Leaderboard

Nice little vid here from Sir Horace

This could have all been avoided with tongue in groove.

And all the fretslots are done The bottom right edge is the edge of the board. You can just see the pencil mark for where the nut will come to once it's been cut to final taper. It's going to have no dots on the top (just some luminlays on the side) but just a couple of mother of pearl swifts at the 12th. I'll do that while it's still on the fretting template so it doesn't move around as I'm dremel-routing for the inlays. So this afternoon, mask on, jewellers saw out and time to cut a couple of swifts

After seeing @Peter Popovic refinish his lefty version of this bass it inspired me to refinish the lifeless flat finish on mine but I went down a slightly different route and went for a solid colour, I really liked the colour of the telecision bass build so I went for that colour again Before........ After......... I made a quick pickguard for it to see how it will look and painted it black if I decide to keep it I'll make one out of black plastic instead?

And here they are: I've done two pairs. I'm pretty sure that @Jus Lukin wants a completely plain board and just side dots on his headless build, but, while I had the folding table out and cutting rest clamped to it, it was almost as quick to do a second pair at the same time just in case or for another future build. Along the same efficiency drive (don't worry, I'm sure that won't last long), then while the fret-slot mitre block I've just used for @Fishman 's board is still screwed to the workbench, I will hand mark the fret positions for @Jus Lukin 's 30" scale (I don't have a template for 30") and cut the slots on his board. For this Wal project, then tomorrow morning - when I have a bit of daylight to be able to see the pencil marks on the ebony fretboard - I'll pencil round two of the inlays, rout the recesses and fit them onto the board

Absolutely not. Monsters are gender non-specific these days. You are conforming to old fashioned, institutionalised monstereotypes. 🤨

I had a band practice last night and managed to put it through it’s paces a bit. I play in a stoner rock band and use it with quite a lot of gain. I was running it with a G&L SB-2 into an Ampeg SVT-CL. The high output of the MFD pickup wasn’t an issue for the pedal. The distortion I’ve got set up to where I want it and it is wonderful. Cuts through without impeding, I keep the clean blend on at all times. I still need to tweak the fuzz side a little bit but it’s in the ball park. I think I need to bump the middle a bit but it sounds very thick and muff like. The two together work well and really create a good mix. The only downside I have found is I am struggling to press individual buttons on the fly, mostly down to how close it is to the next pedal in my board. Some of it will be me getting used to the proximity of each switch but had a few times where I didn’t turn it on. The main struggle is the right switch as its close to my wah pedal. Damn these size 11 feet! I’m going to see if putting some switch toppers on it helps me with this but I may need to just be a bit more precise with my feet of give the pedal a bit more room.

A few pics from Sunday morning we filmed a 45 minute set at the historic West Bend Theatre for a virtual New Year's Eve Show.. I have complete respect for people who work in TV. We got to the Theatre at 1130 and didn't finish until 4:30. Blue

Yup. Animal glue has been used from the start of European instrument manufacture, and it's an excellent glue. But it's organic, and all organic things change over time. With animal glue, somewhere between 40-60 years after application it will gradually dry out and turn to dust. If the instrument has strings on and so is under tension, as the glue's strength fades away the neck will very slowly try to fold up like a pen-knife. Nothing is 'wrong', nothing is broken. All that's required is another application of animal glue by a guitar tech who knows what he's doing. In watching various YouTube channels featuring luthiers (I particularly recommend https://www.youtube.com/channel/UC8wIqZCt9h6uJbOBCQVuUmg though https://www.youtube.com/channel/UCdD1Cqxr8aINzWs1agg3tEQ is always entertaining) I've noticed that animal glue is getting less and less used, and that fish glue seems to be preferred. Still organic, still in keeping with the original construction, just a slightly different take.

Orinoco Flow - Enya

The Wombling Song The Wombles

Get down to the second hand shop, see if you can get a third 😁

I'm sure he wouldn't be that tacky.

Yep! I was there..... along with on their last couple of headline tours.... and as far back as the mid 90's on a double headline with Foreigner at Wembley Arena. Always an amazing show - consummate singers, musicians and performers!

Hi all, enjoy the short test drive of my italian endorser ...

I decided in the end to paint the body an Olympic White-ish colour I think its come out ok? I'm think black hardware will look good? 👍🏻

Is it that bad that I can use "search"? I didn't wanted to create a new thread. My page is a tribute page dedicated to all the great bass players I admire. If you have a problem with that you don't have to open the links or read any of my posts and you're problem will be solved! 😎

You need a Ric.

This has slowly been coming together over the last few weeks! The new focusrite 2i2 arrived today, upgraded from gen 2 solo, still some way to go to get it how I want it! Need a monitor for my mac for starters, the novation SL is great but it’s keeping me on an old OS, which isn’t a big deal, but may look for another controller next year, the behringer x-touch is on my radar, then I can take auto map off and use the novation just as a keyboard Still need to paint skirting board and get something on the floor, but the dog likes it! And there will be a further addition tomorrow, update when I sort it! Tony

Now, for disclosure, many here know I'm a long term Markbass user (my main rig is currently a Casa head into 2 x STD121HR cabs) and I do the odd bit of work for MSL, the UK distributor, but as we haven't had many guitar shows to do, thats been a bit sparse this year... 😞 However, they sent me one of the new Vintage preamps to have a look at before it went to Bass Guitar Review for them to look at. Anyway BGR are not going to get their grubby little hands on this one because I've only been and gone and bloody bought it!! Its got some pretty clever tricks, which set it aside from other preamp/drive pedals. The preamp is based on the Little Mark Vintage head, so it has Gain, Master, 4 x tone knobs set with the same frequencies as the head and, instead of filters, a three way flat/scooped/old switch, which works along with the tone controls to give huge tonal variety. There's no clip light, so loading in a boot full of gain doesn't cause any issues, it just introduces a lovely warm tube gain. It also has a boost switch, giving +6dB headroom. Pressing and holding the drive button for 2 secs switches between two different drives, one modern rocky, the other a more organic old school drive, which can be blended with the clean tone. I've never used drive pedals, but I can definitely see myself using the old school drive, both can be ferocious or very very subtle. It has input/output, a transformer DI out and an effects loop. Then it gets clever... It has a Digital out, both RCA and Toslink, s/pdif switchable between 44.10, 48 and 96KHz. This evening I have been playing with it using an optical cable, directly into my Audient ID44, and it sounds fabulous. The aux in and headphone jacks are sensibly on the top of the box, making it a great practice amp, its going to work well for silent stage, in-ear gigs, and I'm looking forward to doing some recording with it. I'm a happy bunny and gonna enjoy my early Christmas present to myself, because I'm not gigging until NYE, and even that is looking less likely by the minute.

Lots of parallels here, compared to my experience with my two BB1200Ss and a BB735A. Not the same as the BBPH (a 5-stringer with non-reverse P), but close. They have somewhat similar top end sparkle, yes. Differences in low end, except 1200S has it tight and focused, but 735A feels somewhat phasey and scooped, possibly lacking something in the low mids (hard to pin it down exactly, just a feel). Could it be the difference between reverse and non-reverse P, and/or the pre-amp? I’m not sure. Different, absolutely. And I completely agree the 1200S is a ”tank” (or Imperial Starcruiser) to the light-weight 735A. There is nothing wrong with its build quality but it still feels much less substantial (and actually weights less than the 1200S). I also agree the knobs are not ideal (very heavy, unmarked and... uh, pretty ugly), neither are the pots themselves: they feel very stiff to turn, and the center detents feel very subtle, there is almost no positive click. And those inlays really are ugly, they look like cheap nicotine-stained plastic. Still, it is a good bass, it fits the band I play it in, I like it more and more after each band practise... ... but finally, getting even more off-topic but... I - still - kind of enjoy my BB235 more!

They tend to all be the same product and work on the same principle by taking away the top layer of your gloss finish through the friction of the abrasive in the compound. Years ago I bought a Fender Guitar Instrument Care Kit which I still have. It included a Swirl and Haze remover ( light abrasive), Mist and Wipe ( just light polish) and Polish and Conditioner ( Polish with some added shine). They were all made by Meguiars who do a load of car care compounds too. Just like the early Fender finishes and colours being car paints, so are the rectifiers. Unless the body colour has oxidised and faded, it is unlikely that anything will bring it back as all you are doing is polishing off the clear coat above the colour. It's not a good idea to cut through this whether it be a poly or nitro finish either unless you go relic....!

Here's a few photos. Regards, Tom

Very nice. I had one of these many years ago but it was a little more battered! I’m not sure where you’re based but this guy did some work for Hofner when they took to remaking ‘as per’ the originals a few years ago (he’s even credited in the History of Hofner book). http://www.stuartsguitarworks.com/aboutstuart.htm There’s still a big demand for these from German collectors, I sold my ‘59 Club 60 to a guy over there last year.

Totally what @Happy Jacksaid. Look at the heel, you can see a thin strip below the mother of pearl which should be inside the body, the 'fresh' wood tapers down the side of the neck towards the fretboard indicating the neck has let go and pivoted forwards under string tension. I'd slacken off the strings a bit until its fixed. Not enough to lose the bridge but to take the stress off the neck joint. I'd hate to see it let go properly and damage the top as it's a beautiful guitar. Best of luck with whatever route you take. 🙂👍

I have on of those third hands, it is great. The problem I have is with the first two, shaky ones 😄

Daisy chaining, amp to speaker 1, speaker 1 to speaker 2 is still a parallel connection. The result is 4Ω.

I so wanted to love that amp! I borrowed the one the WoT had, and although the tone I got from it at home was sweet, creamy and rich - when I tried it at full band rehearsals I couldn't get a single sound that I liked. It sounded thin and lacked volume and headroom. OK, it's "only" rated at 100 watts (IIRC), but I was playing it through two quality, sensitive 1x15" cabs (a Barefaced Compact and a TKS H115). Of course, some old schoolers will put that down to the Neo speakers... 😉 While my experiences with valve amps has been very limited, I have had lots of great, usable sounds using SS and hybrid amps - from Trace Elliot, through Ampeg, Aguilar, Hartke, TC Electronic and GK to Markbass. The one I stuck with is my Little Mark 2, which I believe is a class A/B power module. To my ears (and back) it is the perfect compromise. Having heard other bassists playing through it (including WoT), it sounded pretty rich and full to me 😎 On the other hand, if the itch needs scratching, go for it! Go for a used valve monster and you should be able to sell it on for what you paid for it (assuming you aren't blown away by it!) 💜

I'll send an email to all members but also plaster it all over the site, you won't miss it

I like it with the scratch plate though I would change it for pearlescent one to match the blocks. Looks nice!

I think we may get a 'proper' Damo And The Dynamites promo video one day. Soon, if this lockdown/Tier 3 palaver continues... 😱

Couple of things: * I only really record acoustic for use as a rhythm part and it's usually in the background. So I point one mic at the 12th fret, varying the lateral angle relative to the body depending on whether I want to pick up some boom or not. If there's too much boom I high-pass the track. If there's not enough jangle I cut below 800hz and boost around 3.5khz (and sometimes at 10khz though this can sometimes pull up room noise). * In the past I've pointed one mic at the 12th fret and another at about 45 degrees to the soundhole. As it's a two mic set up I try clean up any comb filtering with a phase alignment tool on one of the tracks , example (https://www.audiocation.de/en/plugin ). * In the past I've regretted not having two identical mics, mainly because I'd like to try (i) the thing where you put both mics on a t-bar then angle the caps at 90 degrees to each other for 'real' stereo and also (ii) mid-side recording. * As well as (or instead of) treating the room you could invest in a gobo or two (an acoustic screen but I like the word gobo better because it's funny). Thomann sell gobos (e.g. https://www.thomann.de/gb/clearsonic_s2466x2_s5_2d_sorber.htm), as do any number of other suppliers and manufacturers. Being skint I've been thinking about getting a couple of second-hand office partitions, slapping something on them (acoustic foam, rockwall) and screwing on some casters on so I can shove them in the corner when not in use. Two partitions gets you a V, three partitions gets you an open sided box. Four partitions is possibly overkill. Tip 1: Get a rectangular guitar case, stand it on end then open it to form a V (so it stands up on its own) then position it in front of you and the mic when you record. It works as a cheap and dirty small scale gobo (as long as you're recording sitting down). Enhancement: a lining of acoustic foam inside the body compartment and inside the lid gets you a two-sided, midget 'isolation booth'. Tip 2: EQ-ing - Record some blank air in the room, set the playback to loop. Slot in an EQ plug-in, choose a band, narrow it right down, boost it by 5-10db. You should see a sharp, very narrow peak in the EQ graphic. Hit play. Sweep the EQ peak backwards and forwards until you find an exaggeratedly nasty noise. Reverse the boost so it's a cut. If you find more than one nasty room noise, cut that as well. But keep it narrow. After you've recorded your guitar, try cutting a narrow-ish point somewhere between 300-500hz to reduce any 'boxiness'. Experiment with a high pass set at 60hz to cut rumble and a low pass starting somewhere above 12khz to take out nasty 'digital' high end, also room 'hiss'. If your earlier room noise correction is getting in the way of a nice sound try reducing the cuts.

Get a good soldering iron, one that can keep temperature - they only cost a tenner online. I had a crappy one for years and soldering was a 'mare. Now I've got a decent one I won't say it's my ideal evening's entertainment but I don't dread it quite as much.

+ Also a pair of pliers + a rubber band around the handles can be used as a vice.

Anonymous people getting their knickers in a twist on an internet forum ? Surley not

You need an SVT in my opinion. I have been holding mine for another Basschatter ever since I had it completely overhauled and revalved. If he decides he does not want it, I'll be listing it here.

Thought that's what I said (presumably not very well).

And they still do. Have seen them twice in the last couple of years as well as a recent streamed gig and they are still "tight as a gnat's chuff". As you may gather I'm a big fan. 🙂 Earth Wind and Fire in the day were pretty awesome too. One of the best stage shows at the time as well as some awesome tight playing.

I paid £50.00 for mine s/h from a shop I think, but that was in the late 80's/early 90's, they were so untrendy at the time they were cheap, but they weren't really an expensive new bass anyway. Nice to see them carrying some value now I guess.

Technically, I think that may make her the cookie monstress.

Our next gig is recorded and ready for online transmission on Saturday 19th at 1810 - all in aid of Compass Children's Charity: https://fb.me/e/WZnOpIit

it's aged well. Nice song, surprised how noiseless it is after all this time on tape. Good restoration.

Loooove the lamp. Grtz, Marc.

The guitars are the property of the shop. They've got money tied up in them and will now have to go through the cost and inconvenience of dealing with the theft, so this is far from a victimless crime. It must be hard enough to run a guitar shop at the best of times, never mind with this sort of thing happening.

I hardly ever comment on BC, but visit most days. It was funny enough people loosing their stinky poo over the pedal, but now the packaging is mental. I thought the box was a nice touch, I guess Alex could have charged more for the pedal and sent it out in a varnished box with hinges 🤣