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Showing content with the highest reputation on 07/06/22 in all areas
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Something that's been brought home to me recently. I've offered to throw in the towel a couple of times since my cancer diagnosis early last year, the lads wouldn't hear of it and have been nothing but supportive working around treatments and what not. Sometimes there are more important considerations.11 points
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When I passed across @Happy Jack 's lovely Mike Lull P5 back to him, fitted with the new Andyjr1515 fretless neck, and watched him play it, I thought - no...we both thought - "that fretless neck ain't going to be swopped back for the original fretted one for a good while!" For those who followed the thread, you will remember that the idea was that the two necks were designed to be able to be swopped over quickly and repeatedly with minimum fuss or reset. Trouble is - and this is more to do with fretless necks rather than my skills - some fretless necks and their set up just 'have it', and some are playable but don't have that extra 'mwarr'. And, by luck, this one happened to have it in bucket loads. So Jack has a lovely Mike Lull 35" scale neck sitting gathering dust. And so stage two of the project has just begun...building a new body for the original fretted neck It will be a bit of a slow burn, but the idea is to build: - a lightweight body that balances both on the knee and on the strap. It's a fairly heavy neck (2.5lbs) and Jack was thinking in terms of trying for 7.5lbs playing weight. We may not get there, but I have suggested we try to see how close to 6.5lbs we can get. I know...but at the very, very worst case, we will get a lot closer to 7.5lbs if we are aiming for 6.5! - fitted with a Fishman Fluence 5 pickup (I'm quite excited by that) - (subcontracted) Shell Pink nitro spray finish. I've got some ideas of the best combination of techniques and materials to get the weight, play 'feel' and balance and are now exploring how to get hold of the materials I'd like to use (more challenging than you would think) but this is the kind of shape I'm thinking: I'm still pondering on some of the critical datum points, especially recognising that the neck is a 35" scale and so I have to allow at least a further 1/2" of balance-point critical items In some of my previous lightweight builds, I've incorporated: - light timbers (although my lightest used oak!) - ultra slim centre area of body - chambers - lightweight hardware For this build, I will need to use ALL of these...and more I'll keep you posted9 points
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So, what are the weight-reducing things that can be done. The ultra-slim body centre is something that evolved from 'Tom's African Bass' through to @TheGreek 's 'cross section of a contact lens' concept on his Psilos Bass through to @Len_derby 's Swift Lite Bass, that sought to get the weight benefits of a slim centre, with the playing, electrics and visual benefits of a more conventional depth of body at the sides: @Len_derby's bass, below, worked out at 6lbs 6oz playing weight with two pickups and fairly conventional timbers and hardware. @Happy Jack's will be an inch longer scale and 5-string...hence the design extra work to be done. Chambering can also be done within the remaining thickness, both in the back and top: You do, of course, have to remember that the back is carved too! Light timbers - swamp ash...great but more difficult to get hold of due to some die-back problems. Paulownia - lots of folks starting to use it. Used to be cheap bodies - now it's some of the 'better names' who have clearly been following my 'Why are basses so heavy?' threads It is cultivated, sustainable, good for the soil, soft but very, very light...but at the moment VERY difficult to get hold of as body-blanks. Light hardware - better and better choice Design - Thickness of the body, covered above, is critical but so is: getting the top horn as far forward as practical for on-the-strap balance; ditto the lower waist for over the knee balance; if you are going to have any heavier hardware, make it the bridge; putting the bridge as far back as you can get it. So all of that and more will need to be incorporated...7 points
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I got this beautiful US EB MusicMan Sterling in a trade. I love the sound, playability and looks so I’ve decided to keep it! Please note that this is an American made Sterling. Withdrawn!7 points -
Really nice basses these. Very Jazz feel with a fast bound neck. Neck through body construction solid as a rock. All Hipshot lightweight hardware. This one his a Hipshot extender fitted which is included and I can pop the original tuner back on Comes with a nice PRS gig bag. Collect from Rugby or I will deliver up to 25 miles free. Shipping also possible! Trades? (Cash either way) Acoustic or “unlined” fretless Sire Mk 2 Jazz Mini bass head (TE Elf etc) Mex Jazz Cheap EUB? My feedback on here is all good S6 points -
Indeed so. Many people merely expanded their musical tastes to include punk while continuing to buy the latest offerings from the Zeppelin, Genesis, Yes and - er - Leo Sayer. A smaller number hurled themselves into a full-body realignment, emerging with shorn locks, a repellent pallor and unfeasibly tight black drainpipe jeans. The further one went from London the less the popular impact of punk. Yes, there were punk bands in the provinces but I can state with absolute certainty that crushed velvet loons, shoulder-length hair and a tendency to look at the world from the business end of a colossal joint were still the prevailing fashions in Hull in 1980. While the big bands may have panicked prematurely only a very few fell irrevocably by the wayside. Some, like ELP, may have thrown in the towel by 1979 but others, like Queen simply re-grouped and got bigger. In hindsight punk was a ripple on the surface of popular culture; a harking back, in some respects, to the brevity and simplicity of early rock'n'roll and occupying much the same place in wider public consciousness (Must we fling this filth at our pop kids?). Perhaps the most significant impact of punk was the later adoption of skinny ties by middle-aged men who should have known better. That, and the perpetually arrested development of a significant minority now well into their dotage but who have extended punk's initial fiery nihilism and anti-establishment posture well beyond its use-by date.6 points
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Rippon This Joint - Rolling Stones5 points
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Suite Caroline - Neil Diamond5 points
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Well, this seems to have taken for ever, but it's at last hotfooting it across the UK road and depot network to @fleabag as I type: Fingers crossed that he will like it5 points
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Hey people, due to a house move and buying too many basses recently (if there is such a thing?!) I've decided to part ways with this stunning spector. It sounds fantastic with the tone pump preamp and bartolini dual coil pickups. It's very fast thanks to the 17mm ish string spacing and has such a punchy tone. Condition wise it's very good, there are a couple of very small marks that I've tried to show and some very light surface scratches that are almost impossible to see/photo. Serial number dates it as a 2018 onwards bass. Weight is approx 10.05lbs using my eBay special scales so give or take. Comes with the fitted spector hardcase which is good condition apart from a few small nicks. Collection or a meet up preferred however I have a decent box and can wrap it well if a buyer wants to organise postage. May consider a trade/part ex if its something that I could sell on easily enough any other questions just pm me. Thanks5 points -
We almost fired a drummer. It was a pretty intense jam band and he was 'someplace else' being on time but with no pizzazz for a few gigs in a row. Turned out he was having some personal issues but didn't want to get fired so he pulled himself together and brought his A game back.5 points
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Reading this thread prompted me into deep thought about the musicians that went through my old band. The ins and outs read like one of Pete Frame's Rock Family Trees, I'm sure this isn't uncommon. They're still operating albeit without a single original member, going through four different drummers (one sacked), four different guitarists (one who left, came back and left again - no sackings), three different singers (one sacked) and four different bass players (three of which came and left since I left - none sacked). I had to sack the drummer. Nice guy but rubbish. Gear falling apart, always late (timing a problem too). We played The Half Moon in Putney and he missed the soundcheck. We got the headliner's drummer to sit in (she knew our stuff, just sat down and asked what we wanted, 'Something fast, 4/4, play what you want.') Soon-to-be-fired drummer arrived mid-soundcheck while she was playing with us and said to my mate, 'Oh, this isn't good, they're way better with her playing.'5 points
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For sale is my Godin Shifter 4 bass, made in Canada and not to be confused with the Classic series which came later. This bass has a 5 way pick up selecter, however the sixth option of push pull on the tone knob to isolate the next pick up has been removed, but I guess an easy change if you so wanted. Give a great selection of tonal options, the neck is really comfortable and fast and has been lightly sanded in the past as well. Original white pick ups and scratch plate included along with the black set its currently wearing. There are a few reviews for these online, so google is your friend here. Its a lovely bass, but just gathering dust as its not getting played. Collection or meet up fairly close to Milton Keynes. Any questions, just ask.4 points -
Found a convenient window sill for our gig on Saturday. Most of the FOH sound goes through the PA, but it certainly helped with the monitoring!4 points
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I'm going to watch some more tonight so I can be even more annoyed tomorrow.4 points
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I would cheerfully watch the whole series if I had the time as a guilty pleasure. But it's a complete fiction on every level. What irks me about it is the way this show presents itself as a serious historical dissection of the 1970s. It also perpetuates the same old lazy falsehoods that punk rock and the Sex Pistols in particular arrived in the nick of time revive pop music and popular culture in general. Contrary to this propagated version of British history, in reality the 1970s was a pretty good time to live in this country. And most people were perfectly happy to with the music they were listening to pre-1977. That's not surprising because there was so much great music in the 1970s. Punk rock was a novelty because of its shock value. Nothing more than that. It was not the salvation of Western Civilization as some would try have you believe nowadays. I can certainly see why John Lydon is upset about it. It really is a Disney version of reality.4 points
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THIS ^^^^^^^ Give me the musicality, creativity, melody and structural arrangements of the bass playing of Peter Cetera (Chicago), Tiran Porter (Doobie Bros), Rutger Gunnarsson (ABBA), Joe Puerta (Ambrosia), Dee Murray (Elton John), John Deacon (Queen), Dave Hope (Kansas), Martin Tiefensee (Lake), Paul Goddard (Atlanta Rhythm Section), Del Palmer (Kate Bush), David Paton (Pilot/Alan Parsons etc) and many others of that period.... over most stuff since.4 points
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Never been sacked from a band, but have needed to let people go for the greater good. Conversely, it is quite delicious to go and play with a bunch of blokes who are just terrible players and desparate to get you in.4 points
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I’ve gigged this one three times in the last week 😎4 points
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I wasnt going to post anything, but what the hell. This was our first gig, and first gig for me on keys. Unfortunately we were playing in to the sun so a bit distracted. I wasn't in the front monitors so im very quiet. The video and audio is straight out of camera, a Go Pro Max. Quite impressed with how it turned out.4 points
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Watching Queen: Live at the Rainbow on Sky Arts - it'll be repeated... John Deacon doesn't appear to drop below 7th fret very often. And he's a lunatic, all over the stage and his body is bopping to 8ths for the most of it. What a player. He's definitely one of my early influences. Now left wondering if 70s sound systems couldn't do the bottom end with any power, or whether something else is going on.3 points
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I'm looking at a Warmoth build with Lusithand electronics and Rautia old style multicoils whenever he starts taking orders again. I could be dead in four years and my missus doesn't play bass 😂3 points
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@hiram.k.hackenbacker is correct. Buy the Shure and you’ll only buy once. I’ve had a fair few wireless systems over the years, none anywhere near as good or well built as the Shure. Expensive but for a good reason.3 points
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Politician - Cream3 points
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is this gonna be like Triggers broom? The original bass has it's neck and body replaced? 🤣3 points
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To my ears Never Mind The Bollocks is a terrific rock and roll album. If folks want to call it punk and hail it as revolutionary that is up to them. Chris Thomas's production work makes the most of the Sex Pistols strengths and hides their weaknesses.3 points
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Do Anything You Wanna Do - Eddie & The Hotrods3 points
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It might be because so many of the songs are piano led that the thumping low end is already covered by Freddie’s left hand. Therefore he’s weaving his bass lines in the space that’s left. I say this as I’ve played with tribute acts doing both Trevor Bolder era Bowie, and vintage Elton John, and both those bassists take the same sort of approach.3 points
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Keep Your Hands To Yourself - Georgia Satellites3 points
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I’m sure @walshy would could concur. I think between the two of us we’ve road tested that unit in clubs, theatres and large festivals without issue….which is more than I can say for several other wireless sets I’ve tried in the past.3 points
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Every gig I’ve played at, at least 80% of the audience complain about the musicians with iPads/tablets on stage. The amount of letters, emails and correspondence in the broad sheets venting their fury, is overwhelming. I remind the band that we are playing for the benefit of the musicians lurking in the darkened corners, not the great unwashed unknowing philistines. 🙄3 points
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Thank you @jimfist and @MichaelDean!! Using the "SEND" effect, there is also SEND MODE parameter which can be set to either SEND or SUBOUT. I can't hear any difference between the two or see how they are different in any way. Yes I can confirm that both the FX Loop and the Send need the DRY parameter to be wound up to still hear audio on the OUT/Headphone jack. I couldn't find that little gem in the manual though. However, after adding the "SEND" effect if you link a foot switch button to the "SEND" effect, the button will toggle the audio path between the OUT/phones and the SEND jack, with the DRY parameter set to 0. The switch can also be set to latching or momentary. I don't have any use for that, but perhaps someone might. It was definitely worth having a play around with it, I found that with the SEND level set to 80, setting DRY to 80 gives me no level change when listening on the OUT/phones. Thanks again guys!3 points
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Thanks for all the input on this topic chaps. I saw a used Markbass Compressore for sale at a reasonable price, so I snagged that to see what it was like. I'm still tweaking the settings. The first time I used it at home (in haste to try it), I hadn't done any research into how to set it properly, and was a bit disappointed. But, I've done my homework now and I'm finding it really useful. Even at relatively low settings, ie not effecting the signal much at all, it adds a certain je ne sais quoi to the tone and feel, which I'm liking a lot. Now I'm trying to find the optimum settings for me personally, which has a lot do do with tweaking the settings to match my own picking dynamic. It does require some adjustment when swapping basses, as my vintage P has a LOT more output than my modern Roadworn Jazz. I'd be interested to hear from anyone who has/had this compressor what your experience is/was and what settings you ended up using. Cheers, Rob3 points
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and so it begins Twiggy - a 2x4 proof of concept The right angle brackets are winging their way to me from Amazon as I type. S'manth x3 points
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I guess this one is mine - all white GB Spitfire. Certainly the most played bass I own. Complete with signature DR Lo-Beam 40 60 80 100 1253 points
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I find the whole thing a bit silly to be honest. It's probably the same sort of people who complain about clip on tuners being left on during gigs. Who gives a sh#t? At long as the audience and band are enjoying it, you could have a full set of Encyclopedia Britannica on stage for all I care.3 points
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My signature Washburn complete with signature quirks and flaws, signature replacement parts, signature sweat and general grub, signature gig bag, signature brown strap plus my signature Basschat straplocks.... includes my special signature furry cat guitar polishing accessory.3 points
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Cheers Dave, much appreciated. The theraputic nature of playing in a band can't be overestimated!3 points
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More Tea Vicar? ～ Iron Maiden3 points
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Small price to pay for the closeness to the ‘Night in Langney’ tone, imho.3 points
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If those are the rules i can't work out how I'm in a band. 😆3 points
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Out of curiosity I googled Marilyn Monroe Guitar, and found this: https://max.guitars/en-eu/d-angelico-limited-edition-marilyn-monroe-2-black-art-15577 I can't imagine anyone playing it live, so it must be wall art.3 points
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I wish they'd sell the pickups and electronics separately but I imagine that wouldn't be quite so profitable.2 points
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I used my brilliant white and gold job on an outdoor party - Queen’s Platinum Jubilee, Sunday also 😉 it sounded huge!!2 points
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I think it very much depends what you like music-wise. I pretty much hated everything that came after glam rock in the 70s and the middle of decade was very much a low point for me musically (and my record collection at the time pretty much bears this out). The Sex Pistols and The Clash might not have "saved" rock music, but they most definitely opened the doors for the post-punk bands. I couldn't see any of them getting any kind of record label interest prior to "punk".2 points
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15's are ok for your monitor but they have poor horizontal dispersion of tone for everyone else.2 points
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Coincidentally, I was listening to A Night At The Opera this morning, with my ears firmly placed dead centre between my big ole studio monitors. There's some superb musicianship and incredible song writing on that album. The small details are all there. 👌🏻👌🏻👌🏻👌🏻2 points
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Quick update - thanks for the interest in this and apologies it’s a UK only sale (rosewood - lots of it). Given commitments, if there’s no further interest, I’ll need to withdraw on Sunday evening (12th June) and send this off on consignment. Please just drop me a note if you’d like to own a pretty unique electro-acoustic and we’ll see what can be arranged over the weekend. I always try to avoid hyperbole in ads - you'll probably know what this and will have seen/read the plaudits. Apologies for the images, absence of light in Manchester isn't unusual but it's a particularly grey and dank afternoon for taking photographs (and this is exacerbated by minimal skills). Please note this is of necessity a UK only sale - there’s a lot of rosewood in the bass and I can’t verify species or source for any CITES declaration. Absolutely rock-bottom price. I got this on a great deal I'm passing it on. This Gillett model retailed for £2200 when the basses were in production. This is the J pickup only version. The wood working is just extraordinary. I showed the bass to a carpenter mate and he really couldn't work out how some of the jointing and carving had been achieved. A lot of hand-carving by the look of it. Closest sound to an upright I've heard, especially when played close to or over the board. It's a bit spooky. Details are here in a pretty stellar BGM review (Gillett also won best bass in show at NAMM 2019 apparently): https://www.gillettguitars.co.uk/content/large/documents/slimline-review.gillett.pdf In short, 31.75" scale Fretless, Rosewood Board Rosewood facings Gillett designed preamp (really impressive in my opinion) Bareknuckle J pickup 1.5" nut C profile neck - fairly substantial Condition is excellent, though there are a few headstock scrapes and three very minor impressions as shown: two on the bottom of the lower bout and one on the headstock end. The images make any cosmetic marks look rather more dramatic than they are (cosmetic condition really is very good indeed). Hardware is phenomenal (it's very light though I've no idea of the materials) and a lot of it bespoke to the bass as far as I know. Playability is very good too: I had the bass fully set-up to my taste on receipt. Comes with original Rotosound strings tapewound strings and a truly lovely snakeskin (effect) hard case with a very plush white interior. Collection in Manchester. Shipping is probably a nightmare, though I may have a box of sufficient size. If shipping is necessary (and I'd really rather avoid it), this is to be arranged by the buyer and at the buyer's risk. Shipping is also unlikely to be less than £50 - big case, big box. I'm advertising for a short time just in case - the bass should be off on consignment by the close of the week if there's no/little interest. Any questions, please just ask.2 points -
Bolt on, just makes me think easier to sort in case of a breakage.2 points
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Here's one for the littlest room....2 points
