Leaderboard

I thought my collection was complete. Well, I always had GAS for a vintage Gibson EB-2 but they were way out of my budget. And then I found one online here in NL, for a decent price. Non-original knobs and switch (pots are original), non-original truss rod cover and a non-original case. But boy is this bass amazing. So happy.

Not sure how you get sacked from a band you started. I’d take everything with me - cancel gig dates, protect the name and logos, the lot.

You soon might be able to hire it out very cheaply.

Bacchus, blocks and binding? I don't really play 5 strings anymore so decided to move on my beloved 04 Bacchus Standard 5. I love the tone of it, but have just accepted that 4 bangers are where I'm most comfortable. Then I had an idea and found this Woodline in Japan from the same era, when they had the "Handmade" range with the two-piece Deviser bridge. After repairing some things the seller amazingly omitted to disclose, and a thorough clean, this thing is just what I was looking for. I still think I'll install a Bart XTCT preamp I have knocking around to get me exact tone of the 5 string, though, however it is lovely sounding as is. Anyway, here it is. Fitting in with the 4 string members of Team Bacchus

Not a whole lot of love, there. Sorry, I couldn't stop myself.

I wonder where the venue stands, legally, to impose this? If a photographer or band is hired by the couple, then that's who their contract is with, not the venue. The venue is just another contractor hired by the couple and, as such, should have no right to access information on other contractor's payments details or impose a fee, based on the value of the contract between separate contractors and the couple, surely?

I got a new short scale yesterday, in the ACG flavour. It seems my son has decided to steal it from me already 😫

Hello everyone I introduce myself My name is José Manuel and I live in Seville (Andalusia). I am older. When I was young I was in London 5 times studying English, I took advantage of the holidays in July to go normally, but sometimes I did it in winter. In fact I stayed two months (January and February). I really like the bass and I currently have three: Squier jazz bass affinity 4 strings, squier jazz bass affinity 5 strings and Höfner Shorty White 4 strings. I consider myself a beginner, because I have been many years without playing the bass and I have started again since March of this year. Delighted to be here. Thank you and sorry for my bad English.

This is my thought process too. Buy strings that were built for that bass! Obviously there are other good strings out there but I just use stainless steel Ernie Ball's on mine. Now I've got an ABM600 I'm loving my Stingray more and more. Soich more I treated it to a custom scratchplate today with the band logo on it...

Who thought he was on the Reggae thread then...? Duh.

Saw this on FB market place, and even with the price of petrol, it was well worth a little jaunt up the M5. I love that folk won't touch HB gear, especially when I know just how good it is. The price was ludicrously cheap, the amp a belter. Loud as the apocalypse, built in tuner which works like a dream, silent fans, and a very usable compressor. Everything you want to access on the front of the amp, speakons at the rear. Excited to gig this.

Shaolin Temple is probably one of my favourite albums from Barrington , around 1979 and backed by the roots radics , there’s some great Basslines on the album, which I think might be on YT, this is a great song

Been replaying this lately too

Just to open this up to everyone- Stoneham are interested in making a small-footprint 100W bass valve head. I’ve spoken to a few people today and am gauging interest - it might be that the economies of (small) scale production may assist. May not of course, I might be taking bollocks! FWIW I’m thinking Ashdown Little Bastard size and features but 100W - likely 2x KT88s.

A referral scheme makes sense and isn't a bad idea in principal, plenty of businesses use them. It sounds like they've just thrown that out there as a way of trying to deal with all of the negative backlash though. 'Oh stinky poo, we've made a bad decision. What can we say to get out of it' There's no way that original email was written with the intention of introducing a sort of loyalty scheme with preferred suppliers.

I sold my old T'n'B to a guy in Croatia. I took out all the valves and wrapped them individually in (newly-washed) old socks before packing the thing up. I'm glad I did. On arrival in Croatia the local Customs guys completely dismantled the whole thing looking for drugs. The buyer wasn't even slightly concerned; he'd been expecting that to happen. He re-assembled the amp, fired it up, and away he went.

The funk is in the gunk, but only if it’s tone-gunk .

Hipshot recommend aluminium HVAC tape, at least they did when I sent them an email regarding a similar situation, some time back. I eventually just used masking tape, worked/works fine.

I guess it would have to be Norman Watt-Roy. Why? Here's a clue.

The correct way is of course to fill the holes with a fitting wooden dowel and woodglue, then drill the appropriate size hole.

Hi folks! I've had my eye on the Laney Digbeth pre-amp pedal for a while, and having recently joined a new band I had a good excuse to try one out. I've seen a decent amount of positive reactions to this pedal here and there, so I'm just going to cover some of the info that I wasn't able to find out about before buying. If you want to check out photos and the basic specs, head on over to https://www.laney.co.uk/amps/bass/digbeth/db-pre Before I start on the graphs, I'm aware that firing white noise into a pedal isn't the most accurate form of measurement, and obviously we don't listen with our eyes, but I'm happy that it provides some value by demystifying what some of the controls actually do. First off, here's as "flat" as my audio interface will record - no pedal involved at all: Frequency along the bottom; relative dB up the side There's a little roll-off below ~50 Hz and above ~8 kHz, so bear that in mind when looking at the rest of the graphs. Time to plug the pedal in. Before we touch any of the dials, does this pedal have a baked-in tone? Well, the manual says that the EQ controls (bass, lo-mid, hi-mid, treble, tilt) don't have any effect at their detented centre settings, so let's see what happens when you toggle the "bypass" footswitch. Green: FET (clean) channel, all controls at 5-out-of-10 / 12 o'clock / centre position Red: Pedal in "bypass" mode Pretty flat! Bypassed it pretty much looks the same as having no pedal at all. I've read elsewhere that this pedal is buffered rather than true bypass. Switching on the FET channel with everything at noon, it's slightly above unity gain (i.e. a little louder). There looks to be a very mild bump in the mids, and a little roll-off in the low lows. A good starting point to start turning things and seeing what happens... First, the Bass control: Red: minimum Green: maximum Is that a shelf, or just a peak at a low enough frequency that it runs into the limits of what the interface will capture? Either way, you can get around 10 dB boost or cut at about 50 Hz. On to the Lo-mid. This one's got three possible settings, and the manual lists them in the wrong order. With the switch in the upper position, you get this: The manual says: The graph says: 12 dB boost or 8 dB cut at 180 Hz. With the switch in the middle position: From the manual: Yep, that's definitely wider than the previous setting! About 15 dB boost or 14 dB cut at 480 Hz. Finally, the switch in the lower position: A narrower 15 dB boost or 14 dB cut again, this time at 700 Hz. Now the Hi-mid: Looks like 15 dB boost or cut at 1.5 kHz. I'd say this is closer to the "pop / fret noise" zone than the 700 Hz lo-mid setting 🤷‍♂️ And the Treble: Interesting 🤔 The curve's a little different when boosting vs. cutting. Overall it looks like it peaks around 8 kHz, but with a shallow slope right down to the mids. Last but not least, the Tilt control: Red: minimum (most bassy) Green: maximum (most trebly) As most reviews have pointed out, a little goes a long way with this control! 😂 The pivot point is around 830 Hz. I think the idea is to use this to make slight adjustments to the overall sound for live usage, e.g. giving it a nudge to the treble side if you're on a hollow, boomy stage. But it interacts in interesting ways with the rest of the controls, especially with Bass and Treble adjusted in the "opposite" directions to the tilt. For example, you can approximate a 60s cab where there's a bump in the low-mids, but output rolls off a lot below that. Overall, this pedal has a very versatile set of controls. The EQ points are all in sensible places, and the mid controls are focused enough that you can hear what they're adding or removing, rather than just a big old blob of MIDS. I've used it for a few rehearsals with random studio amps, but not live yet. Currently my starting settings are: Lo-mids 7 (with the switch upwards), Hi-mids 7, and Treble 6 - everything else flat. That's giving me some punch in the lows, and some presence and pick attack further up. Other things: The face of the pedal is covered by a ~1mm thick glossy plastic plate with all the control labels on it. This feels like it might be prone to cracking, given that the point of a pedal is to be stepped on. But I could be totally wrong - it's backed by a flat metal surface after all! Time will tell The Digbeth logo is an additional moulded bit of plastic that sits on top of that. I think it looks cool; you may think it's tacky! As a Birmingham resident, I'll admit that the name did sway me a bit towards trying this pedal out 😁 It's a bit taller than your average pedal (i.e. the distance from the floor to the top of the footswitches is greater) - could be awkward if mounted on a thick pedalboard It comes with rubber feet attached, but they peel off cleanly What about the Tube channel? Well, it doesn't involve any actual tubes. But it does sound pretty good! There seems to be some additional low-pass filtering compared to the FET channel, and some mild EQ pre-shaping even with all controls flat: Red: FET Green: Tube (at minimum Drive) I failed to set these to approximately equal volume, but you should be able to see the difference in the EQ. The filtering of extreme highs means that it doesn't get too fizzy when the gain is turned up - it almost acts like a cab simulation. This means the DI signal doesn't sound atrocious with dirt! 😅 I don't have a lot more to say about the Tube channel, as I've not used it much yet. I might record some clips in the future. Well that's your lot. I hope some of it was helpful! 😁 tl;dr Pedal is good!

Yamaha have been my #1 brand for years. I’ve had many, many of ‘em over the years, everything from MIJ BB3000s to MIK RBX170 and everything in between…. And at ANY price point, they are consistently amazing. But while looking for something to partner up to my awesome IGB68, I happened across this absolutely immense ‘04 MIK TRB1005. Once again, Yamaha have absolutely blown me away. This thing is beautiful. I wanted a similar feeling bass to the Aria, 3 band EQ, similar neck…. and this thing fits the bill perfectly. I knew with the first note, that it was my sound. Loads of tonal options, lovely low action, it’s perfect. I’ve been on a bit of a tonal journey, with tapes on old school instruments, and as much fun as that was, I feel much more at home with these. They’re not quite up there with my old Kinal MK5, but honestly they’re close, and between them, and my Sunn Mustang, I think all angles are covered for now.

Anyone else using old valve amps for bass? I bought this old beast right before the first lockdown as a DOA amp. It needed a full restoration (electronically). I finally got it finished and tried it out. Wasn’t expecting much, but it actually sounds great for bass. Balanced across all of the strings, and the G string sounds FAT, whereas I’m used to my Ampeg (PF-500) sounding a bit thin on that string. It’s a bit impractical to gig with (weight), but that aside, it’s a very cool amp for bass.

I mean it literally says: ”Register for FREE now to attend BASS SPACE 2022” Fairly easy to decipher. My further understanding is that once you’ve registered, you can, at your own behest, choose to pay a fee to unlock further features such as VIP Webinars and the recordings of all the content. But the free content is the live classes and the like throughout the weekend. Also with regards to ‘spam’, just unsubscribe if that’s what you want to do, so easy. Si

I'm not a big fan of sunburst in general but I was very happy to make an exception for this '64 Gibson EB-2 I bought yesterday.

A bit of Barrington levy , this one is a winner

Tinted Love - Soft Cell

Apparently it's Nobody's Fault But Mine.....

Pedals in order: Wah - Univibe - Fuzz - Compression - Fuzz - Treble Boost - Distortion - Overdrive - Phaser - Chorus - Vibrato - Harmonic Tremolo - Delay - Delay With option to insert pedals before and after modulation. Looking forward to incorporating this into my small board.

Deciding that your opinion is available for sale is also a way of being a pos. "Please could you tell me which local photographer will charge me 10% more so they can pay you to pretend to think that they're good — that's the kind of outfit I would like to hire for my special day." 🙄

Sure: Zed Zeppelin.

Another classic , can’t resist

these might be a bit cheaper? (no idea about postage) another option is to find a bearing supplier locally and phone them, i'd expect that they would be a couple of quid each and they would sell you them through the trade counter as a cash sale. just ask for 18mm outside diameter and 16mm inside diameter and make sure the length is right, many of the cheaper options are easily trimmed to length with a stanley knife (nylon or polyamide) I would avoid Oilite beatrings as they are designed to leach oil out slowly which might damge the finish (possible staining of the wood under the finish) Matt

Coverdale hasn’t aged well…

not enought space to display in better ways... but this is may family! - 1963 Fender Precision Bass - 1966 Fender Jazz Bass - 1979 Fender Precision Bass - Fender CS 1959 Precision Bass - Fender CS 1958 Precision Bass - Moollon P Classic - Fodera Custom Emperor 4 koa - Stingray MM with Status neck - Fender assembled reissue '72 jazz - Shecter '80 jazz bass - Ibanez ATK 305 japan 1996 - 1979 MM Sabre Bass - Squier Affinity P Bass - Jacoland mini bass - Harley Benton PB-50

Mate, I’ve been playing for 40yrs, I tried most brands, although Dean Markley are not one of them. EB or D’Addario have been my staple for years, after using DRs before that. Blimey I’ve tried them all….. always hated Rotos, not keen on Warwick black labels either, but most others are cool as long as they’re Nickel.

I used to always say that my Big Four were Jaco, Jeff Berlin, Jimmy Johnson and Percy Jones - each for different reasons. I have also grown to love Anthony Jackson whose work with Michel Camilo and Hiromi Uehara and others can be absolutely thrilling (the whole Camilo album 'Caribe' is a rollercoaster of absolute delight). If I have to say which one of these was the one who had the greatest impact on me personally as a player, it would have to be Jeff Berlin. Our shared love of Jack Bruce, his work with Bruford, Allan Holdsworth's 'Road Games', his solo albums. I have since found flaws in his concept that often make me doubt myself (I have found the same with Jaco and Percy Jones, if I am honest, although I still love both) - his chorus sound I find irritating and his obsession with featuring the bass when it doesn't actually work very well (his Low Standards and High Standards cds are a it icky - I don't think he understands the Art of it as much as he does the Craft), his obsessions over bass pedagogy (just let it go, JB) but I keep going back to his back catalogue of recordings and many of them are just absolutely fantastic. It is appalling how little performance footage there is of JB where the sound is decent (a lot of it is mobile phone footage that sounds terrible). Here is a something I just found that gives a sense of where he comes from - the tune is 'Solar' by Miles Davis. I add a second track (recorded) just to show JB when he is smokin'. The tune is 'Emeril Kicks It UP' from the 2009 CD 'In Harmony's Way' - I also attach a link to a complete transcription I did of the tune. Transcription link - https://bilbosbassbites.co.uk/emeril-kicks-it-up-jeff-berlin/

Well, of my top whatever of bassists Chris Squire, Geddy, ‘Nard and a few others have been namechecked already so I’ll nominate the leader of my joint fave band ever. Philip Lynott.

There's a first. We walked away from a gig without playing a note as the pub thought we had too many amps (we are a 5 piece) and our amps looked "too loud". We hadn't even plugged in or fully set up. When they asked us to lose a band member or play after 10pm when their restaurant was closed, we packed our gear and left. Lord Raglan in Wokingham, for the record. My advice: never accept a gig there

Gah! Just one? It’s always a toss up between Pino and Tony Levin. My knee jerk reaction is always Pino, but now you’re making me think about it and since my recent ennui with the typical ‘80s style fretless playing that got me into playing bass in the first place (Paul Young’s ‘No Parlez’ album to be precise) I think I’m going to have to say TL (takes a long look in the mirror and asks, “Who are you?”). He’s not dissimilar to Pino in his playing, but he also has that prog sensibility where he might go off on a tangent and come up with something completely unexpected and new (funk fingers for instance) and then he also plays upright and cello. So, waves of hate to you @Barking Spiders for making me choose 😂 and here is Mr Levin doing his thing.