Leaderboard

Sold my Status in a mad panic as the Mrs’ car is making funny noises. It’d been a close second to my sadowsky and I bought it in a mad rush because it was drop dead gorgeous and local... Anyhow, I wanted to have funds in just in case it’s not a simple fix. It’s booked in for the weekend so should be sorted fairly cheaply. Yesterday I Sold a (non working) vintage watch to a man across the street (he mentioned in passing he liked watches the other week and sent him pics and entered into negotiations). I had sorted my amp situation so wanted to move my Ashdown rig on. Got a mailshot from Local PMT the other week that they were doing a sale on “pre loved” gear in store. Messaged them to see if they still had a natural Spector LX i’d spotted last month in stock. ”It’s still here, but it’s red, not natural...” I went down to see what they were on about. Love at first sight is nonsense...NOT. Jeez. Agreed on price, and then did the “Ive got a p/x can you look at it...” the guy at PMT I’ve known for years (probably 20+) and he’s the manager, great bloke. Did a decent P/X value. And for the price of the watch and a bit more...I was leaving without my old amp and owning a Euro LX.

Held off for a while on this, had to wait for some bits to arrive. So I’ve used Ashdown exclusively for years, probably since about 2009 - previously I’d used Trace Elliot and then SWR. I still love Ashdown, think they’re a great company and make some unbelievable stuff. Literally just fancied a change. Initially started looking for a 410 - I Miss that air that a big fat deep cab moves. I found @bigthumb was selling an EBS proline 410 and as he’s local, jumped at it. Then I set about looking for a head. I always fancied a fafner II or TD650 as they look brilliant. The fact that I don’t have huge amounts of cash was a deciding factor...but there was loads of conflicting opinions on the 650 vs the 350 ve the Reidmar. Cue a discussion with resident expert @EBS_freak who was really gracious and helpful. He reminded me that @Dood was selling a Reidmar 750. A day or so later...here we are. Very, Very (VERY) loud. Super clean - but will investigate the settings more at rehearsal as my neighbours are all poorly with Covid19 and I don’t want to disturb them too much. Enjoying it so far.

A new arrival. Been 20 years since my last Spector.

Although my 'No.1' bass has been my go-to for as long as I can remember, I have always loved the sounds of P, J and MM basses on albums I grew up with, from Sade, Steely Dan, that sort of thing. At the same time, I resisted getting basses like that because I wanted to have my own sound, rather than to play an instantly recognisable type. Eventually I realised it would be great to have one of each as a 'tool' to vary my tonal palette and closely match the sounds I recognise. Having a range of basses also helps me feel inspired and I fall in love with each bass anew when I discover a great track I want to play along with. Also, and this might sound weird, but as 'The Bass Guitar' as a 'Thing' has been so important in my life, both through BC but also in making friends, playing in bands and generally providing the foundation to my pre-child-and-wife days, I believe collecting examples of the seminal developments in bass is excusable from a collector/historical record perspective. Just researching the ins and outs of how these basses came about, leading to things like the Vigier (it was the 80s), is really interesting. Although I'd probably not share that in public for fear of beatings or at least an uncomfortable silence, I feel I won't be attacked for it the same way here, in part because you can't reach me but mostly because I know you'll provide me with the conformation bias I crave. So after much experimentation and false starts, I have now amassed a collection of what I would consider my 'best' J, P and MM. When it comes to the MM, I have only played a few and owned two others, so I don't have as much to compare there. But as stated in another thread, nobody (or very few) luthier/companies make a 'take' on the MM bass like they do the J and P (apparently Ernie Ball are quite lawyered up) so I went straight down the line and got a Musicman for the job. When I say 'false starts' - it's often not the way the bass sounds, but the setup I am able to achieve on the instrument I've had previously. I like a flat neck with very low action, and not every bass can do that in the same way. This has led to some painful realisations when I've had to move on otherwise fabulous basses. If I can't play it effortlessly (I don't make effort very often), then eventually it gets moved on, normally to someone who says 'how the hell did you play it with the strings painted on like this' So here we go: Let's start, illogically, with the bass that's NOT a J,P or MM. It's 'My' bass - it has a sound all of it's own, but it's smooth, focused, detailed and consistent. I know exactly how it sounds in studio, live, amped, the lot - and it's a very versatile bass. It's been likened to sounding like a 'velvet brick' - kind of like a Modulus flea with a wider range and glassy almost digital response. It's a 1988 Vigier Passion Series II (Graphite neck) with a Marleaux pre, Basstec pickups and Roland GK system (I'm sure lots of you know it already) Next, the P bass. It's a G&L SB-1 from 1991. Strung with Labella light flat wound strings, it thumps and bites. The pickup is fantastic, with a huge range of sounds on tap by backing off the volume or tone. I nearly sold this when I nearly gave up on the idea of collecting the set but soon realised that I wouldn't get another like this. So what's next - Here's the Musicman. It's from 1983, the last year before Ernie Ball Made some changes, many probably for the better, but I love the fat slab body and the response of this bass. I have yet to try it with flats but with Elixir 40-95s (which I use on every bass except the G&L) it has that super poky top end which cuts through any mix, and the sound of pops on the G is just perfect. The previous models I had sounded a bit brittle, whereas this one sounds warmer and more 'chunky' somehow, although my setup has changed so much I can't compare for certain. The Jazz bass with the final hurdle. I actually didn't realise for a while that the 60s and 70s spacing on a jazz made such a difference, and when I did I wasn't in the space to buy one. I have had several 60s types in the past but never got on with them, finding the sound a little too rounded for my tastes. So after a crusade to play as many 70s basses as possible (knowing the quality and weight can vary substantially) I realised the best way to get what I wanted was a modern 'take' on a vintage bass, which, more often than not, needed work to support my lazy setup. The search was on - and this is where I ended up. I wasn't able to try it before I bought it so it was an anxious wait and unboxing and restringing and plugging ining, but the reputation of the Celinder J-Update is richly deserved. It's got that grinding, airy feel where the notes have that top detail and a slap sound so consistent and rich you feel like you can bite it in mid air. Oh and there's my 16" Wingbass with Roland GK pickup. Amazing little thing, perfect for playing synths or noodling around the house. The build quality is superb - beautifully carved black limba with a maple top. Guess what, the neck is dead straight because it's a plank of wood on the body, so the thing plays effortlessly and sounds huge. So there we go - If you are still awake, well done. Time to take Sybil for a wet walk. ped

I've built a few different short scale basses now at various scale lengths 23" (headless), 27", 29" and 30" and I'm still enjoying tinkering with these!! I'm particularly enjoying playing the 27" basses so much so I'm building a 27" 5 string at the moment (on another thread). I ordered a generic neck blank and the one that arrived was quite wide, wide enough to have sufficient spare for a headless neck.... So, I'm going to make a 27.5" neck for one of the mini headless basses just to see what that is like. I'm hoping to be able to use normal short scale strings on that to achieve the right tension etc. - might work, might not!! The reason for it being 27.5"? Well, that is the scale length of a spare slotted fretboard I have, leftover as the result of an error with my measurements from a previous build...!!! I've also made a neck blank for a 17" scale neck as another possibility - that would be tuned an octave up (@ped's fault again with his picture thread of really short basses). I've got a bit more to look at with that to see how the pocket tapers with it being much shorter (i don't want to modify the body). This is the neck blank for the 5 string neck - it really is quite wide!! Next to the ruler, I've got some other laminated offcuts that will form the centre section of the neck. The shorter piece is the blank for the 17" neck made from offcuts from other necks The two necks from the one neck blank with their corresponding fretboards Note sure what the result of this will be but only one way to find out!!

I guess that makes me Papa ...

Just in! Serial says 2015. Never has been played. Lowered the action quite a bit and the pups accordingly. The low B is MUCH WOW on it, so much definition!

It means he's not very good at identifying traffic lights and fire hydrants. Possibly a robot.

Are you a fugitive from justice and have thus avoided captcha for many years?

Received on Monday past...a lovely pair 🙂..

Heretics!

As I turn 65 today (gulp), I thought I would weigh in... People like me - ‘white, male and stale’ - have had their day in today’s society. I welcome diversity, but also accept that reality. BC is one place I still feel relevant. I know David, the OP, and he isn’t a negative person. He does have opinions, as do we all, and it would be a shame if he, I or anyone else could not express them here without reservation. ☮️

I’d go for the sire youre right, I think, about starting with a five For feel but beware that lots of tablature is written for a four and you’ll need to ignore the fifth string sometimes When watching performances or reading tablature

Much as I'd love to be able to reproduce, note for note, the basslines to all my favourite songs, there are a few issues that would intervene. 1. Many of them have no 'agreed' absolute original line. I was actually listening to John Pattitucci's line for How Sweet It Is earlier today, which he says is the line that Jamerson actually played, and frankly I don't agree. [Spoiler: He's probably right and I'm probably wrong.] 2. I am fairly promiscuous in a band/music sense. Right now I'm 'in' three bands and I occasionally dep for at least two more. Each of those five bands has at least three hours' worth of repertoire, so I need to be gig ready with at least 15 and in reality perhaps 25 hours of music covering Hank Williams to Bruno Mars. Playing every note of every song exactly like the original is a pointless exercise. 3. @MacDaddy is quite right. When I play Elvis in a 3-piece someone has to provide the missing piano fills, when I play Sam & Dave in a 3-piece someone has to be the brass section occasionally. If I get all up myself and refuse to play something because "well Duck Dunn never played that", chances are the band isn't going to last long. 4. There are some depths I will not plumb. Just because the original bassline contained slap, there's no need for me to sully my pristine fingers with such pathetic, desperate behaviour.

Welcome Andy Only thing that matters with bass amplification is the size of the boxes, the bigger the better, it's all about stage presence, making the guitarist's rig look pathetically small, and whenever possible, completely obscuring the drummist. Don't listen to anyone here who starts talking about 'tone' or 'frequency response' or 'dispersion' or any similar nonsense; only thing that matters biggest box that will fit in the van. If you find a box that's too big, get a bigger van

Update on the 83 Elite inspired bass. lacquer has been on for 5 weeks. Sanded and buffed last night. I just need to run over with swirl remover and wax then I’m calling it done! I couldn’t resist mocking it up. Assembly will be very soon...

Just come across this band. Really like their renditions, especially Sweet Child of Mine and Run to the Hills. *Dirty trumpet player 😁

There is a new version of Reaper (6.15) as of today. Rather wonderfully, it informs me that: REAPER has experimental native support for Linux, and the Windows version works well with WINE. Not being a great wine drinker these days, I'm experimenting with IPA instead.

Alison Moyet, loads of tracks to choose from, this one is stunning.

Back in the days...my 1993 black, and a Classic 5 from 2010

Check this out! Bass Magazine did a write up on my album! 😁 https://bassmagazine.com/artists/craig-martini-releases-solo-album-thought-of-everything

I get it, it is ok. No need to labour your point, Michael.

Even if you're in a tribute band, it depends. There's always a smart derrière in the audience (or the band) who says "you played it wrong". Oh right, which version are you thinking of? "Oh the 1973 studio out-take version on a bootleg I've got". ok, I learned it from the well-known live album from 1977. And other parts from the 1988 reunion tour. Would you like your money back? On the other hand, in my Gary Burton tribute band we just aim for the general vibes /oneforthejazzers

Well, this was a rollercoaster of a read, i think somewhere some words got lost in translation, everybody is entitled to their own opinion, and considering this is a forum where people share interests, likes and dislikes, i think it is very ok for someone like OP to post something like this and say he didn't like it to see if there are others(like him) who share that opinion or others(videos) that are either better or worse, and expect a debate, or discussion on this. Again he did say it's his opinion, not the general consensus, as most things that have not been scientifically proven are(just someone's opinion). I, like many of you, have been playing bass for a while and not all of my youtube or and especially TV appearances were that good, i know it, and most people know it, but hey, also my music isn;t what everybody would call commercial or easy listen, or even music, so yeah, such is life in this era, the internet allows us to make public way too many things that, by others' standards, or even our own at one time or another, should not be made public. Anyway, in regards to the initial post, I personally think it was a very interesting idea but not necessarily with the best execution, but could i have done it better? Definitely not! Also Happy Birthday Mickey, to many more low end filled years!

I am a Jazz musician. I never play the same thing once. Seriously, I have played tunes significantly wrong for decades. Nobody died.

My first thought when I saw those strings was, someone has already 'touched up' that knot and used a sharpie (or similar) which contains a fair bit of red. When you were playing all those riffs on the G-string your sweat or the sanitiser (alcohol-based, I'm guessing) has dissolved some of that ink and your fingers have then transferred it to the strings. I hope I'm wrong, really I do, but if that's what's happened then my feeling is that the bass needs to go back for a full refund. At the very least, I'd share that photo with the vendor and ask them to explain. And to answer your question explicitly, that discoloration is not even slightly 'normal' ... it's deeply weird.

It arrived today - the £144 fretless jazz. First impressions - how the hell do they make it at that price 😂. It’s really heavy - I couldn’t play it on a strap for a whole gig. Build looks v good, set up pretty good - I’ll probably play around with the action but that’s personal preference rather than essential. Cheap and nasty knobs and pickup covers. Sound - it’s very good, in fact it’s marvellous for the price, plenty of mwah. You even get a jack to jack lead with it! It won’t get lots of use but for those moments when only a fretless will do it’s a brilliant buy.

A friend has kindly offered to lend me his ABM600 in a couple of weeks. I’m tempted to just pick up a used HD350 and spend some time comparing the ABM, the HD and my Darkglass M900.

I try to learn the bassline as it was originally played, but: a) what I hear isn't necessarily what the original line plays b) sometimes I am not technically competent enough to play the original version, and I might need to simplify it. c) sometimes I get bored and put some extra in d) there's no point in a covers band trying to recreate the original recording, The singer will likely sound different the guitarist will have different kit, and tbh the original artist won't play the same version when they do it live anyway. I don't always use a pick, but whether I choose to use one is largely dependant on whether I find it easier to use one, not whether the original artist used one. e) Punters will rarely notice if the bass isn't 100% right. Most would only notice if the bass player was out of time/tune unless it's an iconic line, some would barely notice if I didn't turn up at all. f) notwithstanding 4) above if anyone tells me that's not how it goes they get "it's how it goes when I play it" g) some basslines are instantly recognisable, but subtly change in each verse. Sometimes I just play one variation because I'm lazy or get lost (anything by Duff McKagen or Flea often falls into this category).

Reminds me of Josh Widdecombe discussing computers: he explained why when a file crashes he always refuses his laptop's invitation to send error reports: "I'm not a grass. Besides he's got far more on me than I've got on him!".

A long time favourite of mine is Chris Farlowe, I was at Buxton Opera House when Chris performed this...

Did you know that Brittany Spears is Brian Ferry's daughter? She took her mother's name apparently.

I tried to recaptcha my reputation, But you know, once it's gone, it's gone.

This is lovely. Full blown atheist here, and yet I can get profoundly moved by the sound of choral music. Mozart Grand Mass in Cm is a big favourite.

Totally, I guess I was looking at it through my eyes and my requirements. I guess like everything, it's how much you are prepared to spend and how long you have to wait around for rendering. In short, it's the editing experience which is key... if you can edit smoothly, you are good to go. You can always make use of proxies if you need to help your computer out... and then drop in the full res files at render time and leave it over night.

"Amazing isn't it love, a population of 8,500, and more rare Wal basses than the UK, USA and EU put together"

If this counts... I've done about 20 tracks with Lizard Sweets since April. Guitarist/producer lives about ten miles away, singer is 100+ miles away on the south coast. Once we resolved the technical issues it got very productive and every new song seems better than the last. All this material should be up on Spotify etc. shortly. The singer is posting up odds and sods on Facebook which are easy enough to find if you want a taster.

Welcome aboard!! I have the wrong glasses on and thought you were calling yourself 45 String. That's over half a piano 🤯

If you click on the UK flag at the top of the page it'll give you a drop down menu where there's a US flag...click on that it takes you to the US site, and it says free shipping across the US. Apologies if this results in you spending money you hadn't intended on spending