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Showing content with the highest reputation on 21/06/22 in all areas
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We've had a really busy month so far, belting round the UK in ever decreasing circles. Had a mammoth trek from Yorkshire down to Truro on Thursday to play a gig at the recently refurbished Hall for Cornwall. One of the best venues we've done, with great staff and top notch backstage facilities as well as a good sounding room. We had nearly a full house of 1200 punters, and played one of our best gigs for ages. Well worth the trip (even in a bus with no air con on one of the hottest days for ages!) Also managed to grab a quick chat with our own OBBM cables maestro Dave, great to catch up with him. Friday we schlepped across to Bromley, again in blistering heat and loads of road closures, and then back homewards to York Barbican on Saturday night. Another brill venue, and one of the few that has easy get in from the internal loading bay ( see pic below). Another good turn out, and back home by midnight. Finishing June off with gigs in St Albans, Ipswich and two nights in Bury St Edmunds, so hoping the weather stays a bit cooler!14 points
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I really enjoy the whole live gigging experience. Playing with other musicians, actively working with a drummer and changing subtle little things as we play, adjusting amp stuff on the fly, working out how to cover when the singer comes in at the wrong point etc, etc. I can arrive & be completely set up in under 10 minutes & out the door about half an hour after we've finished. In between playing times I get to spend time nattering with a group of people that have become very close friends. Wouldn't change it for the world.8 points
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Some nice pics sent through to me from last weekends Farmyard Bikers event.8 points
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*It has gone to a new home* EDIT - Now for sale as well! Hi all, I'm looking to have a trade with this beautiful Overwater Perception 5, give me some shouts if you fancy! I may sell this later on if no trades come my way, but atm I'm in no rush to do so. I'm mainly looking to trade for Musicman 5 string basses, but anything that you think fits the trade, send it over! I don't drive unfortunately, therefore its hard for me to meet outside of London very far. Although we can chat. The Custom in it's name means the bass having a non-standart bridge to what was offered at the time. In 2015 the bass was sent to Chris May at Overwater for some TLC who gave the bass a full service, upgraded preamp and fitted the wooden ramp between pups. I have not changed anything in its set-up since I purchased it, simply do to it being set up perfectly. I have only changed strings which are La Bella's stainless steel 45-128 series. And put dot sticker markers on the fretboard because I was just used to them. They can be taken off easily if needed! Manufactured 2007 Purchased 2019 5 String 24 Frets 35" Scale 9V Active 4.6kg (bass on its own) Volume, Pickup Pan, Bass, Mid, Treble, Push/Pull High End Boost Bolt-On Neck Upgraded Overwater PreAmp (Fit By Overwater) Overwater/Hiscox Hardcase Strung B - G String spacing between B-E string 14mm, spacing D-G strings is 16mm7 points
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Electricity is supposed to come down one wire (the 'Live'...) and go back up the return wire (the 'Neutral'...). All is well with the world. Then comes the Incident, whereby a Fault somewhere allows the electricity to get to something other than the Neutral wire (a short-circuit, a breakdown in insulation, ingress of liquids, dog chewed a cable... The list is long...). In such a case, the sum of electricity going down the Neutral wire will be less than that arriving from the Live wire, the difference going, perhaps, through the body of a poor unsuspecting Musician, thanks to the Fault. This situation is what the 'Plug Thingy' (a technical term...) detects. Any imbalance above a certain 'safe' level between Live and Neutral is deemed to be potentially life-threatening (indeed, it is...), and the Thingy cuts the juice until the Fault is located and corrected. There, that's the 'simple' explanation. Is it sufficient..?7 points
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Sandberg VM4 in natural ash with rosewood fingerboard. Dual pick ups, P bass and a musicman style humbucker. The bass has a 2 band eq but can be played both passively and actively. Absolutely beautiful bass with not a blemish on it, excellent condition. As many people will have said previously these play superbly. As much as I like it I still pick up my old mate, a G&L sb-2. Guess I’m just a passive guy! Would prefer a straight sale but may consider a trade with a passive p bass style such as a G&L LB-100 or similar. Could post if required, I could send it in a hard case for a fair additional cost.7 points
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6 points
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I think depending on gig money like me is dangerous. However, I'll make $500.00 bucks this weekend from two gigs. I apologize if I've come across like I'm completely dependent on gig money. I'm not. I have a pension, however gig money is a significant supplement. Here in the States allot of retired guys work part time retail jobs to supplement their pension. I could never make $500.00 from 6 hours of working in a store. Blue6 points
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This was on earlier today and I thought it might interest some of the Basschat members. It's just under 30 minutes long... The Documentary - Carol Kaye: Queen of the bass - BBC Sounds5 points
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This sticker was on a large, ominous-looking box on the wall by a stage I played recently. 😝5 points
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In Chas Hodges (of Chas & Dave) book he wrote about this, and said that at their sound-checks they got the vocals right first, then added in everything else underneath it so that the vocals always stood out clearly. He did say that a few times they had to advise the sound people that pretty much no-one ever went home from a Chas & Dave gig complaining that they couldn`t hear the bass drum properly, but a few times people had complained they couldn`t hear the vocals, so from then on that was how they worked, they vocals/lyrics being more important than any of the accompanying/supporting instruments. Which is directly opposite to pretty much every sound check I`ve ever done, where probably more time was spent on the level of the kick drum than on (all of) the vocals. Ok, yes, it was punk, but even our vomit should be heard clearly!5 points
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Thanks to everyone for the interest shown in this. It’s now sold and gone to a happy new owner! I’m selling my 1982 Fender USA Precision Bass. It’s Olympic White with maple neck and fretboard and is in immaculate condition (see below for the reason why!). The bass has quite an unusual history. I bought it in 2015 from @darbiter who, when I picked it up, told me that his family used to have a music business in London and that this was a bass that his dad (or grandad, I can’t remember which) had taken to use with his band. I got the impression that this was a last-minute, need-a-bass-for-a-gig-tonight, spur-of-the-moment kind of thing. Whatever the reason, the bass didn’t do many gigs before it was put away (under a bed, apparently) and was forgotten about until they came to have a clear out, discovered it and put it up for sale. The bass still has the original factory packaging along with the thumb rest, pickup and bridge covers (which have never been fitted). I only gigged the bass a few times before I got the Jazz which became my main gigging bass and the P was then used exclusively at home. A couple of years ago I got hold of a heavily discounted set of Fender Vintage ’63 pickups. I fitted them to see what they sounded like and ended up leaving them on the bass because they sound really good. The original pickups are included of course so the bass can easily be returned to original factory condition. The bass weighs 10.2 lb on my digital scales, is nicely balanced and sounds phenomenal. I did a little research when I got back home and discovered that Dan’s family, the Arbiters, were significant figures in the UK music scene throughout the sixties and seventies and, in addition to owning the Sound City music store (amongst others), designing and selling their own range of guitars, fuzzboxes and amps (and designing the drop-T logo for the Beatles), were also the official distributors for CBS Fender products from the mid-seventies. So this is a Fullerton-era Precision bass that was the personal bass of by either Ivor or John Arbiter and which has remained unused for years until I bought it. I doubt the provenance makes any significant difference to the price but it’s part of the instrument’s history and should be recorded. It also explains why it’s in such good and original condition. (Dan’s original advert is still on the site, along with a helpful discussion about the serial number. Sadly, the pictures no longer load - apparently there were a few which showed the date stamp inside the neck pocket which dates this to 1982). I'd rather not take the bass to bits at this stage but if serious buyers want pictures of the neck pocket and wiring harness please PM me. As you can imagine, I’m reluctant to send this by post so would much prefer collection or a handover in person. The bass is available to try out here in leafy Lincolnshire or there’s a good chance I’ll be able to arrange to deliver/meet - please drop me a PM to discuss options. Please note: I'm struggling to know how to value this - given the condition and originality, I've tried to pitch it at what I think is a fair price for a Fullerton-era Precision but if I'm wildly out then I'm hoping that the BC collective will be able to help me get to a more informed valuation! Pictures below...4 points
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4 points
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I think there are a number of problems when it comes to live sound, which include: • Quality of engineers/operators • Familiarity with the music • Room construction • Subjective opinions on what "sounds right" I cut my teeth in live sound with theatre, covering both dramatic productions and musical theatre. I also took a brilliant Open University course, called "The Technology of Music". One of the biggest lessons I learnt, was how the room itself has a huge influence on the quality of sound you'll get from any system you use there. As an example, the local theatre where I volunteer has a large standing wave around 125Hz, which also affects the relative frequencies, so we tend to cut any mix quite a lot there. Similarly, another venue we use is a large rectangular sports hall, with a tin roof and a very reflective floor. There are curtains, covering some of the walls, but not fully. As a result of this we need to cut around 63Hz and also in the 2-400Hz range as it can get quite muddy and boomy. It can be problematic with acoustic drums and bass amps in this hall, purely because of the acoustic properties of the room. We try to set up each system to be as "flat" as possible and we'll spend quite a bit of time running reference sine waves and test tones as we eq the various system components (much to the dismay of other people trying to work in the area). Keeping this as flat as possible gives us the opportunity to set the channel eq's for the instruments in a way that isn't fighting with the room. For the musical theatre stuff, we'll commonly be mixing a band containing brass, woodwind, percussion, keys, bass and guitar, as well as the cast of singers and chorus. The orchestra tend to be located either at the rear of the stage, or in a separate room (which helps with isolation, although it makes monitoring more difficult) and we tend to group it as a stereo channel, so we can adjust the entirety, much as you would do with a backing track. With the musical theatre sound, the vocal's need to be clearly distinguishable above the music, but still balanced overall to provide the right "fit". Audiences can also be "interesting" to say the least, when it comes to providing their opinions. We've had more than one occassion on the same performance where different audience members have come to us saying how great the sound was, whilst others would say something wasn't right. We usually ask where they sit, to see if there's a trend, but there never seems to be. We've also had more than one instance where people have queried why we used a backing track, which was an unknowing compliment and we took great delight in showing them pictures of the backstage band pit. There does seem to be a trend nowadays of louder being perceived as "better", which I'm not sure I subscribe to. I'd much rather listen to a well mixed group at a slightly lower volume than a wall of "noise" where there's no clarity at all. Maybe I'm just getting old.4 points
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...but pulled it out today and it was still in tune! Due to financial difficulties, I had this listed on Facebook Marketplace, but after playing it today, I decided I'd be a fool to sell it. Did I mention it only weighs 7.3 lbs?4 points
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4 points
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4 points
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Two enjoyable shows last weekend. Both standard stuff, one was hot, one was wet, both were fun. Although the drummer did crash his car a little bit between shows, but he was fine. 29703E4D-1428-432F-BB90-E09B6975E0B1.MOV3 points
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3 points
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Nice one mate. Loving those trousers. Very Alice Cooper from their hey days of course. Dave3 points
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I always carry a ring main tester (a few quid from you local ToolFix ScrewStation). Plug it into a socket and if all 3 lights come on you’re golden. Anything else indicates a fault, most commonly live and neutral reversed (be afraid) or no earth (be very afraid). In those (rare) situations the venue should be made aware as it their potentially lethal problem to fix.3 points
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3 points
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I think this suggestion is bordering on genius!! The old rockist cliche of a fag shoved behind the E string is tired and so passe.... Doctor J's idea is forward looking and, with the option of the vegan variety, inclusive and environmentally aware too. Hail the new Rock'n'sausageRoll !!3 points
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It's the ultimate in practicality. It means I can hook my Tsai basses on a washing line. None of the other poxy headstocks in this thread can boast that, can they?3 points
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3 points
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That was why I bought a Peavey T-40 - or at least why I originally wanted one. Passive, but capable of making any (fretted) bass noise known to man. But by the time I actually bought one, I had well over a dozen basses.3 points
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He is actually a humble chap. He came to the dressing room (tent) of a friend of mine, Deke Leonard, to get a single signed - Man’s Sudden Life - that he’d bought as a teenager. Unusual for a bill-topper, I was impressed.3 points
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3 points
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I got this bass in 2018 after looking for one since the 1990s with no success. But, as I can play the DB that's inevitably what everyone asks for and this Fender never gets played any more. When fretless is called for my other one (which no-one will want to buy) usually fits the bill better. Therefore, it might as well be offered to someone who will make good use of it rather than sit in a corner in its (somewhat tatty, Thomann-branded) case. The only changes since I got it are a professional setup and the fitting of TI Jazz flatwounds. The strap can be included, if you want it. I don't plan to drop the price as I don't really need to sell this, and I'm not interested in trades at the moment - sorry about that. Apologies for the poor photos; having some trouble with the phone camera.2 points
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2 points
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My first ever actual board! I have some better patch leads on the way which will help them sit a little tidier. I'm undecided on the CS-3 as it's noisy. The Digitech pedal bottom right is connected to my TCE combo with 2 Tone Prints so may just use a Spectracomp on there instead and then maybe pop an Ashdown Lomenzo Hyper Drive in place of the CS-3. Toying with a chorus for the other Tone Print. The expression pedal toggles 2 different setups on the Poly Blue Octave. I'd be interested in suggestions for the signal path - it's currently Q-Tron - Octave - CS-3 - Le Bass.2 points
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2 points
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Friend of mine and fellow bass player, his band suggested Hit me... I just went 'ooof, best of luck. It's a bit of a work out apparently'. Next time I saw him the band dropped the idea. He could play it up to about ¾ speed but not faster. I told him he did much better than me...as I'd never contemplated learning it. 😁 I tell myself it's a horrid song and I wouldn't want to know it anyway. Lying to myself means I get to keep my basses.2 points
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2 points
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(Bass apparently played by Ricky Reed, of whom I am blissfully ignorant)2 points
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I wonder if these issues are caused by the mixing console being optimally positioned in both distance from the stage and the height so that it sounds spot on there, but as soon as you move off-axis the effect of the crowd and room change the balance of frequencies? I'm reminded of a situation in a small room where just a couple of feet lower that than the optimal position produced a significant uplift in low-mid/bass frequencies. You would think that the FOH team would have someone checking different positions in the audience to provide feedback to the main desk, although I guess that might be easier said than done in a densely packed venue.2 points
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You can also keep a sausage roll there while it cools, so you don't burn your fingers. That's a very versatile design.2 points
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2 points
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Probably not HEADLINE news but for us married folk - this is BIG NEWS !! i think the heat is getting to her just wanted to tell someone2 points
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2 points
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2 points
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I'd rather have one of Alan Lancaster's mustangs.2 points
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Stingray 40th anniversary edition with paperwork and official hard case. Has been gigged and rehearsed with but is in excellent condition. Plays incredibly well and sounds immense. Build quality is exceptional. I have too many basses and I have a Status which does the same thing as this but also has fairy lights … More info here: https://www.music-man.com/instruments/basses/old-smoothie More photos on request, I’m currently down with covid so responses might be a bit slow or nonsensical 🤣2 points
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Maybe we as punters are partly to blame because we don't say anything, other than on forums like these. If every time the sound was crap we posted on the band in question's social media pages, and if we could find out who had been hired in to do the FoH post on their pages too, and if it's an in-house PA on the venue's pages as well. Then if enough people do it, then it might become obvious that a mix that is all boomy kick drum is not want the audience want.2 points
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It’s the modern phenomenon that many sound engineers seem to need to do, ensure that the kick drum completely obliterates the whole of the rest of the mix. I’m yet to work out why.2 points
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I took my GoPro to last nights gig. Quite pleased with how it came out. This is un edited other than trimmed in Lumafusion on my ipad. I really need to smile more.2 points
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Yamaha BB425 in vintage White. Features an Alder body, 5 piece Nato and Maple neck,with a rosewood fingerboard,45° angle through body stringing and ceramic P/J pickups. The neck is fairly slim with a nice wide string spacing so very comfortable to play,with a lovely Satin finish. I have added the Yamaha vintage plus bridge to this,which are found on the more expensive high end BB 2025/BBP35 models (these are over £100 alone),that with the through body stringing provides a lot more stability,which really improves the B string. The saddles on these are two way as well which give more tonal options. The quality of these basses is indisputable, easily as good if not better than some Fenders costing three times as much, all in all it does a fantastic P bass tone. It is not lightweight,but I'll get an accurate weight later. It is in good condition except for a few dings and a curious tiny burn Mark on the back of the neck. For clarity I did have an issue with the P pickup cover,which came loose while I was lowering the pickup, the hole in the pickup cover had somehow stripped and became too big for the screw. I wrapped the screw in plumbing tape,to make the screw head wider which held the cover down perfectly. Mind you it's white so is noticeable(see pic) I don't have a case for this,however will be very well wrapped and boxed. SOLD2 points