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Showing content with the highest reputation on 09/02/21 in all areas
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I've owned this bass for about four years and I've really enjoyed it. Of late - it's spending a lot of time in the rack as I've began favouring five strings... This is a great sounding bass and the build quality is immense. I replaced the P pickup with a BB2024 equivalent ordered from Yamaha. I have the original pickup which will be included in the sale. The BB2024 pup is hotter than the original, but the original one is fine and works great. The tuners are also replacement Schallers. It's in 8/10 condition. A few dings here and there but nothing significant. There is a small part of the decal that has flaked off. Weight is 3.95kg Made in Japan - 1984 Don't have the original case or any hardcase for that matter but I can ship in a Ritter gig bag + sturdy box and plenty of packaging. I'll take a number of better pictures when there's a bit of sunlight as the black sparkle finish is really great and these images don't really do the bass any justice.10 points -
My little Bi-amp rig. Stereo power amp into a couple of BF cabs. Signal comes into the line 6 then from there to the crossover. Two outs from there, each going to its own preamp. A guitar multi for the upper frequencies and Cali sound for the bottom. The joy being I can experiment with multiple different pre options. Everything gets tucked away into the rack, set up and pack down is fast and easy.9 points
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Due to the Covid-19 situation and severe back problems (66% officially disabled because of it) plus right shoulder injury (non-operable capsulitis from which, after more than 3 years, I will never fully recover), I'm selling all my basses over 4 kilos and also the ones I'm not really using. I've also considerably lowered the price for a quick sale. VANZANDT (VAN ZANDT) JBV-R1 Vintage Natural, Japanese craftsmanship at its best, a true Custom Shop. ONLY TRADE POSSIBLE : LEDUC FRETLESS OR FRETTED BASS (NO BELLE ISLE, NO SANOX, NO LOGABASS, NO LADY BASS, NO BD3) ! NON NEGOTIABLE PRICE ! Asking price including shipping fully insured with tracking number to your place in these European countries (ask for other countries) : Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding French overseas departments and territories), Germany, Hungary, Italy, Latvia, Lithuania, Luxemburg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom : £1299 GBP !!! New price is 308.000 JPY (with the 10% Japanese VAT) and they are not officially exported ! Shipping to United Kingdom is, of course, possible, but with an extra customs fee (VAT + other taxes + courier fee), because U.K. is now outside EEC. In fully working condition with light use and very few marks. Here are the specifications : Body : 2 pieces of ash (almost book matched) Neck : one piece maple bolt on with skunk stripe Fingerboard : one piece maple with white perloid block inlays and white binding Frets : 20 (radius 210 mm or 8.25 inches) Headstock : 4 in line à la Fender Pickups : 2 USA Van Zandt Jazz bass in 70's position Controls (CTS pots from 18th week of 2014) : volume, volume, tone (Van Zandt paper in oil capacitor) Tuners : Gotoh/Vanzandt Bridge : Gotoh/Vanzandt Strings spacing at bridge : 20 mm Nut : oil finished bone Strings spacing at nut : 9.5 mm Knobs : original black à la Fender Scale : 34 inches Hardware colour : chrome Truss rod : one fully working Finish : all nitrocellulose lacquer Land of craftsmanship : Japan Serial number : 7465 Year : 2015 Weight : 4.375 kilos Action : from 1.5 mm under the G string to 2 mm under the E string at 12th fret (can go lower, but was perfect for me) Will come with a brand new Fame Soft-Case Urban. Non-smoking environment as usual. The bass has been fully set up professionally. It has been fitted with a set of Ernie Ball 2833 Hybrid Slinky strings (45 - 65 - 85 -105). For those who don't know Vanzandt (Van Zandt) instruments, they are the equivalent of Fender Custom Shop Masterbuilt instruments, if not better. The Japanese higher quality control and craftsmanship make all the difference here. It's a no flaw construction. This bass is, to me, better than all the official Fender 70's Jazz Basses I have played. Compared to a Celinder J-Update in passive mode, the sound is a bit clearer, but very similar. Thanks to the (more fragile) nitrocellulose lacquer, the overall feel is similar to a vintage original Fender. And this tone control is simply magic ! Link to the Vanzandt models page : https://www.taurus-corpo.com/vanzandt-bass Link to the Fame Soft-Case Urban : https://www.dv247.com/en_GB/GBP/Fame-Soft-Case-Urban-Electric-Bass-/art-BAS0010065-000 A sound clip in slap here by my friend Romain, the previous owner : https://www.facebook.com/romain.bour.92/videos/10158717668167808/?sfnsn=scwspwa And here fingerstyle : https://www.facebook.com/romain.bour.92/videos/10158729049012808/?sfnsn=scwspwa What you see is what you get ! Look at the photos taken at different angles and under different lights to see the real condition of this bass which shows little use and only very few slight marks or dings. The biggest "blemishes" being at the headstock and near the control plate on the edge of the body where the (very fragile) nitrocellulose finish has gone. Here you can see the "blemishes" that I photographed alongside the 37 photos of this bass (the last photo showing Vanzandt full serial number in the neck pocket and the back of the heel's neck was taken by Régis aka @eneade ) : https://drive.google.com/drive/folders/1KRjjhRGOfqWGq_PprTTB6UF-5EAAEYxO?usp=sharing Don't hesitate to ask for more.7 points -
....And The Vox White Shadow.....she lives and breathes again! Saved by Basschat when it was so close to firewood. But she mwah's like a big kiss once again and with the spare Sandberg pickups and pre i had it really sings too. Super low action to boot, easy set up...very happy - it's a winner. @Andyjr1515 you are a gentleman and a genius! I thank thee 👍7 points
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Been playing drums for a few years and spent a lot on good cymbals which Covid has messed with big time so sold them and bought a sweet Classic Vibe Squire P bass for home noodling. How do they do it for the money...incredible workmanship and sounds, well, like a P bass. There's no doubt about it the balance of power is moving away from Fender, this thing is crazy good easily as good if not better than any Fender I've owned over the years and I've had a few. Surprised Fender allows it really.7 points
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This all makes for very sad reading.... I really hope you can all find the joy in just holding and playing your instrument again (fnar...fnar...). It's tragic to think that, for many of you, if you don't have a gig then you don't practice or play at all... As I said before, I've taken the lockdown opportunity to play for myself and to rediscover the innocent pleasure of owning, playing and learning my instrument for no other reason than it is just 'part of me'. Cheers to you all..... and here's hoping you too can rediscover than simple pleasure. x7 points
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I know Raph Mizraki as a very fine double bass player round the Oxford area. Last time I saw him he was playing a 1/2 sizer. Here he is playing BG, cello and synthesiser. If this doesn’t cheer you up nothing will. Enjoy!6 points
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I can sum up my view by saying 'I have found The One, but it isn't the one and only'.6 points
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https://www.loudersound.com/news/cliff-burton-day-metallica-20215 points
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Both of these were already stripped when I got them, so I had them professionally refinished in a slightly aged Nitro Lake Placid Blue. They are not relic'ed, but do show checking in the lacquer, and have since picked up a one or two minor scuffs and dings. I thought I'd list them together just in case someone wanted a matching pair! '68 Jazz - £3250 As stated, it's been refinished and the head-stock has been painted to match. The logo is obviously not original, but is sort of correct for '68. It does match the style of what was only partially left of the original. Pots are dated '66, Pickups March '68. The machine heads are original elephant ear type, probably the last year Jazzes were produced with them. It plays REALLY well and I cant believe I'm selling it, but needs must. Weight is 9.42 lbs. It had a full set up by John White just over a year ago. It comes in an original Fender case '79 Precision - £1250 Original Pickups, but I'm unsure of the pickguard, assume not. Pots are not original. Weight is 9lb 12 Oz and it too plays really well. I would add that although the serial No implies '79, the routing looks later to me, so could be '80 or '81. I will post at buyer's expense. I'll put a few more pictures up at the weekend (I can't find the neck heel for the Jazz on my phone - now found and added) I also have a couple of other basses, I'll put up separately. Thanks for looking Simon5 points -
A lovely early 80's Yamaha JB600R Jazz up for grabs. These are exceptional jazz basses and every bit as good as early JV Squiers IMO. This one has a beautifully dark rosewood board and a rather fetching Larry Graham style white finish. It weighs just 8.5lbs, is perfectly balanced, sounds great and comes with a nice gig bag. The flats currently on it aren't included (it'll come with rounds) but I seriously recommend the buyer throws some flats on it. Perfect bass tone 😍 I'd keep this one but I seem to have accidentally acquired a matching black one..5 points -
I shall take a look at both, thanks for the tip! The marquetery beam is now planed down ready for the truss rod slot to be built on it, so a few gratuitous beauty shots are in order of the flattened side before it gets covered up: the next step i loosely tape the carbon rods around the double action truss rod, so that it will fit snugly, and get the positioning right on the neck: The carbon rods will run the whole length of the neck, over the body transition and up into the headstock a short way. this way theres no weak points along the neck where stress could build. The rods are then epoxied in place, with a 6mm wide strip of cabon between them. they're slightly narrower than tyhe beam, as i changed the design slightly to use the new woods, but i will re- veneer both sides so that its all perfectly flush before building up the rest of the neck blank. these things are stiff... like really stiff. as you can see the rods have 8mm holes down the middle, and i bought additional 8mm rods to go inside if i felt it wasnt rigid enough, but i now think thats not going to be a problem very pleased The first 8 coild for the pickups are done now, so i started building one up! Each pair is wired together in series (the little red wire) and then wired onto the PCB. ive removed all the standoffs and screws to give myself some more space. Then the next pair... and before you know it: all 8 coils, nicely wired together. i tested the switch and the DCR values are all as expected Next i start glueing the bobbin mounts in place. these are what will determine the height of each vertical pair, controlled by turning the black hex screw. this is done with a very small amount of CA glue, so little that i can easily take them apart with a sharp scalpel if needed. the magnets sit perfectly flush with the top of the bobbin mounts, giving nice consistent heights across all the coils. and heres one all together! nice and neat, and it looks like itll fit perfectly into the cover. ill save that treat for my next upload though here you can see how it all works. the vertical pairs are mounted over a brass standoff, and pushed up by a spring and some foam mounted beneath the coils. as the screw is tightened, each assembly can move up and down independently. the 4 holes in the pickup cover leave these screws exposed, so you just bolt the pickup in place and move the coils within the pickups to set the volume5 points
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hi , i decided to massive reduce my collection , but this one is also for trade, but only with a f bass bn5 too , but no top or oder top the buckeye , i just dont like the buckeye look is a beauty but not my style . if this one sell is my idea to buy a new one . this bass make wanna sell my fodera. this bass is in great conditions only a few minor dents on the pickups covers and little sings of use everything works just fine specs 3 pieces maple neck , 34,5 scale 19 mm spacing macasar ebony fingerboard black hardware f bass electronics ash body gloss finish buckeye burl top4 points -
I'm not sure if this is the best place for this thread. Maybe it should be in 'repairs and technical' so mods, if it needs to be moved, please feel free. Righty ho. Thats the housekeeping out of the way. A few years ago, on a whim, I bought a 1979 Washburn Scavenger. I believe these were the entry level tier of the Washburn bass range at that time, with the more esoteric versions being the Vulture, and the Eagle. Both wonderful machines, but it must be said, very rarely seen in this country. The impetus to buy the bass came from an old mate of mine, who had an Eagle guitar. Quite frankly an unbelievablely good instrument, so I'd sort of had this in the back of my mind for years. Then this came up- on ebay iirc- and the die was cast. Here is a picture taken the day after I bought it. I thought that the zebra stripe pattern might be a nicely ironic post modern comment on contemporary musical mores, but it just made me look like an over the hill refugee from a Poison tribute band. However, it played nicely and sounded absolutely great. I think the pickup is a dimarzio, but if it isn't, it sounds just as good as one. It languished in a case for a couple of years then I developed a need for a bass I can leave in my office, and not worry too much who messes about with it, and I thought: "Aha, the Washburn". So I retrieved it from it's case and decided that it would definitely benefit from a new look. I thought I might strip it and do a rattlecan nitro spray job in black. So far so good. The stripping went well, even though there was about half an inch of paint on it. Once it was down to the wood I was quite amazed at what I found. A lovely mahogany body with an ash (I think) top. So I modified plan A, bought a bottle of tru oil and got to work. Using the slurry and buff method I went through many grades of wet & dry, ending up on 000 wire wool and the end result you see below. A lovely looking bass with top notch hardware- albeit unbranded - which plays and sounds great. It is as heavy as a small star though, which is the only drawback I can find... Oh yes, one really nice touch...The original hair metal paint job was slightly iffy in a couple of spots, just bleed through I think, given the complex pattern, but as such the neckplate is stamped 'reject'. If this is a Washburn reject, I'll take the lot.4 points
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@bassist_lewis most of the Tech21 stuff will do a good job of recreating that Motown sound effectively. Aside from that the Dave Hall stuff has an actual valve in it and is really effective. I played in a funk / soul band that toured for a decade so I've been down this path! Ultimately I've ended up with a Noble but the Tech21 BSDR and the Aguilar Tone Hammer do a brilliant job at a much lower price (and good size too). You'll pick either of those two up fairly easily and cheaply second hand. Here's a recording - P bass / flats and Tech 21 DI. Not a bad sound I'd say : )4 points
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Still my number one bass:4 points
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OHHHH FFS. Absolutely stunning. I’m exactly £998 short. This looks amazing4 points
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I had to go the custom route to get 'the one'. Now I've got 2 of the one4 points
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Black And Blue, from Ready An' Willing (1980). Black And Blue.pdf4 points
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I’ve just put a black 3 ply scratchplate on and I much prefer the look. The carbon fibre one was too busy for me. So where’s this good home?4 points
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And why not! Here he is going at it with the fuzz and wah:4 points
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More pictures. Heres one I took when I dropped into BassWorksHQ last week. And this is my neck on a similar in stock body. I've gone for an off white/cream pick guard. Saying that, the white looks pretty good!4 points
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Progress of my "covid safe restricted space rehearsal room" bass..ha3 points
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hi , like i said im looking to reduce my collection so here is a great one from pedulla this one is nearly mint from 2010 it come with a case ,owners manual and trusrod tool. condition is maybe 9.5 out of 10 only minor marks is just a beuty and a tone monster too really powerfull preamp defintly the only active bass that really like me until now. no looking for trades here but ...... specs 2 pieces quartersawn maple 34 scale beutyfull ebony fingerboard (master grade) softmaple body quilted maple top bartolini pickups and custom bartolini preamp 2 band made for pedulla basses3 points -
Your Beta is a fine choice for a good soul/Motown sound. I have a MkII that will be staying on my board for the foreseeable! The best pedals I’ve found for Motown are the TC Mojomojo and Aguilar Tonehammer. They nail that sound where the notes sound like twanging a rubber band, if that makes any sense. Tech21 stuff I love for more brighter aggressive tones, the VTDI and SH1 will do a decent Motown as well, so super versatile, but not as well as the aforementioned pedals in my opinion. Darkglass stuff is quite different sounding, none of that squishy tubey character, but keeps your original dynamics and adds a layer of ‘hair’, is the best way I can describe it! The Vintage series would be the one to go for, whereas the B*K pedals are mid scooped right in the place where a P bass with flats grunts the loudest.3 points
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I've got the Darkglass Harmonic Booster on my desk at the moment and will be recording a full video review for it for Guitar Interactive Magazine soon, but I can't speak for what issue the review will come out in. The magazine is free to read and every back issue is available for free on the GI Website where you'll find the other Darkglass pedals and amplifiers I have reviewed too. The reviews are often added to YouTube too.3 points
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Turn down the volume on the bass.3 points
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OK - I'm paying attention. This is getting real and exciting So, the Aria FEB is this one? I've just re-read the thread. Just a thought - and do feel free to ignore it I've got the wrong end of the stick. I've read your musings on getting the right kind of angle of the board to give you a floating overhang and I'm not convinced that there is enough wiggle room to get the board a steep enough angle with the sanding and building up approach (if I've understood those musings properly). The amount of thinning down and building up tends to be impractically high for any major change in angle. On the other hand, a small change of the angle at the heel can make a huge difference (think of how thin a shim needs to be on a bolt-on neck to correct the action if the bridge is over its adjustment range). Once you've got the board off, you should be able to see the neck joint... Because all that got me thinking. And I remembered that years and years ago - I bought a cello neck And to my surprise, I've just found it (MrsAndyjr1515 is, as you can imagine, delighted) : ...and realised just how small that heel angle has to be (5.5 degrees)... ...to produce this effect at the overhang: ...and you might have access to that neck joint soon.....3 points
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The pedal is tiny - it fits in your hand3 points
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Yes particularly the valve ones 😁3 points
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Well, that took longer than expected 😂 I had to get some penetrating oil to get a saddle screw and a knob locking screw moving. Never underestimate the power of old biocrud to get into every nook and sieze up things you would not believe. The pots also needed some cleaning but they're all smooth and scratch free now. Not an inconsiderable amount of work, but it's done now. General impressions, this is a really nice bass, a clever tweak of a great design. It's very comfortable with some nice features. The backplate has inserts for machine screws, a simple but tasteful touch which I wasn't expecting from the big F. The bridge is a decent unit which allows for quick string release. The Kubicki preamp is quirky, it must be said, but also quite practical and useful once you understand what it's doing. Knobs are vol + pickup blend, treble + bass and a four way rotary switch. In the cavity is a small mid boost control which, after some testing, I've set at about 80%. The four way switch is the key to the whole thing. 1st position is passive, where the volume and blend work as expected, but the bass control becomes a standard passive tone roll-off. Classic Jazz bass. Position two is active, so you get volume, blend, bass and treble. There are no detents in the bass and treble controls and, while they're labelled as cut and boost, it feels like there is a lot more boost than cut in both. They're quite musical, though and pleasingly subtle. Position three is active again but with the mid boost engaged. It undoes a lot of the natural J scoop and gives it a healthy growl. Nice. Fourth position is a kill switch which turns it off. No output at all. I'm sure, some day, I will find a use for that. I might try it with a wall of distortion and use it rhythmically. It all works well with the silver Lace Sensors. They're clean, with healthy but not outrageous output. I like the smaller headstock, it suits the smaller body well. And the tuners look like branded Schallers, I think? Overall, I like it a lot. I grew up with a J bass so it's homely, but it's a more comfortable shape. It sounds like a standard Jazz bass when you want it to, but also has Jazz-on-steroids on tap and neither gets in the way of the other. I put all the parts back together on Sunday evening with a quick setup and, now everything has settled down, will do a thorough setup later on. It's good but I think it has potential greatness when properly set up. Plus (no pun intended) I'm not scared to catch something nasty off it anymore 😂3 points
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Smaller body = risk of neck dive3 points
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I don't understand the hate for this. It's a brilliant cover, full of passion.3 points
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OOF. You and your tempting basses. I thought you’d quit 😂3 points
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Before I discovered Basschat I only had one bass. This question would have been irrelevant. Not any more3 points
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Time flies. That one came out 18 years ago 😂3 points
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I can say 100% yes, as before lockdown I had never held a bass or any guitar since music class at school 35 years ago😃 A very different situation for me, as someone who has spent the last 25 years as an engineer/manager working mostly in a busy office to suddenly be working from home with almost no social interaction lockdown was tough. Projects we had were put on hold so we had a reduced workload in the team so I actually had time to do something new, and having something to learn has really helped me get through the Lockdowns. I blame Mark Gooday at Ashdown who I've known for a number of years, through nothing to do with music, as when they started their B-Stock sale I picked up a B-Social as a bluetooth player really, but then thought I could buy a cheap bass (Hofner Ignition cause that's what Paul McCartney has) to mess around and learn, had a few chats with Mark, signed up to Fender Play, and have really enjoyed it, I will never do anything other than play at home, and I'm not very good but things got out of hand. I now have the B-Social and Hofner, I've added a 210 & 115 cab, a Ashdown CTM-30 (also an cheap Ashdown Mag400 from ebay that is too loud for home😄), and a Harley Benton SBK and Bass Centre Betsy.3 points
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Astonishingly, it seems this is not a one off. They have a body of work. There are also commentators on YouTube earnestly deconstructing what they do and asserting that it's art and difficult to play, which it is, because random sh1te/chaos is by its nature impossible to replicate accurately. I was once hired to perform at a concert of music by George Crumb (look his stuff up if you fancy a laugh). The "music" consisted of a lot of random noises (all scored for full orchestra, mind, plus additional instruments - mandolin, musical saw and so on) with a soprano warbling some ancient Mayan text (or something similar) tunelessly over the top of it all. She was required to shout into the grand piano and do all sorts of undignified things. I had to play the mandolin with a bottleneck. The part was insanely complicated and utter garbage. This all happened in a London West End venue - tickets were not cheap and the place was full. At the end, there was rapturous applause. It was hard for many of the musicians to keep a straight face. Having a drink in the bar after the ordeal, we were surrounded by tone deaf poseurs with naice accents pontificating about how "original, brave", etc, etc the 'music' was. It seems many people who are not musical are terrified that they might be missing something, so they feign appreciation of such nonsense in case someone laughs at them for being stupid.3 points
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Has anyone got one of these? BB-X, late 80s, MIJ.2 points
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I do like that. That would look great sat next to this:2 points
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2 points
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Ashdown 12 band I recently took delivery of the new Ashdown 12 band amps, Since building a music room on the top floor of my house I decided I needed a second amp as I have two 2x10’s, one is in the longue for convenient practice and the other is in the new room I initially looked for a small class D amp, Markbass etc, then decided to pursue an MK500 that came up for sale, but that fell through due to the seller being vague about the condition. In hindsight, I should have bought it and got it serviced by those nice people at Ashdown, but I didn’t. Some background, I don’t change amps very often, several years ago I was running an EBS TD 650, then had a Matamp 200w all valve monster (big sound) then came a JJ500 (one of JJ’s actual amps, all black without the rat logo, was sold to a Stranglers fan, which made me happy) The JJ500 made way for an Aguilar DB750, which is an amazing amp when paired with two 4x10’s. That worked for me at the time as I was playing decent gigs in an originals band. Fast forward to becoming 50 and I went for two lightweight 2x10’s and a class D amp, decided it was time to look after my back! I was running a Genzbenz streamliner, great little amp, had a sound that some would call “vintage” I guess, lacked a bit of top end “zing” So I replaced that with Mr Genzlers latest offering, the 800w Magellan. A great little amp, which I still have. With this set up, I could walk into a venue with a double bass bag on my back, a holdall with my amp, leads and effects in, over my shoulder and a cab in each hand, result! In the quest for a second amp, I went for one of new 12 band amps, which arrived this week. So far I have only tried it with my MM sterling and a Sire fretless, I will endeavour to try my Sei jazz and MM caprice over the weekend My opinion, it just does what I expect it to do and very well! I had found with my Class D amp that I was forever playing around with settings such as Drive, contour etc, all the wonderful options that these digital boxes offer up, it worked fine, but depending on what I was playing, I had to make an adjustment at the amp. This is where the 12 band is different, with a slight boost in the lower and upper end of the graphic (it’s actually almost flat) I get a sound where I can make changes on my bass (i.e. 3 position switch on the sterling) with tone and p/up selector and get what I want. Yes, there is the harmonic emphasis, which gives another option, but without that, it just works, nice clean tone, you can really hear the sound of the bass. My sterling has a really low action and the slap tone was mazing with the pickup selector in the rear position, in the front position, where the tone is more classic MM, the slap tone is nice and with the treble rolled off, fingerstyle funk is punchy. The sire fretless has too many knobs for my liking, so I don’t fiddle with it much apart from pickup blend and up and down on the treble pot. It sounds great, nice full fretless tone from the same setting where the sterling produced a great slap tone. I’ve not really had it at any volume and suspect it will be a while before I can do that but based on previous experience when I gigged the JJ for a while (see photo- was running two 4x10’s), I know it’s going to be a “big” sound Build quality is as you would expect, looks great in “ashdown blue” which I thought was a nice touch for this amp. I’ve had black and red and seen gold and silver in pictures, but the blue looks cool with the blue LD around the power button. If the Sei and MM caprice make me smile as much as my Sterling and Sire have when played through this amp, I can see the Genzler going and another 12 band coming in, it’s worth the extra weight over a class D IMHO, so far! Tony2 points
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This exactly. Big cull of unused pedals last year which were sitting around waiting for attention which, despite Covid, never came, means that the remaining few are getting used, understood and enjoyed. Most recent basses still in my herd were bought 16 months ago, which feels like a geological time span with my gear-o'holic habits! The counter to the counter is that I don't have just one or two basses - I've got nine of different styles and varieties ranging from 8string and EUB to more standard 5ers - and each of them gives me a lot of pleasure. The variety seems to keep them all fresh which, in the absence of gigs, has been super helpful for motivation.2 points
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Hurrah, another opportunity for me to indulge in my current music fixation, Dua Lipa, and put up my umpteenth vid of her. Great for dancing as you can see2 points
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I've had the pickup out this morning, & like you suggested @warwickhunt the phantom coil was hanging loose, thankfully though all the wiring is still connected. As you can see there is brown residue which has hardened which i assume is the glue they used to attach it. To be honest I'm a bit suprised it's not attached by any screws. The next question, is can i used any type of adhesive to glue it back on? 😂2 points
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To be honest, if I had spent as much time actually practicing the bass as I have buying, selling and being on here, I would be almost as good as Pino! That`s Pino Jaconelli the local ice cream man.2 points
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Shows how opinions vary. It's up there for me as one of the greatest covers of all time. The timbre of David Draimans voice is outstanding. The Simone and Carbuncle original on the other hand, does nothing for me whatsoever.2 points
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Bruce at Bassworks has been great at keeping me updated. Once we settled on the specs he sent over a spec sheet for reference. The only other choice at this stage is the fingerboard wood. I’ve gone for the piece on the left. Its Macassar Ebony and its going to have pear wood lines.2 points
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Check out the little Line 6 ld110 being advertised by someone (not me) in marketplace.? I've still got mine and it includes your required features. Is there still an Ampeg ba108 still on offer there too.2 points
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In the middle of last year I made a decision to choose one of my basses to keep in my music room the the rest I sold or put into storage. This meant I spent all my time playing rather than deciding what bass to play. It did wonders for my mental health as I wasn't using my mental bandwidth for anything other than playing. I didn't feel anxious about having money tied up in expensive instruments, and I got to know my main bass intimately. My touch and dynamics improved massively. Just an idea.2 points
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