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Showing content with the highest reputation on 21/04/21 in all areas
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Sorry for the delay on this update guys, its been a hell of a busy week. Lots going on with another little project that i'll share with you all soon, but in the meantime: im building the external power supply for the bass. The original plan was to build a pretty simple pedal with a 12v input, and a normal 24v DC-DC converter. ive changed this plan slightly for a couple of reasons. firstly, this big DC-DC converter is fully isolated, a bit like a pedal "wall wart", which means that i can use pretty much any normal power supply and feed it into this (the input voltage range is 9-18V DC) with a 24V isolated output. the second change is that i found a rather natty red aluminium chassis on youtube, and liked the look of it better than a pedal. sometimes its just something that catches your eye! first step was tapping the holes for the bolts i wanted to use. these chassis come un-tapped so you have the option of different screw types: and once it was all jammed in together, this is what it ended up looking like: i think its fairly smart! plus its small and light enough to fit into a hardcase alongside the bass, so thats a plus. very simple: its just the 4 pin micro XLR on the front, and a DC Jack, a switch and a 1/4" jack socket on the rear, with a switch. the switch lets me flip between stereo output or mono output, letting me use the external power with traditional as well as stereo amplification. in the picture aboce the switch is set to stereo, with a stereo jack cable coming out the back. this then runs to the 2 inputs on the back of the Boss VF-1, which the runs to the 2 inputs of the Peavy IPR-1600, which outputs to the 2 1x10 Eden cabs below. this will hopefully be the normal setup for this, but i just need to carry a standard jack to jack to run it straight into any normal bass amp as well having got a few additional coats of the high build oil and a couple of coats of the Wax, the sheen was bang on where i wanted it. just shiny enough without really being "glossy" i realised there were a couple of small drilling jobs i hadnt yet done, so i used a spare Pickup pcb to drill holes for the threaded brass inserts that will accept the pickup screws: somewhat frustratingly, the gold screws i used for the coil height adjustment dont come long enough for the pickup mounting screws. one change id definately make next time round is shortening the coils to make the pickup slightly shorter. regardless, i did manage to find some nice gold hex bolts that came in the correct length that fit just fine, but with the rounder flatter head like these: So, all holes drilled, hardware in place: we're getting a lot closer now so no we begin to get into wiring... whcih honestly turned out to be not quite as painful as id initially expected! The battery board is a tight squeeze, but that was intentional. the 24v power from the XLR runs to both the preamps as well as to this board. i decided to have it this way up as the little check battery button and lights are visible. i think i may leave it loose in there once all is done as a well fitted cover should hold it in place just fine, and allow easier swaps of the three batteries if i ever need to do that. After lining the control cavity in copper tape, i started to run the various cables from the push/pull volume into the main cavity. some braided sleeving from my PC building parts helps keep everything from looking like spaghetti! The wires from the pickups, as well as the battery connections get the same treatment, wth some 2.54mm block connectors at each ens so i can easily swap the preamps in and out if need to and once everything is in place, it was time for a first fit of everything to see how it all came together... deep breath: the black and white control knobs im very happy with, and the tuners a sperzel locking tuners which seem to hold everything very nice and solid. i cut a fresh nut from another block of Tusq graphite, and strung it with some Optima Golds. they handle the angle round the bigsby really well and help tie the look together, plus they sound fantastic. This may look pretty close to finsihed, but theres still work to do. the cavity covers i haven't made yet, and i think there may be some component changes needed for the preamps once its all up and running but we're very close to a finished bass now once its all buttoned up, ill get some proper beauty shots in natural light, as well as some sound clips!8 points
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Not actually as scary as it looks...but this is why we do the 'check 14 times, cut once!' mantra And so this is how the neck blank will sit, except of course eventually the back will be profiled all the way to the heel and the side wings will be carved a bit like a bowl arena. Or, if I a*se it up, a bowel arena I've got some final bits to do on the blank before I go to the next major step, but that major step is usually, for me, gluing the top to the neck. Yes - I do everything pretty much the other way round to most sensible folks. But, hey, I might surprise everyone and do it the more conventional way7 points
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My '68 Coronado ll6 points
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Well, the bit of 'slightly more conventional than I normally do' that I'm going to venture into, is the sequence. I think most builders go - neck blank; add side wings; fit top I tend to go - neckblank; fit top; add wings. And for this one, I'm going to do wings then top. So I will start here: Then sort the cable access and weight relief chambers, then flatten it all off, and then, once that's all done, glue on the top. I know...shocking. And why do it this perfectly logical and well tried way rather than the white knuckle ride of an Andyjr1515 'will it work or not' sequence? Well, because one of the targets is to keep within 7-7.5lbs. And there are a few unknowns still in terms of the weight: - It's a 5-er with a lot of maple in the neck blank - The 5er Superquad is MAHOOSIVE!!! - The back is oak - The bridge is high-ish mass But, weight permitting, I'd like to do something a little bit special at the back and so I may, or may not, want to add more, or different shaped, or differently positioned internal weight relief as I go along. And getting that right is a LOT easier if the wings are already on but where the internal faces are still fully accessible. But don't worry, there'll still be plenty of white-knuckle-on-the-very-edge-of-disaster moments to come that I'm sure will keep everyone interested6 points
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Mosrite Joe Maphis Bass 1967. Price drop £1295 MOSRITE MARK X MODEL # 502 a/k/a “JOE MAPHIS BASS” RARE EARLY PIECE FEATURES: 1. Semi Hollow body. 2. Bound Spruce top. 3. Walnut back. 4. Body depth: 1 ½”. 5. Neck: 3 piece laminated Maple. 6. Scale: 30 ¼”. 7. 20 Frets. 8. Brazilian Rosewood fingerboard. 9. Fixed Bridge with Chrome cover. 10. Volume and Tone Controls. 11. 3 way Selector. 12. AND THE FAMOUS MOSRITE “DUCKFOOT” TUNERS. The coolest tuners ever put on a guitar. TIMELINE OF THE JOE MAPHIS MODEL BASS: 1963-1965: The VENTURES Bass. One pickup. 1966-1969: The VENTURES Bass. Two pickups. 1967: Bust up with The Ventures. Bass now known as MARK X, Model 103. “Duckfoot” tuners introduced. 1967: Joe Maphis becomes MOSRITE endorser and VENTURES guitars become “Joe Maphis” models. The bass become the MARK X, Model 502. ADDITIONAL INFORMATION (from Vintage Guitar magazine): “Mention the Ventures to a pop-music aficionado and the conversation will likely focus on the surf-music phenomenon of the early 1960s or – if that person also happens to be instrument-savvy – the band’s affiliation with Mosrite guitars and basses. Though the partnership lasted only a half-decade, the Ventures have been perpetually associated with Mosrite, as bassist Bob Bogle noted in a 1997 interview with VG. “[The association with the brand] will probably follow us around for the rest of our lives,” he said. “We can’t seem to shake the connection.” A closer look back, of course, reveals more, including the fact that although the band recorded surf instrumentals as the music reached its peak, it actually preceded the genre, charting with “Walk Don’t Run” in 1960. Nonetheless, the Ventures and Mosrite are the first band/brand association recalled by many a babyboomer guitarist. The single-pickup version of the Ventures Model bass was part of the Mosrite line from 1963 to’65, while the two-pickup was offered from ’66 to ’69. The single-pickup example you see here is exactly like the one on the cover of the 1965 album The Ventures Knock Me Out!; its body has the classic Mosrite profile, M-notch headstock, planaria-head truss-rod cover, metal nut, zero fret, thin bolt-on neck with 20 frets (joining the body at the 18th), tiny fretboard markers, 301/4″ scale, adjustable/intonatable bridge with large silo-shaped saddles (covered here by a handrest), “German carve” around its body (as found on most Mosrite solidbodies), and a wood-trimmed tailpiece. A 1965 Mosrite flyer hyped the Ventures Model with a bold-faced proclamation, “The finest performance demands the finest instrument!!” and showed the quartet of Don Wilson, Nokie Edwards, Mel Taylor, and Bogle in matching outfits with matching instruments. Other copy says, “A quality instrument, designed especially for the demanding professional musician and the amateur who desires the finest.” Around the time the two-pickup Ventures models were introduced, the company had switched to “duckfoot” tuners on its basses. When the Ventures’ affiliation with Mosrite ended in a controversial flameout in ’67, the guitar and bass models were continued as the Mark series (the bass was the Mark X Model 103). Mosrite hooked up with another notable guitarist, Joe Maphis, for a signature series of instruments, and the bass in that aggregation was known as the Mark X Model 502. Maphis-series basses had the same neck, short scale, and features as the Ventures Model, but with slightly larger bodies that were a combination of a hollowed-out walnut base (with a depth of an inch and a half) with a spruce top that was, according to factory literature, “music grade.” The bass had binding (called “purfling” in the ’67 catalog) where the top and base joined. “ INFORMATION about this guitar: It is in Very Good cosmetic condition with the usual scratches, dents, dings, and other marks that come from being a played and dragged along guitar for 47 years. The finish cracks are abundant but have almost turned this guitar into an art piece. Look at the photos to see the concentric patterns that have formed on it. Pretty cool I think. It is in excellent operating condition and still has that special “thump and sustain” that can only come from one of these basses. The “German Carve” semi-acoustic body with no “escape holes, aka, “F” holes combined with a “music grade Spruce top” (their words) and a hollowed out Walnut body really makes this a one of a kind bass guitar. To me, and others, it is one of the most underappreciated bass guitars ever built in the USA and is significantly undervalued. Once more people play and hear this bass guitar, the more in demand it will be. A great and legendary MADE IN THE USA MOSRITE guitar. ALL ORIGINAL. There is small hole in the lower horn (see pic) which I guess is where an additional strap button was located. The bass was originally purchased from California, USA and is in great condition for a 54 year old bass. Lots of wear marks but nothing excessive. Only other point of note is that there is some warpage on the pick guard. Check out some Arcade Fire for how this bass sounds - it is use extensively in their back catalogue. Collection preferred but if you really want to have this shipped it will be at the buyers cost and risk.5 points -
Ooh nice! Bit of a thread derail mind, but that's a cracking transformation @SpondonBassed 👍🏼 Can I join in? 😖 Got asked by a friend if I could refurb his recently deceased Dad's old Roker Park Clock Stand seat, from Sunderland Football Clubs old ground... It looked like this when I got it.. He gave me free reign, but I told him my plan to replace the rotten wood with new hardwood and redo the metalwork in black, and he gave me the go ahead. Ended up like this: He burst into tears when he saw it.. I stood in total silence thinking ...s h i t 😲 Turns out he was more than happy... thankfully 😳👍🏼5 points
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Only watched a bit. However, from what I watched, the fact that it is all guitars destroys it. No tonal variation makes it sound like clusters of notes. I love Stravinsky and the rite is massive. You need all the different timbres, attacks, decays and how they mix. It's kind of an aggressive soundscape. Obviously the lad who has done it is very talented and it's a lot of hard work. So well done on that level but it's not for me.5 points
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Suppose I’d better post a pic of mine up here5 points
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After recently taking delivery of my new TM-4SL and playing a few gigs... it’s a revelation! amazing instrument5 points
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For Sale or Trade Merlos like new! Maple body Maple neck Maple fingerboard with carbon renforce 4-coil pickups with dual single selector 34 Scale 19mm bridge Gold Hardware Original gig bag Price 1800€/ 1650£4 points -
Beneath the heavy riffage on downtuned twin guitars, powerhouse double kick drums and growly vocals it's sometimes hard to pick out the bass but when you get to listen to isolated bass lines you get a whole new level of appreciation for the bass player. I'm a big Lamb of God fan and have been checking out some isolated basslines on YT played by John Campbell and yikes he's some player. Any other quality metal bassists that tend to get drowned out by the guitars and drums?4 points
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@Dan Dare it’s all gone a bit Toyah and Robert at your gaff then? 🤭4 points
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just lovely! If i had wanted conventional i would have bought a fender! 😁 Matt4 points
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I came across it on Facebook. It might help prevent the odd domestic dispute 😁.4 points
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I had to give up on it after about 5 minutes (although I was tempted to pull the plug after 20 seconds). Technically interesting (hence the 'thanks' to the OP) and he's clearly an extremely skillful player, but musically completely soulless IMHO. The point has already been made about the varied tonalities that make up the orchestral version, and that's what this piece is so sorely missing. I don't have any issue with the production: nothing wrong in using common studio techniques IMHO (it undoubtedly offends some ears, just not mine is all). My main criticism is that it has the feel of something that's been done essentially because he can, and with music like this it's just not enough. Sorry.4 points
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Definitely. "Bad For Good" is a great record and the version of "Rock and Roll Dreams Come Through" on there is a belter. Some of his work is a wee bit too Wagnerian for my tastes, but you cannot deny that Steinman had a clear vision and a signature sound, exemplified by "Bat Out of Hell," of course. My favourite stories about Steinman concern the abortive attempts to record the follow up to "Pyromania" with Def Leppard. It did not go well... Steinman met the band in Ireland and in an Interview reproduced on his website he says: "One of the first conversations I had with Def Leppard was in Dublin during pre-production. I was so excited to be in Dublin and I said, This is great for me. I'm finally in the land of James Joyce and Yeats. These guys are idols of mine. You guys feel that at all? And they said, No, we haven't had a chance to meet any of the local musicians."4 points
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That’s a lot of trouble to go to demonstrate the worst preset on a 90s Zoom multi fx.4 points
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From the thread title I expected the OP to be an advisory list like: Do not start a Basschat thread on the following topics: Tonewood Playing for free Compression Picks Vs Fingers 4 Vs 5 strings4 points
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As it is well noted and unanimously decided amongst the great members of this, the marvelous Basschat community; Ted Theodore Logan III is the most generous and giving chap this side of Helsinki. As a result, I am offering up a most beautiful and prestigious Sandberg California Fretless Boom Stick to one very lucky member of the BC community at the very gentlemanly price of just £895... “SAY WHAT?!!...." Yes, you read correctly, there is no need to search for those elusive reading glasses which were simply in your top pocket all along... A meager £895 for all that Sandberg German goodness! “Is Ted mad?!" You may ask yourself... Simply put... “Yes, yes I am." So why not take advantage of Ted's insanity and become the proud owner of what is probably the best Sandberg California TT4 Fretless Bass Guitar in 3 tone Sunburst Matt finish currently for sale at this price?.. “At only £895 of your English Doubloons, you'd be mad not to!!..." (Dirty girl) “Here's the spec'": As new condition!!  Item Description: model: Sandberg California TT4 Fretless Bass Guitar finish: 3 tone Sunburst Matt electronics: Sandberg AlNiCo Passive Jazz Pickups controls: Volume, Balance, Tone hardware: Sandberg Locking Tuners & Sandberg Premium Bridge (matching black) neck: Unmarked Fretless fingerboard wood: Rosewood scale: 34inch (oooh, that's long) weight: 4.4kg case: Sandberg Padded Gig Bag condition: Mint price: £895 (in gold or cash) Happy to arrange insured courier at buyer's cost or for buyer to arrange their own courier. Go on! Get some German wood in those hands and strum it like you've no shame! Here's some brand new pictures to satisfy those fans of “heavy rock".... ...backgrounds... (Taken at the quarry where I currently reside) (Clears throat...) End.3 points -
A mate just sent me this. Tight. Tight as fooook.3 points
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Have you thought of adding a 'watermark' to your photos..? Most graphics programmes have such a feature, or way of doing it. Discreet enough to not spoil the photo, but prominent enough to deter beggars that nick your photos..? Not a problem I have, as my photos are rubbish, anyway..!3 points
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3 points
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In the spirit of scientific enquiry, Mrs Dare and I shall be testing these to ascertain which results in the best, ahem, tone (or whether any differences can be found). The participants in the study and the procedures employed will be the same each time. The only variables will be the instruments themselves. Full report to follow.3 points
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Ah yeah, some of the STDs those boys must have gotten over the years would make you wince3 points
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Like your thinking....👍3 points
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There's bass in metal ?!?3 points
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Buy a set of plans and you can hire anyone you wish to do the build for you. Just don't let them do things their own way. Some of the worst results have come from contracted builders who should have stuck with making furniture, while some of the best have come from first time builders.3 points
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For those unfamiliar with the work, here's a more 'traditional' version...3 points
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I've been on an equipment purge over lockdown. After some trial and error, I am finally content with this board along with my Lakland 44-64 and TI Jazz Flats. I'm using the Fender Downtown Express for some parallel compression and EQ before the bass hits FOH. The EQ is really nice and the unit in general is a steal at full price, so I'm especially happy at getting it for £90 on eBay. The drive is cool, I don't have a lot of use for it but it sounds good and certainly serves the purpose. Mute switch is useful as I use the tuner out to the pitchblack mini which saves some cable space. I don't use the DI out, I reserve that for a Rupert Neve RNDI that sits on top of my amp. Ibanez Bass Tubescreamers seem generally disliked and I totally get why, they are a bit farty when used at higher settings and are generally a million miles away from that modern Darkglass thing. I use it at very moderate settings for simply colouring my tone and adding some mid-thump and I like it for this. I use it as an always on pedal. It also makes the Fender drive sound much better. Maxon CS-9 Pro is just a dream chorus. There's not much about it online but I'm happy I took a punt on it. Expensive, but I'll never need another chorus pedal, it's very rich and deep, and it also has a blend knob. Not much of that hissing thing some other chorus pedals are prone too, it sounds nice and juicy. Mooer shimverb is cool, I use it sparingly in some sparse sections and it does the job just fine, and for £40 I can't complain. I'm only using the room setting so this piece might be changed for something different. I now have zero option paralysis and it feels good.3 points
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I reluctantly sell this rare wonderful bass, with a powerful clean sound. The instrument is in great condition and has only been used in studio. Always kept in its case and well maintained. It plays perfectly and has no dents or defects. Unfortunately I have a problems with my forearm and I cannot extend my hand so much anymore. I am considering moving to a short-scale. I currently live in Austria, therefore I offer shipping if requested. Here are the technical specifications: Body: Basswood Neck: Maple, Modern 'C' Shape, Bolt-on Neck Width 1F : 40mm / 24F : 64mm NeckThickness 1F:20.5mm, 12F:22mm Fingerboard: Rosewood, 15 3/4" Radius(400mm) Frets: 24 String spacing: 19mm Inlay: T.M. Original Design Tuner: Die cast Scale: 34" (864mm) Nut: Steel Bridge: EM12(4) Pickups: Bartolini AMK1-4/F + AMK-1-4/R Controls: Bartolini MK-2 EQ / 1 volume,1 blend, 3-band EQ Special Controls: slap switch, funk-wah switch (adjustable via controls on the back) Strings: D'Addario Pro Steels 40-95 Colour: Silver Weight: 3.8kg Case: n/a (optional) This bass has been played and signed by Marcus Miller shortly after being purchased (see last photo) but the ink has unfortunately disappeared over time, despite it was a permanent marker.2 points -
So, back in lockdown 1.0 I brought a Sims Guitars body and neck. I thought it would be a fun project. But, it needed a little more fettling than my limited DIY skills would allow. As I need a guitar for work I've decided to give up and pass it on to a professional to finish. Bruce Hartley at @Bassworks is a great luthier and has agreed to put the final pieces together for me. Specs are: Sims Guitars body & neck. The finish is beautiful. It looks black at a distance, but is actually a very dark, slightly translucent root beer with a fleck of purple). EMG 81 in the neck and bridge, prob going to just skip the middle pickup and go HH Gotoh VS100 trem Hipshot locking machine heads Its going to be a great shred machine when its done.2 points
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2 points
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I’m selling this lovely 75 reissue I picked up early last year as I recently picked up an original 74 Jazz. Fiesta Red body with a few small knocks as shown in the pics. Lovely block and bound maple neck with 2 really small knocks. Weighs in at 10 lb which is average for these. Pickups are Fender Custom Shop or if you prefer I have a set of Lindy Fralins I can swap in. Controls are a set that Kiogon (John) made for it. Comes with a Hiscox Liteflite hard case which isn’t pristine but does the job. £750 ono Collection from Wakefield or meet up preferred but I can box up if you want to arrange a courier. Not really looking for trades this time2 points -
My BB605, born 2002, to which I fitted Delano pickups, Aguilar OBP-3 preamp with active/passive and mid-shift, Dunlop flushmount straplocks and TI Jazz flats. I have been able to get the action incredibly low (3/64" on G string, 24th fret) and it plays and sounds incredible.2 points
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Actually, being able to see the fretboard on a darkened stage and not starting Bon Jovi in the wrong key is probably a good idea...although the look on the guitarist's face was priceless 😁2 points
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Why would you worry about the notes being displayed on the front. 1. You have your back to it. 2. It helps on dark stages. 3. No one else can see it! Honestly it’s a bargain. I loved my RH750... for £349 you’d have some change for some black insulation tape to cover the screen. 😂2 points
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It's indeed a very nice sounding instrument. It can sound very classic, but pretty modern too with both pickups engaged. My favorite sound is with both pickups open, with the tone rolled off on the bridge pickup. The tapewound strings were already fitted when I bought it, and they actually sound very good on this bass. I've never tried those before.2 points
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Agreed - the difference is all in the strings. For me it's all about the flats but both do sound really good and as always is massively context dependent as to what you might choose to use. Having them solo'd like this is cool for hearing the differences between them but it's where they sit in the mix that is really important I'd argue. Either way two great players, two great sounding basses and you've got to love funk with a pick2 points
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I reckon the guy on the gold P probably sounds brighter because he's playing about an inch closer to the bridge than the first guy.2 points
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First one 2 weeks ago was crap. Last Night’s was a belter.2 points
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I listened to an album I haven’t heard for quite a while, it’s Wanted Dead or Alive by Peter Tosh, this track has a great Bassline by Robbie Shakespeare with little subtle changes and this has a funky feel about it with Gwen Guthrie on vocals2 points
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Definitely couldn’t post that pic on TB!2 points
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Proof that great music is as much about using instruments with the appropriate timbre as it is about playing the right notes.2 points
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I had a couple of Westone Thunders in the late 80's, here are a couple of photos of the Thunder IIIA fretless. I sold it when I moved on to a five string Status S2 fretless, which I still have.2 points
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The push/pull function on one of the many stacked knobs on my ACG 6 does absolutely nothing. If a producer ever asks for a different vibe I'd just pull that - 90% chance they'd say "yeah, that's better!". You need to add a 'producer' knob to your basses that does nothing at all!2 points -
2 points
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The dip is where the distance from the rear of the cone to the front of the cone is 1/2 wavelength. To calculate that frequency divide the speed of sound by that distance, then divide by two. The speed of sound is 13,500 inches per second. It is unavoidable, and why the most popular iteration, the JBL 'Scoop', went away. About the only example of rear loaded folded horns still around are the Danley Sound Labs tapped horn subwoofers. They have the dip, but it occurs above their nominal 100Hz maximum pass band. When they first came out Danley published SPL charts, and the dip, between 120Hz and 180Hz depending on the model, was very obvious at around 12dB deep. Even though that was above the pass band it garnered lots of criticism from the usual wags. When that happened Danley fixed the problem...by cutting off the charts at 100Hz.2 points
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Ah there she is it’s a great spec worth shouting about if you’re selling .. Haussel JJ, John East uni pre 4 Hipshot ultralites, A-style bridge 18mm 24 fret, roasted birds eye maple neck, carbon rods, Ebony board Swamp ash body, 8lbs ish Built Feb 19. Was the last 4 string I played.. if I’d specced as 5 would still own it. Recently found all the documentation , folder etc. Buyer PM me and I’ll stick it in the post.2 points
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I went to see a performance of this when I was 15 - my first ever Prom concert. Fabulous stuff. Couldn't stick the guitar version for more than a few minutes. The notes may be "correct" but the feeling and sound textures are nowhere near as rich, subtle and varied as those delivered by the orchestra as scored. Imho, ymmv etc.2 points
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Love him or loathe him you could usually spot a Steinman composition a mile off and that's got to be worth something.2 points
