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Showing content with the highest reputation on 26/08/22 in all areas
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13 points
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New (2000 Fender) Hot Rod Bass Day. Acquired from Reverb and in great condition. Seller turned out to be no less than a certain John Giblin 🤯10 points
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I am selling my brand new, Japan-only, Spector Euro 4 LX Ras Layer in the cool twilight amber finish (see photos below for how the finish changes depending on the light). The bass is Layer's signature model. Layer is bassist and singer in the Japanese rock band Raise a Suilen (RAS). It comes with the Darkglass Tone Capsule and a RAS branded semi-hard case (plus COA and a fretboard protector). It is a great bass, but it has the Euro typical neck shape, which is a bit too chunky for my taste. I prefer the (Ian Hill) thin neck specs. Should have asked the Japanese retailer to take measurements. Well, lesson learned. I thought of keeping it as a collector's item but now have my eyes on some other basses. The bass is in mint showroom condition and has never left the house (very limited home use only). It is currently stored safely in its case in a pet and smoke free house. The price is firm as these Japan-only Spectors ain’t cheap (just check how much they go for on Ebay. There is also a cheaper model, but that one is a bolt on with passive SSD pickups). Collection would be recommended but I can also ship it (UK only, sorry!) using the original packaging and using a decent courier (I normally use UPS). Shipping would of course add some costs. Specs: Model: Euro 4 LX Scale Length: 34’’ Neck: 3pc maple with graphite rods inside for additional strength Fingerboard: Rosewood Position markers: Mother of Pearl Crown Inlays Side position makers: Dots Body Type: Original NS curved and carved body shape/USA figured maple over European alder with a slice of walnut between Neck Finish: Gloss Body Finish: Gloss Body Colour: Twilight Amber Pickups: EMG P/J Preamp: Darkglass Tone Capsule Hardware: Gold Endpin: Schaller locking String Gage: D’Addario 45-100 Case: Special Semi Hardcase/w Spector & RAISE A SUILEN Logo7 points
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I bought this earlier this year and although pleased with it, I haven't really used it other than to noodle. The sharp looks and cool looks meant that I just had to give it go. It is a lovely bass with a great action and is nice and light. Everything that low end Lobster says in the video below is spot on. Someone will love this, it deserved to be played! Case isn't included. Can post. Weight is 4kg/ 8Ib-13oz. The Reverend Triad is all about versatility. The three brand-new Jazz Bomb pickups are hum-free with increased output. The steel rails create a rich, focused tone that cuts through the mix. Combine them with the 5-way switch, and experiment with all kinds of sounds for any tone alchemist. Funky block inlays and the chrome control plate make this bass a stylish addition to your collection. Custom Pickups We design our own proprietary custom pickups, to achieve the best tonal match with our instruments. Reverend pickups are also specifically designed for each position, for balanced volume and tone when switching. Five-Piece Roasted Maple Neck Roasted Maple is heat treated at over 300° F to remove sugars, moisture, and impurities. This maple is lighter, more stable, and has a beautiful caramel colour. Combined with our five-piece construction, the result is a neck that requires less seasonal adjustment, and boasts a rich vintage look! Korina Body Korina (aka White Limba) is a medium-lightweight wood, highly prized for consistency and tonal qualities. Often found in boutique and vintage instruments, all Reverends feature Korina bodies. A highly resonant wood, Korina is a key factor to producing our lively, responsive instruments that are rich in harmonics. Hipshot Ultralight Tuners These tuners have a housing made of aircraft grade aluminium that makes them extra-light. The difference in weight can be as much as 2-3oz less in the headstock, which means a more balanced bass that’s more comfortable to play. And the tone is great! Your bass is more defined and enhanced with the Hipshot Ultralites. High Mass Bridge Our bridge features heavy duty saddles in combination with a massive base plate. This substantial mass of metal enhances clarity and attack, and produces bell-like sustain. It's also a versatile bridge, that can be strung string-thru-body or top-load. Initialled Headstock Every Reverend is hand initialed and serial numbered on the back of the headstock by one of our highly skilled technicians who sets up, inspects, and tests every instrument. Custom Dome Knobs Our proprietary knobs feature a lower profile which is less likely to be accidentally hit by the player's hand, and the white dot lets you easily see where your knob rotation is set. Boneite Nut We use "Boneite," a synthetic bone nut, that is more consistent than natural bone, on all Reverend instruments. It reduces friction, allowing the strings to slide through the nut slots smoothly, improving tuning stability. 3-String Tree All Bolt-On series basses use a wide string tree that holds down three strings, instead of just two. This eliminates string buzz in the nut slot, which is a common problem with standard string trees. Dual-Action Truss Rod Our dual action rod adjusts in both directions, allowing back bow or forward bow. This assures correct adjustment range is possible regardless of string tension, extreme climate conditions, or the effects of long-term aging. It’s also located at the headstock for easy access. Six-Bolt Neck Plate Two extra bolts increase mounting pressure of the neck by fifty percent. This makes a stronger neck connection, which improves sustain, tuning stability, and neck alignment. Custom Jack Plate Our proprietary jack plate features four mounting screws, instead of two. The extra screws prevent the plate from tearing out of the body. Made of steel for durability, the laser etched logo adds an extra touch of class! Pure Tone Jack All Reverends use an upgraded jack by Pure Tone Technologies. The Pure Tone jack has dual contacts for improved grip, audio signal and reliability. The most dependable guitar jack available! 10% Pots We use Alpha control pots with a +-10% rating, tighter and more consistent than a standard pot. Typically used in expensive boutique guitars, but standard issue in all Reverends. 10% Poly Caps We use caps with a +-10% rating. Our caps are made to tighter specifications, so they’re more consistent. Made of polyester, they’re also longer lasting, and less affected by temperature than cheaper ceramic caps. Typically used in expensive boutique guitars. Specifications Body: Korina Solidbody Pickups: Jazz Bomb Bridge/Neck/Neck Bridge: String-thru-body or Top-load, 3/4" spacing. Neck: 5-Piece Maple/Walnut, Satin Amber Finish Scale: 34" Neck Profile: Medium Oval Fingerboard: Roasted Maple or Pau Ferro, 12" Radius Frets: 21 Frets Truss Rod: Dual Action, Headstock Access Tuners: Hipshot Ultralight, 1/2" Dia. Shaft Nut: 42mm width, Boneite Controls: Volume, Tone, 5-Way Strings: 45-1007 points
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7 points
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A month or so ago a vocalist put a shout out in a FB local musicians group, asking for musicians to back him as an opening band at a local music festival. Me being me, I like a challenge and said I'd do the bass (I had noted several other guitarists who I respected showing support/interest). The fact that the guy was happy to go with a 'scratch band' and play live gave me a degree of confidence in his abilities. To shorten the story, myself, 2 guitarists (1 of whom I was familiar with) and a drummer were co-opted into this project and set up a FB chat group. All hunky dory and within 24 hrs the singer had presented 8 covers (Journey - Seperate Ways, Led Zep - Rock & Roll, Def Lep - Hysteria, Rick Springfield - Jessie's Girl etc) which we agreed to learn and all agreed 1 x 3hr rehearsal on 25th (approx 4 weeks from this inception and 3 days before the gig). No probs... so far! We asked the vocalist, who had been booked for this little festival by the organiser (a personal friend of his) to find out what the tech spec, parking, access etc was. 16 days later he'd still not responded to any of the messages (he was active elsewhere on FB) and no indication that the rehearsal was booked. Messages started getting more direct and curt. Eventually the vocalist got back and apologised as he'd been busy. He wasn't sure where to book a rehearsal so it wasn't booked yet (about a week to the gig). I politely pointed out that Google would give him 10 rehearsal studios within a 20-30 minute drive of all of us (we'd previously said where we all lived), he responded saying he was on it... 48 hrs later and nothing from him despite questions (Oh and we still didn't have info on the tech spec or anything), then he popped up to say did anyone know anywhere else as he couldn't get in at short notice to the studio he normally used! At this point I took the lead, phoned 2 rehearsal rooms and booked a rehearsal on the agreed date and time; sorted! 2 days later the band turned up at the allotted location and time, all except... the vocalist, he arrived an hour late. We were miffed but thought we'd just crack on. 30 minutes later I called a halt to proceedings to point at the elephant in the room; the vocalist didn't know the songs, couldn't hit some of the notes/keys and barely knew where the entry point for the vocals was. I have to admit I'm pretty easy going but it took me a bit to keep my cool. I could see the rest of the lads nodding and backing me as I pointed out a few home truths and I suggested we bail on the whole thing. As it happened the rest of the musicians (I'll not include the vocalist in that) were good musically and were easy to get on with and they were thinking that as we'd put the effort in to learn the stuff, the gig might be a decent experience (the 2 guitarists were wanting to get their faces seem a bit more on the music scene). I didn't want them to be let down by me so I agreed to continue with the next 30 mins of the rehearsal and if we could get through it we'd do the gig. First off we scratched 3 of the songs as they patently were not going to be achievable by the vocalist and pulled in the cheese classic 'Summer of 69' to fill the set out a bit. We got through it and the vocalist left promptly leaving us to reflect on the experience. It's been quite cathartic to type this up and there isn't really any advice that I'd like from anyone BUT it has made me realise that just because someone is so absolutely sure of their own abilities it means nothing. This guy had been told by so many people that he had a good voice and looked the part that he absolutely believed in himself. We really should be honest with folks like this and not pander to not hurting feelings (without destroying confidence obviously). It also highlighted that the music side of things is one aspect but being organised, communicative and straight with people is equally important.6 points
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Loads more sanding today - and because the weather was OK, was able to do some of it outside which gave me much better light to look for aberrations in the surfaces. This seemed to be getting there: With a bit more room to focus the camera, it was also easier to get a proper view of the cross-section shape: Even with oblique light, I got to the stage of not being able to see any lumps and so, what the heck, let's have a drop of CA glue on it : I'm really liking this method...this is after just two very thin coats: Just a couple of small scratches I've missed, so tomorrow I will sand those and also do a general light sand all over and give it another coat and see if it's ready for a primer coat of nitro...6 points
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Congratulations, Dave; you are the proud owner of a neck with a 'ski jump'. image from https://hazeguitars.com/blog/neck-shimming-and-ski-jumps-the-latest-research Opinion is divided about the cause of ski jumps; some say it's caused by shimming. Others disagree and as one might expect there's a 19-page thread on Talkbass about it. The solutions include (i) progressively reducing the fret height or if it's really bad (ii) pop the frets, plane the board level and put in new frets. Or crank the action skywards and put up with it, ache-y hand and all.6 points
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6 points
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I bet they are great cabs but something about the design reminds me of Wall-E5 points
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5 points
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5 points
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5 points
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Fantasists in rock n roll? Who'd have believed it!5 points
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5 points
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Yes, the battery will drain as long as you have the bass plugged in, regardless of whether or not the preamp is doing anything. The passive/active switch only switches between the passive output from the pickups or the output from the preamp going to the output jack, it doesn't control the power to the preamp. On the plus side, this means that the bass will still work in passive if the batteries die (it even works if you pull the battery out entirely - I've done this on an L-2000 and then the preamp switch effectively becomes a kill switch.5 points
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I was working for the BBC when the Chillis played their 1st Astoria show... So I managed to blag into the aftershow party using my pass with a couple of mates (security didn't know that I wasn't a reporter!). So we spied a dark corner and sparked up a rather fine little number. So Flea's nose led him to us, we chatted for at least half an hour and discovered a mutual love of The Funk - we even went and had a little boogie when Parliament's "Flashlight" came on. Keidis and the others were busy holding court and didn't even notice The Sacred PFunk!5 points
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Yes, I have a lot of time for Mark and have had many interesting chats with him over the years on everything from gear to politics to travel to mountain biking. He has always gone out of his way to help and once advised me to get a cab from somewhere else as he thought it was a better fit for what I was after compared to what he had in stock at the time! Not many shops will do something like that. The thing is he never got the 'customer is always right' memo and he certainly is forthright and has an opinion. I find that quite refreshing, as I hated going to old music shops where they would try and convince you that whatever old tat they had in stock was just what you needed, when it obviously wasn't. I once had a guy try to convince me that a Skyline was better than an US Lakland, which is plain nonsense if you've ever played one. I have a pretty good idea of what I want, but I'm happy for someone who knows what they are talking about to give me advice and a different view. Bass Direct isn't the place for a beginner who wants an Ashdown and a MIM Fender, but that's the point of it. It was meant to be a specialist shop and an alternative to the big box shifters...5 points
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This is a great 2016 MIM precision. I was looking for a precision in a hurry and was lucky enough to snag this bass from Theyellowcab on here. It sounds great as either a passive of active bass and I used it as my main bass in the summer-don't believe me? Come and try it or listen to the video's in theyellowcab's post. Condition is great and it comes with a Fender hard case. Condition is great, nice colour and nice neck grain too. It is currently wearing flats but I'll put some rounds back on for the sale. Weight is around the 4.1/4.2 Kg mark on my scales so just over 9lb. "For players who find themselves alternating between a variety of musical styles at a moment’s notice, the Deluxe Precision Bass® Special is the perfect companion on stage and in the studio. Designed for powerful, flexible tone with smooth playing feel, this robust and rich-sounding bass combines the best features of Fender’s classic basses to create a "hybrid" model with sleek, authentic Fender style but is packed with new tones. There’s a wealth of useful tones hiding inside this bass’ pickups and electronics. Powered by a punchy vintage-style split-coil Precision Bass pickup in the middle position and a growling Vintage Noiseless Jazz Bass bridge pickup, this bass rises to any occasion. The robust control scheme includes a three-band active EQ with treble, mid and bass controls—each with boost and cut to accurately shape your tone—along with a pan pot for precision blending of the pickups’ potent sound. The active/passive switch makes it easy to access both vintage-styled and modern voices, further extending this instrument’s sonic flexibility. The Fender HiMass™ bridge improves every note’s sustain and resonance while enhancing the attack for lively tone that lets your sonic personality shine through. The "C"-shaped maple neck is comfortable for all playing styles and hosts a 1.5" synthetic bone nut and fast-playing 12"-radius fingerboard with 20 medium jumbo frets. The alder body bears a durable gloss polyester finish that looks great under the spotlight while being tough enough to shrug off the abuse of gigging and travelling. Classic Precision Bass appointments include knurled flat-top control knobs, nickel/chrome hardware, black pickup covers, pearloid dot inlays and a 3-ply B/W/B pickguard. A pure tone machine with classic Fender sound and style, the Deluxe Active Precision Bass Special is a true performer, equally at home on stage and in the studio." Body: Alder Body Finish: Gloss Polyester Neck: Maple Neck Shape: "C" Shape Scale Length: 34" (864 mm) Fingerboard Radius: 12" (305 mm) Number of Frets: 20 Fret Size: Medium Jumbo String Nut: Synthetic Bone Nut Width: 1.5" (38.1 mm) Truss Rod Nut: 3/16" Hex Adjustment Neck Plate: 4-Bolt Asymmetrical Neck Finish: Satin Polyurethane Fingerboard: Pau Ferro Position Inlays: Black Pearloid Dots on Maple, White Pearloid Dots on Rosewood Bridge Pickup: Dual-Coil Ceramic Noiseless™ Jazz Bass with Nickel-Plated Pole Pieces Middle Pickup: Vintage Split Single-Coil Precision Bass Controls: Master Volume, Three-Band Active EQ with Treble Boost/Cut, Bass Boost/Cut and Mid Boost/Cut Pickup Switching: Pan Pot Bridge: Fender HiMass™ Tuning Machines: Standard Open-Gear Orientation: Right-Hand Pickguard: 3-Ply Black/White/Black Control Knobs: Knurled Flat-Top Strings: Fender® USA, NPS, (Gauges .045 - .105)4 points
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Hi folks SOLD ELSEWHERE Up for sale here is my MIJ P bass in gloss black. The bass is in good condition overall with just some dings and marks on the body. The fretboard is a beautiful piece of dark Rosewood and with the dark tort p/guard looks great, a classic look. It is only for sale as I am coveting another bass that is f/s. If I miss out I will withdraw this from sale immediately! I think the pickguard is an upgrade by a previous owner. In addition the bass now sports an Alan Dingwall ‘Bravewood’ P pickup. The pickup was new when I acquired it on this forum (from @walshy) and sounds great. Really nails the vintage P bass tone to my ears. The bass weighs just under 9lbs by my scales and is currently wearing some flatwounds and will come with a fairly basic but pretty new gig bag. As it's not full original (pickup and probably the pickguard) I'm going to offer it at a decent price to you good people. Price is £725 collected from me. I'll deliver within 50 miles for free, and will be happy to travel further for some petrol money. I do have some packaging and a hardcase now so I post for a contribution towards the hard case & P&P costs. Some pics below but please let me know if you want to see anything in more detail:4 points
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I’ve avoided Fenders since I took up bass 7 years ago because the broad opinion here at BC is that you can quite easily get more bass for less money. But this MIM came up at a low enough price that I reckoned I could sell without losing if I didn’t get on with it, so I took a punt. First impressions were: 1 It’s really light (8lb/3.3kg on bathroom scales); 2 Played acoustically, the tone is phenomenal; 3 It’s grimy (yuk) - it’s 3 years old; 4 Through an amp, the alnico 5 pickups might as well have been made of jelly for all their supposed punch. However… I then noticed the neck pickup was set really low - over half an inch from the strings. I guess it hadn’t been setup since it was purchased. So I swapped the full old strings for Pressurewounds and did a full setup (using the Fender Owner’s Manual for measurements), including raising the pickups to their recommended height. Oh boy is it good now! I don’t understand why the pickups are so noiseless (through headphones), but I do now understand how these pickups were pushed as an upgrade to the Standard series. They’re very direct and resonant. And talking of upgrades - that seems to be something smart about a Fender: replacing parts is so easy (there’s a black pickguard on its way already because the white one looks like it’s yellowing - and I think all black will go better with the maple fretboard). I have a couple of questions, if anyone can help: 1 What is the ratio of standard Fender machine heads? These move a bit inconsistently especially compared to the tuners on my G&L Tributes; 2 How do I degrease a gloss maple fretboard- I don’t think water alone will cut through the grime? Several reviews elsewhere mention sharp frets and dead areas on the fretboard, but that’s not the case with this example. And isn’t that the problem with MIMs? You just don’t know if you’ll get a duff one. As for me - I feel very lucky today.4 points
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Downsizing means that I’m selling some of the basses I love but rarely play. This is my Hofner 500/1 ‘Violin’ Bass, forever associated with one of our greatest national treasures. I used this extensively when recovering from a shoulder injury. It meant I could gig pain free but it actually worked well as a double bass replacement too in my rockabilly band. This is a late 70’s early 80’s example with the powerful blade pickups. It is a German made bass and has some beautiful figuring to the back and sides. It is fully functional, super light and is reasonably balanced for a shorty. There is a Hofner replacement scratchplate included but not mounted and a recent Thomann shaped and padded case - that is far superior in terms of protection than the official version. There are lacquer cracks as is expected in these examples however no major dings and the neck is lovely. It’s strung with Hofner flats that really give you that authentic 60’s sound! When I bought it it had had the most inappropriate tuner replacement you could imagine, fortunately however it was easy to put this right using the correct type tuner of this era. The mounting screw holes were filled and sealed and are unsightly but out of audience sight at the back of the headstock. I’m sure a pro luthier could get the cosmetics sorted out if necessary. No further mods have been made. Neck joint, trussrod and frets are excellent. German Hofners have skyrocketed recently but I’ve priced this with the minor repair in mind. No trades, pickup preferred. UK only.4 points
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4 points
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Yeah, I do that trick of tossing my gear around my head. Goes down a treat, along with the head-banging. I'm weak on pirouettes, though, so I'll practise them more. Disclaimer : I'm a drummer.4 points
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4 points
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... my Warwick Thumb Broadneck Bolt On 5 fretless (factory), not seen another one like it and complements the Stage 1 5 nicely 👍:4 points
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My thread was merely a “thank you” to BD, and to just acknowledge my gratitude for the years of help they had shown me. It was never intended as a review thread. I was merely being appreciative of a company, and of the people who worked there. We’ll leave it there. I love this place, but if I want sarcasm, I’ll stick with the socials. No harm done, and thanks for taking the time to reply. Respect.4 points
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When I was a kid in the late 70's my music teacher told me I needed to buy my own violin if i wanted to progress, I had passed Grade V and was aiming higher. She told me which shop to go to, and a list of instruments I should look at and play. But she gave ma a warning, you must be polite and respectful to the owner to get the best out of him, in short to ensure that he sold me the best instrument for me. Plenty of other music shops in the 70's sold violins, I could have gone anywhere, but she knew that all going he would take the time, give me honest advice and make sure I had the best instrument. Sure enough he was a cantankerous old boy who made me and my dad feel extraordinarily unwelcome and inferior. When my dad told him our budget he shook his head and audibly tutted. But we spent about two hours in there and I came away with a decent instrument at a decent price, and my teacher was very happy with it. I went into the shop about two years later to buy some strings, he remembered my name and said that he'd heard (from my teacher) that my playing was going well. Funny that it's that 20 seconds of positive that stands out in my memory. And the idea that people who really know their stuff can also be really opinionated, rude, and disorganised kinda stuck with me from that point on. And I'd still rather deal with them than most polite people who don't know their stuff and will gladly sell you any old crap to get you out of the door and keep the bank balance in the black 👍4 points
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Mu old '73 has very low and wide frets. I bought it 32 years ago and sent it to my mate Andy Crocket for a set up. It came back amazing and I haven't adjusted the truss rod in 32 years. I have never played another P bass with the same feel (my JMJ Mustang has the most similar neck profile that I have ever played). I have played P basses since I bought my first in 1988. I find they always deliver a great sound Here's a gratuitous picture of it with my musch missed Tobi cat4 points
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4 points
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My lovely 1977 Fender Precision Bass. Full of honest player wear, absolutely solid all original condition. A nice weight for this era at 4.2kg - balances well on the strap. Strung with Labella flats and sounds like a P bass should. I have the original metal work but not the original case. Collection from Cardiff preferred but happy to discuss postage in the UK. Feedback here:4 points
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4 points
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Here's my two current BB's #1 is a BB734. Excellent bass after a little pickup tweaking. I feel more at home with a PJ bass. My right hand just knows where to go. Yet to gig it, but seems solid and very very playable. People say the PJ set up is a bit bland sounding, but i personally think it just works in the mix. I'm not hugely keen on the matt finish. I think it will look old very quickly, but it is what it is. #2 is a BBN4S I think (from memory). In the late 90's my dad took me to sound control in glasgow to get my first proper bass and I got one of these. When I was about 22, me and a mate stripped the paint, defretted it and fitted a bass whammy system to it. I then sold it for 80 quid i think. I always wondered how good they were as I remembered it being a very good bass. Fast forward 20 years and i managed to find this one in the same colour, local to me, so I purchased it for nostalgia. I've ended up playing a number of wedding gigs with it. Plays nicely and I love the neck but doesnt really cut through the mix; it feels hard work to play at gigs as it makes me need to dig in harder to get a bit of honk to the tone (if you know what i mean). I'd imagine the electronics are pretty low grade given the bass was a budget bass, so i might look at alternatives. The bit of perspex is basically a thumb rust which I've added, stuck on by sticky tape so completely reversable. It's also got a yellow tint to it despite it originally being a white bass. Love it!4 points
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The eagle has landed. Super build quality/QC and from my first play it sounds very fat and organic.4 points
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A lovely fretless, very resonant, adaptable & Light weight. Last played on some recordings in 2018. I never play it but do want to have a fretless available so am looking to trade for a passive fretless so that I don't need to worry about the batteries having run down. I prefer precision types and unlined. Will sell for dosh if enough for me to get a passive replacement. Bass is like new. Picture, and video link below3 points
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3 points
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3 points
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3 points
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3 points
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Well, since you've started the thread, I hope you're taking a video camera with you.3 points
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Thank you very much for a very comprehensive and detailed answer. Much appreciated my friend 👍3 points
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The quest for the perfect preamp/dirt box continues with the Photon. So far so good. Love the ability to have three distinct core tones, all with my favourite grit/dirt tone (The Darkglass Alpha Omega). Photon gives me my core tones (compression, preamp, dirt, and cab sim for my direct signal), while the HX Stomp can provide me virtually any other effect that I need, without messing with my core tone at all.3 points
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That's a good point. The day we only have the Thomann, DV247, GAK and even the likes of Andertons who in my opinion are a bit higher than the others... it'll be a sad day. But I still cannot bring myself to give my money to someone who acts like they're doing you a favour by selling you something. That's just me. There is a shop in Edinburgh, Varsity Music I think it's called. The owner is (was? it's been a while) another one who missed his customer service classes. I was there back in 2003-4 wanting to try a very cool semi Yamaha guitar, f-foles, P90s... I loved the guitar, I hated the experience but I still walked out with the guitar. I distinctly remember a couple of times stopping myself thinking "I should just go"... but I really liked the guitar and even if it was cheaper online, THIS one was fantastic. I always felt a bit 'dirty' afterwards having given him my money and not telling him what he deserved to be told. I may have been traumatised by that experience3 points
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A few changes to the board... the Aguilar TLC is replaced by the Photon Death Ray and the MXR bass fuzz has been added after the Fwonkbeta. So that path on the board goes Photon, Octamizer, Fwonkbeta, Fuzz, all switchable using the Bright Onion pedal. The Supa Funk and Seamoon get a channel each on the tri mixer as they work best without compression, and the Grape Phaser, Flashback and Slo finish it off.3 points
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Definitely, they might not be the most refined of basses but a good old P-Bass will work nicely for many/most genres.3 points
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3 points
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3 points
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That anecdote puts me in mind of an incident with a former worship leader who, how shall we put it, could have done well brushing up his person management, team leading and tech skills… We were rehearsing for a service and our usual very very good sound tech (as in ‘having engineered for artists like Queen, Steve’s Hackett & Howe, Gary Moore and OMD’ good) was away. The very junior sound guy was running sound. Anyway, we started having this huge low end resonance on certain songs and chords. The WL turned to me and said, “Trevor, your bass is way too loud. Can you turn it down.” I said, “I don’t think it’s the bass is the issue, I think it’s the acoustic guitar getting close to feeding back.” “Just turn it down!” “OK.” So I turned down my amp a bit even though I knew it was nothing to do with the problem. Next song… huge blooming notes. He turned round. “Trevor, I said turn down.” “I really think you should check out if the guitar monitors and check they’re not too loud.” He watched me turn down and then it happened again. He turned back round visibly annoyed now and hissed “I said turn your amp down!!!” I could barely hear the bass now and knew what would happen next so while he fussed with his keyboard and grumbled to the singers I very calmly and quietly switched off my amp, unplugged the amp from the extension socket, unplugged my bass, put it on the stand, coiled up my lead and put it on the floor in front of the bass. All the time the drummer was looking at me like “What on earth’s going on?” I just smiled back, put my hands in my pockets and stepped away from my gear. The song resumed. Lo and behold, big low end bloom… the WL spun round, furious, and yelled, “FOR GOODNESS SAKE TREVOR WILL YOU JUST TURN DOWN LIKE I TOL…” I smiled sweetly at him and said, “You really want to check that the acoustic guitar monitor isn’t too loud, that there isn’t too much gain on the channel input and that the EQ isn’t messed up…” I was in no way sad when he moved on a number of months later to inflict his manifold talents to another church!3 points
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3 points