Leaderboard

Ha! This morning, I decided that I'd sell my Squier Musicmaster. Put it on Gumtree, I thought. Just before I did that, I checked the BC "Wanted" section and discovered that Cheddatom was looking for a white Musicmaster. We swapped photos and -yes! - I had his first ever bass. It's now back with him, and I'm really pleased that it turned out the way it did. Bit of BC Karma, right there. Steve

I've been a member here for 10 years today!!! Made some good friends and bought and sold some amazing gear.

Hey guys, during a rebuild, I stupidly lost my intonation screws and springs for my A style bridge. I e-mailed Hipshot and got a speedy reply. I was prepared to pay any price but I didn't have to. The parts all arrived from America to N.Ireland today, free of charge. Brilliant service, so I thought I would give them a mention. Regards Michael.

It’s funny, and probably more an indication of my (lack of) understanding of compressors but I’ve always preferred single control compressors on amps to separate dedicated compressors.

Can you even begin to imagine the queue of punters at the Dog & Duck, all waiting to shout, "Oy! Your amp's fallen over mate!".

In shocking news, the 72 year-old muso fails to trash his own legacy but instead emerges triumphant. F**k me, he can still sing.

Drummers. Rule 1. Right kit. Having a big kit is generally loud and sounds flabby and uncontrolled. Get a smaller, quieter acoustic kit. Its not only quieter, it makes things sound tighter. Get darker sounding cymbals. They tend to be less shrill and quieter. On a small stage, or troublesome room, the sound from acoustic kits fly off everywhere, bouncing into open mics. In which case, get a decent electric kit. Most drummers moan about electric kits. Most drummers moan that they can't hit drums hard if they are told to quieten down. An electric kit gets around this. An electric kit going into a laptop and triggering a decent set of samples will sound infinitely better than an acoustic kit... or the stock sounds from an electric kit. HOWEVER, nothing beats the feel of a genuine hihat. Simple. Run an electric kit and mic up a separate hihat. (Even better, it frees up another trigger channel for other sounds). And the next thing - mic up the kit appropriately. A small kit miced up properly and subjected to some processing will sound better than a big kit. It's easier to make a small kit sound fat through a PA, than to try and calm an overly live large kit.

I recently prepared a PDF version of the classic double bass method book by Bottesini. It can be downloaded for free from here: https://yuvalnov.org/bottesini. Enjoy!

Indegestion? Touch of GAS? Took some 'Gumtree'... I likes the Ibanez SR's... After buying a GSR200, nice and great value, I wish I threw some more $£ in and gone for the SR300. I also likes me 'Naturals'... So I 'Hit Submit' on a 2010 SR600... Ash Body, 5 Piece Jatoba/Bubinga Neck... 38mm Nut... Bartolini Mk1 pups £200... Hopefully I didn't get my pants pulled down to far?

I always mic' the bass drum, even at small gigs. Just a little in the FOH (even if you only run vocals through it) makes the whole band sound tighter and helps reinforce the bass.

Don't mess about. Do it properly and get one of these.

My next great love in this field was Status Graphite. It came at a period in my late teens and early 20's when I was obsessed with Level 42 and Jonas Hellborg, so the instruments had a certain allure even before I had held one. The first I ever played was an S2 in a shop in Newcastle and though I couldn't afford it at the time, I was hooked. Before I start talking about my first Status bass, I want to refer to a post I saw on Basschat many years ago regarding a jazz bass with a Status neck that was for sale. If memory serves, this was a very early model with the old 'GMT' logo on the headstock and pickups (I think I am correct in saying the very early Status instruments were branded GMT for 'Green Machine Technology' and a company of the same name is listed on Companies House, based in Colchester with a Mr. Robert Green as the director). This particularly bass was had a yellow tinted carbon fibre neck and interestingly, there were some visual imperfections seen in the weave. This was because it is not always possible to get the graphite cloth laid exactly flat into the mold and that can produce a 'creased' effect in the finished product. What this indicated was that whilst this was still 'space age' technology in the literal sense, we were still looking at handmade products crafted by visionary designers who were still figuring things out. Fast forward to my first Status, a 1996 headed Stealth six string. This thing was utterly flawless, and showed how Status Graphite had gone from innovative upstarts to undisputed masters of the field. The finish was like glass, the weave was utterly perfect and there was barely a manufacturing mark on it. As an aside, I think the 90's were the high point for Status basses in general with products like this and the Jonas Hellborg bass with it's 36v preamp. The wood selection from those days was also uniformly stunning, just a real high point in bass design in general and the old catalogues from those days make me very nostalgic, even though I didn't start playing bass myself until the year 2000 or 2001. I am a stickler for small details and the old 'Hyperactive' pickups with the red script and rounded edges were just divine, they sounded incredible and the rounded edge was ideal as a thumb rest. The Stealth was just incredible and is one the bass I really regret selling. The tone was so deep and rich, with loads of midrange flex and burp. It was very light, balanced perfectly and felt so sturdy. I later picked up a Matrix with a P/J pickup configuration. I enjoyed this bass and it had a good sound but otherwise was not particularly noteworthy for me. Light, excellent balance, top quality hardware as one might expect. I don't think I've owned any other Status basses save for a 1987 Series II. Now, this one was a world-beater in terms of design. I still don't think the 'flagship' Status product in the 'S' series has been bettered. The tone was very aggressive, the notes really just flew out of this thing. I was playing it through an Ashdown Mark King amp at the time and it probably came at the zenith of my love for bright, super-modern tone. General opinion seems to be that tonally, the later basses were never quite as bright or aggressive as the Series II models. I had always believed that the 'cricket bat' design of attaching wooden wings to the carbon fibre neck and body portion had accounted for this. Even with the extended set neck, no other Status 'S' bass had as much carbon fibre in it as the Series II did. Mine literally looked as though it had come out of a time machine, even the brass hardware was bright and clean. In terms of basses, at the time I thought 'if I ever felt like a bass imposed 0% impediment on my ability to play, this is it'. All these years later though, it's the Stealth 6 string that keeps me awake at night. I have often thought about putting a call in to the workshop and seeing if - if only - they could make another as a special order. If they still had the old rounded Hyperactive pickup casings and the mold to build the headed Stealth I 6 string shape again, I would not hesitate to make an order. However, I had heard in the past that Rob was not particularly keen on 'one off' builds like this. Maybe some day I will make that call. On the other hand, I will always love the original Kingbass and yet I've not owned one of those... Apart from when I'm playing UZEB stuff, I rarely slap these days and yet Status was always about so much more than that for me. The finger style tone is incredible and hearing that tone from my own amp was like going from watching a VHS to sitting in front of a super-rich 4K monitor running at 100FPS. It was '3D' in a way, with a depth and character that seemed more than just a flat wave of sound washing out of your amp. For all his design and engineering genius, more needs to be said about Rob Green's ability to wind a pickup and voice a preamp. Incredible... In my next and final post, I will round up a few thoughts on other things I've owned like Zon, SKC Bogart and Zoot basses, as well as putting forward a few thoughts on some other notable names in this corner of the bass world. The stuff on Bogart will probably be of interest to some, as Stefan Hess is like the Rob Green of Germany and yet the basses that his products went into are arguably still relatively unknown and underappreciated outside of mainland Europe and they are probably the last bargains to be had in this field. I've kept my Bogart Blackstone longer than I kept any Status, so maybe there is something to that...

Yeah, but I'm still not clear on whether he likes them or not! Seriously though .... awesome post. Definitely looking forward to more posts.

This is a subject that is of considerable interest to me as I've been fascinated with the old but hi-tech instruments since I was 15 and discovered Stuart Hamm. I've owned and played quite a few of the instruments that are notable in this field. When I was 16, I bought a white 1989 Kubicki Ex-Factor (I later also owned a red 1989 model). Both were stamped with the Fender Custom Shop logo on the back of the headstock, though both were 18v models (with the original preamp which was, IIRC, 6 position). There is a lot of misinformation about these basses out there that has persisted for years, so as a quick summary: Phil Kubicki had never sold his company to Fender. He was an ex-Fender employee, having worked in their R&D department in the 70's (he worked on some very interesting projects for them in the 70's, worth reading up on if you want to know how forward-thinking a seemingly conservative company like Fender could be with their prototypes). At the end of the 80's, he went into a deal with Fender and the 'Fender era' began. There was obviously some crossover between parts as both my old basses (#1777 and #1859) were 18v models. The deal was effectively a distribution deal, as it allowed Kubicki to get their instruments into the Fender dealer network and removed some of the logistical and sales burden from the Kubicki workshop. The preamp was simplified to 9v at one point and IIRC two modes were removed - probably ones that Phil had found were rarely used. The original preamp architecture was reinstated when the Fender era ended in 1994. I personally only ever used the bass in two positions for 95% of the playing I did on them, usually active/flat or active/mid scoop for slap. Phil had chosen the multi-laminate neck after concluding that graphite was too expensive to work with. There was a brief deal with Moses Graphite to produce carbon fibre replacement necks, though few were made and they were expensive. I saw the other day that there is one for sale on Reverb right now. The profile was really smart, being a round C at the nut that will be familiar to any jazz bass owner, moving to a slightly thicker feel in the middle and transitioning to a flat-backed 'D' at the higher end. It was a really smart, fast neck to play on. I could writer chapter and verse on the Kubicki design, suffice to say it remains to me the absolute masterwork of ergnomic design in the bass world. All of the hi-tech solutions and ideas that Phil had were well implemented and well reasoned. The tone is just utterly exceptional to me, completely unique. Nothing else has ever replicated the sound of a Kubicki. They were and are easy instruments to own. Phil himself was always on hand back in the day to offer advice via email or telephone and StewMac.com carried loads of replacement parts including the bridge springs and clips. Today, they are still in production even though Phil himself died a few years ago. In my next post, I'll talk about my experience with Status Graphite.

Our drummer mics his bass drum with some sort of gear, no idea what though. He doesn’t do it to make it louder, but so that he can hear it better as the speaker is like a monitor in how he places it. He says it helps his playing, and given that he’s one of the tightest drummers I’ve ever been in a band with I’d say he’s right.

As @MoJo stated earlier - the switches are notoriously weak on the 414. Mine was replaced with a switchcraft upon purchase. he’s your man for more information

With regards to the TC BH550 - The toneprint is modelled on the Spectracomp and is without doubt, the best compressor I have used. I even tested out a few compressor pedals before CV struck in a local shop and didn't think any of them were near the level of the onboard Spectracomp Toneprint.

RIP Tim Smith This took me ages to get right. Recorded on my 1991 Korean Squire Precision Bass with recently added KiOgon wiring loom. DI via Sansamp Bass Driver Hope you like it. Alex P.S. yes I attempted the outfit

Saw what you did there...

Man, our rhythm guitarist insisted on buying himself a mic even although he was a dreadful singer. We used to turn his mic down. Once I heard such an off key note that I stopped singing and looked to see which one had sang it. No one admitted to hitting that dreadful backing singing but I am pretty sure it was him.

Not the neatest, not the flashiest, but I think I'm about done for now... I've gone from a huge board, through dozens of iterations, and this is where I am, for what I need... Well... for now 🤣 Path: Carl Martin Compressor/Limiter > Boss TU-2 Tuner > TC Electronic Nether Octaver > K.I.T. BB Clone Drive > TC Electronic Corona Chorus > TC Electronic Flashback Delay (always on) > MXR M81 Preamp 9always on)

IME, the biggest, and potentially most damaging volume issues are at rehearsals in a small room rather than gigs. It's so easy to fall into the routine of turning up, plugging in and guessing the volume for the room. A methodical soundcheck based on the loudest acoustic instrument can work wonders for keeping the volume down. As much as guitarists don't like to be told it, they are not the most important part of the sound, they are the colour and flavouring. Typically, we start with drums, mic the bass drum if necessary. Then add bass guitar and it balanced with the drums. Lead vocals next, then guitars, keys and backing vocals. It's pretty easy and quick and stops the volume war before it has a chance to begin. Once we've done this process there is absolutely no reason for anyone to adjust their volume control. We also do the odd 'technical' rehearsal every now and then. Particularly as myself and both guitarists all use Helix devices, and our drummer has a digital sample device with a couple of pads and pedal trigger. So it's handy for setting patch levels and eq's at gig volume just to make sure everything's fitting together nicely and there's no massive volume spikes (or worse, not enough of a volume boost for solos)

I had completely forgotten all about that song being on Face Value. Saw Genesis on that tour and met them at both Edinburgh and Glasgow where Phil actually bought us lunch and had a lng chat with us in the hotel they were all staying in. He also told us that because he was sitting with us and paid for the lunch the staff thought we were with the band support team and didn't ask us to leave. Always had a great respect for Phil Collins because of that day. A truly genuine nice guy. Happy times Rob. Thanks for bringing that one back from my favoured memories. Dave

As a Genesis fan, I have loved this bass part since hearing the album when it came out in 1981. The track 'Behind The Lines' originated on the 'Duke' album but, the year after Genesis released that version, Phil COllins reframed the tune as a funk masterpiece featuring Weather Report bassist Alphonso Johnson. This is a masterpiece in funk phrasing and needs to be be listened to for the nuance and inflection. I have even broken my own rule and included a part that features popping (two notes here and there). A brilliant part. https://bilbosbassbites.co.uk/behind-the-lines-phil-collins/

Nice BB614 on eBay - collect only. Near Bristol? Melksham? https://www.ebay.co.uk/itm/154057841128 Raspberry Red - so one of the last 614’s.

I left out the Trace Elliot 1x15 and the HH 1x15 combo....and the Marshall 2x15......

God yes. I wouldn't spend Apple money even if I had it! It's a refurbed Huwewaweiwawei I got off ebay.

Is this too many? Is this too many?

This week is in between two sessions of family commitments so I am trying to get it to final finish stages so that it can be hardening off ready for final polishing while I'm distracted again next week. Spent a fair bit of time sorting the neck angle to get the action right. This included a number of email discussions with P as I'm not familiar with the string tensions on a bouzouki which affects both the pull on the neck but also on the bridge. I also have experimented a bit with a set of phosphor bronze strings - which I would usually fit to an acoustic - and a set of nickel wound strings which P usually fits to his other bouzouki - and both have different tensions which then changes that pull. It's another clamber up the learning curve on this build! But it's close - it has a decent action, everything appears to be stable and sounds great. I'll finalise everything when I've levelled and re-crowned the frets over the next couple of days. I also fitted the side dots. I've fitted Luminlay dots - not because P necessarily needs their soft glow-in-the-dark ability, but because their black-sleeved dots really set things off - especially when you have that black/white/black demarcation line. Here's one going in: And here they are after trimming and a quick scrape. See what I mean about that black surround? : And lastly for today, I got two of the strings moved across to correct my calculation error in terms of the gaps between two of the pairs of strings. This entailed plugging two of the holes with a pair of bridge pins with their tops taken off and then re-drilling 1.2mm further over and re-tapering: So tomorrow is finishing the heel carve, fitting the heel cap and final neck sanding. If I get time, I'll also level and re-crown the frets and sort a truss-rod cover. Then the neck finishing can start

Would a more interesting line make it a better song?

Nope. I love it. OK, it’s not difficult but I love the way it drives the song. It’s only boring if you’re bored.

👍

You could try buying your guitarists a pair of these:

I took my new van der End out to rehearsal yesterday, it was the first time I actually had it in a context of a band. And boy, what a bass...so dynamic, crisp, clear, great EQ... Totally awesome. And it was cheap. What a cool bass.

I'll also put Ernie Ball cobalt flats forward. I was looking for a basically slightly worn in roundwound tone that lasts (brand new roundwounds were always too clangy and zingy to my ears). Round wounds would give me the sound I like for a couple of months then quickly die. I've had the flats on for about 9 months now and they sound more or less the same as when I took them out the packet. And they are smooth which, as a former guitar player then bassist in punk/metal/ heavy rock, is still a massive novelty. If I'm being really pedantic I would like just a smidge more top end bite, but I can bring that in with eq or a bit more drive and that minor negative is far outweighed by the plus points

I would guess that this has been a perennial problem for most people on here! One of my old bands suffered immensely from this - the drummer played so loudly that everything else struggled to keep up. I ended up having to wear earplugs as it was beginning to affect my hearing. Despite having a few words with him on many occasions, it remained problematic. The snare and cymbals are what did it for me. (In my current band the drummer has an electric kit, so no problems there.) I think what annoys me is that any one band member playing too loud does kind of dictate the stage levels of everyone, really selfish and inconsiderate.

I just ignore people who put in offers via message on eBay rather than block them, but you just have to accept that s/he is doing it their way, and their way is likely a response to previous experience of other people did the same thing, in my case I dealt with a guy who contacted me via eBay via the same approach as the OP here, agreed the sale and price, then started to haggle, then when I refused to move on price became very hostile and aggressive and threatened to report me to eBay for dealing outside of eBay!!!!!!!!! Either way, personally I'd be looking for a similar unit elsewhere, as strange behaviour on the part of a seller before you've even bought the item doesn't bode well for when you do buy it and there's a problem

I would say that is very, very cool logo.

An infinite improbability clef?

Cheers! And yeah, pedals! I guess I'll have to drop by to the "show your board" thread too.

What could possibly be more important than winding up guitarists?

I don’t mind a bit of fan noise. Not that we have many fans if I’m honest, but a ripple of warm applause is quite encouraging.

I heard the rule of thumb forgot drying was 1 year per inch thickness. @Si600have a look at the film 'Felled' that is on Amazon - you'll probably enjoy it!!