set the controls for the heart of the sun an alarm on the clock, to remind you..?

I was the same. Then I started liking Precisions ("Forget me nots" is largely to blame, that slapped Precision tone is deliiiiicious) and I've largely bent my Precisions to comply with my desires. Now, Precisions work for me too and no longer get lost like they used to. I think @drTStingray is probably right in that it's a combination of the inherent characteristics of the bass, plus everything else we do to achieve our sound, from preamps, pedals etc, to the way we actually play. Bottomline is, if I need to fight a bass in order to get the sound I want from it... that's not a bass for me. So I get that some people get frustrated with their Stingray and move on (many people, judging by the number of reports on threads like these). It is a real issue for many. It's probably like the "Jazz basses sound too mid-scooped and get lost". It is partially true: you *can* get that kind of sound out of a Jazz... but as many players illustrate, you don't necessarily have to have that issue. The difference is that, for some reason, Fender Jazz lovers don't seem to react so aggressively to that kind of comments, while MM Stingray lovers are more likely to act offended in some way... I don't know. PS: I am primarily a Stingray player. I love that bass, but I'm ok if someone else hates theirs.

Magnum 1 - eccentric "potato" shaped body (inspired by the Deacon and Breadwinner axe-shaped guitars), twin pickups, passive circuit with mono and stereo outputs. Magnum 2,- as above but with 3-band active circuit (6 graphic sliders supposedly keep volume output constant when adjusting EQ), mono output. Magnum 3 - as model 1 but with more traditional double cutaway body. Magnum 4 - as model 2 but with more traditional double cutaway body. Magnum 1 is my favourite (I have a factory fretless one) - love the original body shape, and the active circuit is known for being noisy and hungry with batteries. All fab bases though!

Haven't seen this for a while...

Pat has been! Orders now being taken....

Small form factor only allows for one speakon - simple! Mind you, as stated, given Blackstars cabs have thrus (they aren't really thrus are they, they are just a parallel split) and they should be pushing the cabs as a companion to the amp, it's not really an issue. It's not really a deal breaker either - if you were desperate to use other cabs without thrus, it's not difficult to knock up a cable or a little box to plug cables into it. The reality is, if you are buying an amp physically this small and light anyway, you are probably only interested in having a single cab to run with it anyway... probably a 212... and that's the real point at which Blackstar have fallen down with this suite of products - a missing 2x12 cab, or a single 12 that you can daisy chain with another.

If you can hear the fan you're not playing loud enough!

Golly..!

I received Alfred's book this morning, and it's looking good, or even Very Good. It came in a hand-addressed plain envelope, very swiftly (from Germany...). Beware: the 'free shipping' applies only to those in Germany; I had to top up the sum for postage (to France...). Maybe Alfred could update his posts to indicate this..? The A4-sized book itself is very clearly laid out, well printed on quality paper, and so should withstand quite a lot of thumbing. And thumbing these pages is what it's all about. 500 bass lines, mostly just a few bars, but many longer parts, in all keys and all degrees of complexity. They are not graded progressively, which I found interesting as a concept for a beginner such as I, as it obliges one to hunt through for a 'simpler' piece, with a 'surprise' element when one pops out of the page. The first 'C' parts, for instance, with no sharps or flats, occur at 40 and 41. A heavy leaning towards 4/4 time signature, with a dusting of 12/8 or 6/8 and a couple only of 3/4, with a lonely 7/4 and 5/4. As a drummer, I would have expected a bit more 'swung' 3/4 (I suppose the 12/8 pieces could be played as such...), but that's maybe because I'm old..! There is one (497...) 6/8-3/8 (4 flats...) to spice things up, followed on the same page (499...) by a straight-forward riff in 'C'. Chords are noted for all bars of every piece, which help in 'hearing' what's going on; one could even generate a backing track to play along to (although, as the raison d'être is to improve reading, that's just a bonus...). All the pieces are musical, not simply 'made up' as dry exercises (no, I've not played 'em all, but it shows, just the same...). Any criticism..? Not much; not much at all. As with many methods, I would always prefer a spiral, 'lay-flat'l binding, but I realise that this costs more, and, to be fair, this book is supple enough to lay pretty flat without that. Other than that, and the scarcity of more divers time signatures, I have no hesitation in awarding five stars, and offer thanks to Alfred for bringing the book to our attention. Well done, lad.

Now I think of it, The US NS EUBs (acronym hell!) Have concentric alternating laminates of carbon & wood. They have Ebony fingerboards.

Getting back to Phoebe Bodgers? John Entwistle took that Skeleton suit to the cleaners in 1970 and it’s not been seen since!

I would look at a Spector with EMGs rather than the Barts. Different kettle 'o' fish and the stand out by far.

Not sure. He wrote a song about where he was born but I can't remember from the lyric if it was USA or not. He didn't mention it enough...

Hi All, Just an update. I have spoken to Alex from Barefaced and after a few emails back and forth I have decided to go with the Barefaced 210S - Exciting! I have been told it will produce similar volume levels to my current 410 (which I don't have to push to keep up with the band). It also leaves me some budget to replace the TC BQ500 head, which will be the next dilemma! Thanks for the input everyone

Nice one Leonard, one of my favourite Basslines and a similar line by Robbie used here

I have a number of Stingrays from a range of eras and have never had any of these problems - i know many people who have the same experience and seemingly those bass heroes who turned me on to playing them didn't either. I seriously don't think I've just been lucky. Certain amp types do seem to have naturally scooped sounds and need different treatment. I'm not going to name them here but one type seems a particular problem. Maybe my playing is in synch with these basses as I've been playing them since about 1980. Maybe it's a combination of that with the set up and EQ? Interestingly I played my 4HH Stingray Special at an outdoor gig on Saturday night and guess what - the bass sound (for me) disappeared for one entire song and most particularly the D and G string. The drummer was playing tom toms only on that song - and yes you guessed it that was cancelling part of the bass (and other instruments) from where I was standing, as the ambient sound of the drums at that point were louder at source. The same can happen with crunchy guitar (with any bass). The audience were able to hear it all mixed fine. My conclusion on this matter, and based on evidence (recordings, the EQ and frequency charts) etc etc is this is not an issue with the bass but to do with player choices and combinations they create and the people who have described their issue have been given more than ample advice to overcome it. If they still don't like it there's a simple answer - sell your bass and buy something you like but please stop moaning about 'design errors'. This is a bit like saying BMW cars spin if you accelerate too hard through a bend or exit from a roundabout - well of course they do - its the laws of physics, a reasonably lightweight car with rear wheel drive and high power - but it's the way the car is being driven - basically fundamental operator error 😂👍 I have a particular problem playing a Precision - not only is the sound woolly and not as focussed as I'd like - I also get chronic blisters as I have to play harder to get the sound anything like focussed (I'm not talking volume - I'm talking attack - thump or whatever you wish to call it. My choice is to play basses I think suit my requirements better but I'm certainly not going to start raising bass forum threads on how to overcome design errors with a Precision bass (which are problems I encounter based on my own playing requirements). They basically don't suit me unless I choose to play with a very vintage (woolly) sound.

It will take some time before this thing takes shape, but I think I am happy with the body shape and headstock. - I have decided to go for 21 frets as it helps balance without needing deep cutaways - headstock I want as small as I can get to prevent neck dive (but it does need to look good and balanced in relation to the body) - I am going for a pickup position that is around 1/2” back towards the bridge compared to a Ray Clearly just a first draft, any comments folks?

The 2nd “difficult” album

That's what I tell my other half as well.

I have bought some of OBBM’s remaining stock including Neutrik Jack and Speakon connectors. and have reasonable stocks of Sommer Cable and HiCon Connectors. so if anyone wants cables made, let me know.

My money's on this for v2: