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Showing content with the highest reputation on 06/05/21 in all areas
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9 points
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A rare Yamaha SB-50 Bass for sale from around 1973. This is a cool bass, well gigged but solid and sounding great. It has a medium scale and a distinctive German carve - or pie crust look. It’s all original but missing the bridge mute and pickup ashtrays. These appear to be quite collectible and crop up on Talkbass occasionally with the predictable daft prices on Reverb. It’s one of Yamaha’s first original basses and it’s quirky ‘Les Paul by Dali’ looks will make you stand out on stage! It’s also very red….. It weighs around 4kgs sounds really very good from old school rock to modern tones. I was amazed by how versatile it is. Plays well and the neck is great too. Not sure how to price it but it’s definitely a sale only and I won’t be sending it overseas - sorry. Let’s try £295 - certainly a change from a MIM Precision. Note there is a crack on the lacquer in the body but this hasn’t effected neck stability. My cat loves it! More pics to follow.8 points
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And so to chambers. In many ways, the most important chamber is the control chamber. The internal layout is going to be something along these lines. Plus, of course, the Apollo space-capsule type multi-wire loom driving the Superquad : So the hatch will be something like this: And yes - that top line IS parallel with the neck laths...it's the wide angle lens distorting So I'm going to try something I've never done before. You know when you see someone do something that you think "Wow - why didn't I think of that??" Well, with me, that's usually something that @Jabba_the_gut 's done...but just so he doesn't get too smug - this time it's Fodera. So probably won't work when I try to do it8 points
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Have you ever considered that the Internet.... is not for you?7 points
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A little bit of scraping to get rid of the glue squeeze-out and tidy some of the joins, but this is much better than before...and it's flat It's now trimmed to the final oversize before the final shaping rout that will happen once the top is glued on, using the top as the routing guide (yes, I know... ) . The fretboard overhang will be shortened and possibly shaped, depending on @Matt P 's preferences: Just got to finalise and cut the control, cable and weight-relief chambers and then the top can be glued on. Next jobs! Oh - that and ordering the 5 string Superquad...6 points
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5 points
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As @OllyW, just unboxed in the garden and it matches the cushions perfectly. 😄 Oh my! Not plugged it in yet but it's really resonant acoustically, the bassline to Joy Division's 24 Hours sounded great with the droning D string. And before I knew it, tea was burnt. 🙄😁5 points
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Just wanted a ‘Shout out’ to Bass direct. I ordered a Hipshot GB7 for one of my Warwicks Tuesday morning, and it arrived lunchtime Wednesday. I wasn’t expecting such a speedy service, especially not in the current climate & it’s just nice to be surprised 👍5 points
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After a lot of hours I spent deciding whether to buy an old one from the seventies or a new Special I finally decided, taking into account my experience with vintage old Fenders and new Custom Shops. I took a new Special and I don’t think I made a mistake. It has everything. Sound, feel and appearance. Craftsmanship is at the level of Fender Custom shop or Sandberg. There are no flaws that have accompanied previous Stingray models and that have separated me from so many pieces I owned. I am especially happy because I managed to find the color that I like the most and is no longer on offer - Aqua Sparkle .5 points
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Is it bluegrass? Yee-haa. Gold Prospector's dance.5 points
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4 points
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The third movement of Holst's Beni Mora Suite (1910) wherein the flute repeats an eight note melody 163 times over a repeated underlying theme around which sections of the orchestra depart and arrive? I'm not sure if this qualifies but its an interesting piece, derived, it is alleged from Holst's observation while in Algeria of an Arab street flautist playing the same phrase for two hours or so. I suppose Holst's genius was that he absorbed the flautist's performance rather than throwing a boot at him, which is what most of us would have done.4 points
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I was always told it should be in the same position when sitting down and standing up.4 points
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A great recent recording without the usual noisy audience at a tiny bit slower tempo as suggested by the composer himself at the time. The exact same rhythmic pattern repeated 169 times (wisely and suddenly "forgotten" for the end climax), one melody with two themes and only one very late key change (more a modulation) : the result is just perfect. The original title was Obsession of a Rhythm. It says all and everything. And to answer @Stub Mandrel question : who and when invented the idea of a consistently repetitive (underlying) rhythm ? It's Maurice RAVEL in 1928. In fact, in music history, it's a first. Can you do better ?3 points
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44 seconds I step on it - it’s obvious and no it’s not a volume push - it’s all at unity gain - and yes I think most will hear a difference. @Al Krow I am sure you can squeeze something out for the masses clip or no clip IMG_4389.MP43 points
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I've realised that I posted about wearing mine at a similar height as to when I play seated, when all I had to say was, "Check my avatar."3 points
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Lest we forget, he also favoured Henhouse Rotisseries and Tumble Dryers towards the end.3 points
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Well this has been fun 😃 Here's what mine was:3 points
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I sling my bass pretty low and find if comfy to have my right arm fairly straight when playing. Not as low as Tatsu Mikami though!!3 points
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I bought this from Vintage n Rare Guitars in Bath and it has been in its case since then. It's in very good condition with some lovely figuring on the carved top which I havnt been able to photograph. There is a small ammout of buckle rash but nothing that has gone through the finish. IMHO this is a very vibey rock n roll bass with a heavy versatile sound.... This is the original advert "Thunderous sounding Gibson Les Paul Bass from 2000 – this is the second version of the Les Paul Bass with a chambered body and passive TB Plus ceramic humbuckers. Also features a carved maple top, mahogany neck and body with an ebony fingerboard and a 34” scale length. In excellent condition with the original Gibson hard case." https://reverb.com/uk/item/22656992-gibson-les-paul-bass-2000?locale=en-GB Shipping to be arranged.2 points
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I received this bass as a trade and I was (and I still am) amazed how good can be. I wanted to keep it, but, unfortunately, it's the only one of my basses with a narrow string spacing at the bridge (17 mm) and I prefer 19-20 mm. A little confusing when moving from one to another... It has some traces of use, but considering its age (made in 90s), I think it's not a catastrophe Also, (I think) has a midi pickup in the past, so you can see the places when the screws were mounted. The holes were filled, but not in a very professional way. The bass has two "facelifts", made after I received it: 1. New side dots, much more visible. BIG difference in a dark environmental. The original ones remained only for the second octave (frets 23-24), so you can see the difference in one of the photos. 2. The back of the neck has a satin finish now, much better (in my opinion) than glossy. Not refinished, only "treated" with steel wool. Specs (all explanations for the unusual terms can be found on Zon's web site): Mahogany body with bookmatched Koa top. I'm not sure about "mahogany body". I received the bass with this specification, but the grain and the colour tell me it can be ash (please see the last picture) Composite set-neck, no truss rod Phenowood fingerboard 24 silver/nickel frets in very good condition (slightly marked) Graphite nut Dunlop Straplok Dual Design strap pins Schaller tuners Schaller 3D bridge Dual coils Zon/Bartolini pickups. The pickups setup system is similar to Alembic, so there is no lack of screws. Zon/Polyfusion ZP-2 preamp - 9V Controls: Volume, Blend, Bass, Treble. The mids "pot" is inside, on the electronic board (can be seen in a picture) 34" 4.2 Kg 17 mm string spacing at the bridge (can be adjusted) 9 mm string spacing at the nut (46 mm nut width) I'll send the bass through DPD and I prefer the bank transfer payment. Only in Euro and only for EU, please (sorry!!! 😥) The price is firm, 2100 Euro, and the shipping is not included, but you'll receive a new set of LaBella Super Steps strings, stainless steel, exposed cores (045-065-085-105-128). No trades for the moment, please! I can send more detailed pictures on demand. Please excuse these photos, you know it's hard to photograph a glossy bass like this. ...and I think was not a good idea to make pictures in nature.2 points
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This ad has been online for 365 days now - I‘ll take this as a sign and will be keeping my bass and its lovely walnut neck! After enjoying this one for close to five years, I'm selling one of Sheldon Dingwall's best-kept secrets - namely his four-strings being outstanding in at least the same way as the more widely known fivers: The slightly more relaxed scale length than on the five strings (34-36.25" instead of 34-37") and a - to me: still - astonishing featherweight of 3.43 kg (7 lbs 9 oz) were urgent arguments for me - besides the sound, general quality and playability - to import the bass from the UK. Key data: Alder body with maple top, wenge fingerboard with compound radius (7.5-16"), Hipshot custom hardware, Neutrik jack, magnetic battery compartment, Dunlop straplocks. Besides the incredibly three-dimensional flamed / curly maple top, the bass has a few special features which set it apart even inside the elusive realm of Canadian Dingwalls: - a walnut neck with carbon reinforcements, which was usually exclusively available on the semi-hollow Afterburner II models. Currently, Dingwall has dropped the walnut neck option altogether. (To me personally, walnut feels even better - smoother, silkier - than the more widely known and much praised wenge necks that Dingwall prominently use on custom orders... I simply play my D-Bird more than the AB, so someone else may enjoy this). - green luminlays in the fingerboard and its edge - Hipshot D-Tuner - Glockenklang 3-band electronic that can be deactivated via volume pull: In passive mode, the treble pot can still be used to cut treble. I have learned to appreciate these special features very much, on stage as in rehearsals - no wonder, as the bass was built at the request of someone with a lot of experience. You can also see the bass in this video of his: The bass was completed in Canada on 20/08/2012. Since then it has picked up some minor visual blemishes, which I have tried to show as best as possible in the photos - see red marks in the photos. These are dings (dents in the clear coat) only, there is no wood damage. There are a few fine scratches on the black bridge which I have marked as well. Also the tuner shafts are no longer one hundred percent opaque black due to contact with string windings. Neck/frets/trussrod are in perfect condition, though I like to inform people new to Dingwall beforehand what this means regarding frets: Please see this thread on talkbass (reply #30070 and following) for reference. More photos or video chat (Facetime/whatsapp) on request. The colour is called "Honey Amber" and shifts somewhere between a Bengal Tiger and a Tequila Sunrise depending on (stage) light. More than once after a gig I was asked what colour my bass actually was. It‘s also breathtakingly beautiful in daylight! Comes with "birth certificate", tools and the fantastic Dingwall/Levy's gig bag, which I dread to let go almost as much as the bass itself. Currently fitted with the four higher strings of a fresh Dingwall Nickelplated-Steel-5 set and tuned to EADG. The associated B-string comes with the bass, too, so you can opt for either regular or BEAD tuning: The nut will take both sets of strings as its slots have only been widenend, not deepened. Sound files in EADG available via wetransfer (i.e. your personal e-mail is required for download). Available to check out in Cologne, Germany (following covid guidelines/precautions: FFP2 + personal distance + clean hands + current test) on Helix LT / Beyerdynamic DT-770 possible at any time. Test at band volume / in rehearsal space possible on request. I am generally open to near offers / price suggestions. For orientation, please note: New price would currently be in the neighbourhood of £4,300 - and have a waiting period of 18-24 months. I can provide the current Dingwall price list. Former ads by Neil and Ashborygirl for reference. Please be aware that I’m considering the price I paid an utter bargain then and do so even more today: As prices for Canadian models and Combustions have risen substantially in the past years, I cannot in good conscience let this bass go for the same now. (See recent sale of an ABZ 4 on talkbass for reference.) Also, this is not a fire sale. Payment preferably by bank transfer, alternatively Paypal (exclusively using the "Friends & Family" option to protect myself as the seller). I’m very open to and encouraging everyone to take further measures to build up confidence in preparation of an international sale (video chat, exchange of IDs, etc.). Shipping worldwide in double box and lots of padding possible, but has to be arranged by buyer. Instead of the gig bag we could also organise the purchase of a case as the bass fits into any Fender-style case. Collection preferred to shipping, shipping inside EU preferred to outside EU. Private sale, no warranty/return/invoice available. No trade offers, please.2 points
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Is Jens still making them? It says he topped himself with the number one bass listed there2 points
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I know it isn't reggae, not even music but The Ogmios School of Zen Driving Motoring just belongs on here somehow...2 points
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There ain't half been some clever bastards - Ian Dury and the Blockheads2 points
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I'm thinking that it might look better with black hardware so it will tie in the pickup aswell?.... 👍🏻 And I think I'm going to bin off the pickguard it doesn't look right to me with not having the raised middle section?2 points
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The Flecktones are one of my favourite bands but they wouldn't be my first recommendation when it comes to Bluegrass. The influence is obviously there, but they can also fit in just as much with the Jazz/Funk/Fusion/Jam Band scene. Bela Fleck's previous band, New Grass Revival, would be a better choice for a more modern take on Bluegrass. They were an excellent band.2 points
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Righto Update 1x15 cab is sold! Update Head sold subject to completion. This is a chance to get traditional trace gear in good working condition for a bargain price. PICKUP ONLY..... You'll need a van or a friend with one! Up for grabs is a 4x10 cab, 1x15 cab a 2x10 cab* and a GP12 SMX 280w head* (the head was removed from the 2x10 combo to give more options as a stand alone head) Tatty covering on some parts ( the head especially, nothing a bit of tolex wont sort out) everything working fine. All cabs and amp are the Maldon factory years. All drivers are original Celestion for Trace all work perfectly. Any Questions fire away! Can split but mainly looking to give someone a bargain!2 points
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I've sanded it back a bit because it was a bit too dark for my liking, tiday I thought I'd make a galv pickguard to see how it would look?...... 👍🏻2 points
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TBH unless you are a reasonably well-known band with a decent following it's "playing last" rather than "headlining". In these situations the best time to play is second to last. You generally tend to get the biggest/most receptive audience.2 points
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I don't think most bass players think it's a bad thing, more that they don't hear any real benefit from having one on their pedal boards when playing live. It seems to me that there are at least as many bassists who are perfectly happy without a pedal board comp as their counterparts who swear by them. Besides, if you are making extensive use of dirt pedals as part of "your sound" you're already getting some compression in your signal, and some amps have compression built in also... ...although I note you regard the TC Spectracomp on the TC amp to be "pants" because it acts like a limiter. Nothing wrong with a limiter though. It's a valid alternative which many bassists are very happy with. It allows your natural sound and playing technique to come through / "breathe" for the most part whilst eliminating unwanted volume spikes. It makes complete sense to use bass compression in a recording studio where the compression can be adjusted to suit the style of music and done expertly by a sound engineer (see comment on attack / release below). And if you're playing at a venue with a decent sound engineer who is going to be compressing your signal anyway - so I completely get where @jrixn1 is coming from with his post above. A lot of bass players use their compressors to get more even volume across their strings as an alternative to adjusting the height of one side of their pups e.g. closer to the top D and G strings, but also to prevent unwanted volume spikes more generally. Dunno if that is what you are referring to as "fixing bad technique?" Agreed. It seems to me that the much of the "magic" of a compressor is in the attack and release settings, which actually should be adjusted for each track to suit the style of playing. Something that a trained sound engineer will do in a recording studio. It also seems to be a facet of compression that is discussed very little and perhaps not widely understood (I certainly don't claim to be an expert!) Again this level of refinement / adjustment makes total sense in the hands of an expert sound engineer in the studio, but less so for a bassist doing DIY compression in the Dog 'n' Duck pub? Just my 2 cents FWIW! 😊2 points