Leaderboard

so... a fair bit of work later and I am approaching the end to this little project! Not quite turned out how I expected, so a bit more of a lined fretless rather than an unlined board look but for now, it will be fine and I am pretty chuffed with the end result. Glued in all the veneer, chiseled flat and then rubbed smooth. I did find there was still a little bit of chip out on certain frets when they were removed which was still visible after the veneer had gone in, so I relied on the wonders of CA glue again! I stored all the sanding dust in a little pot and used a sharp edge scraper to fill any gaps with the sanding dust, a drop of CA glue and sanded and I must say - looks pretty good. I took the same approach for the side dots - drilled them out with a 1.5mm bit, packed in some sanding dust and the a drop off CA glue over the top. Sand it back and they are barely visible at all. Very happy. Just waiting for new side dot material to come so I can drill and glue new markers in place. I was originally going to add a stain to try a bit more uniformity colour wise and hide the lines, but for now, I am pretty happy with the end result. As I say, not quite what I intended but when strung up and used on stage, I think the lines with be pretty well hidden. Any feedback is most welcome - I did a bodge defret job a while back and I wanted a much more professional job with this one and I am pretty please with the outcome. I may well attempt a black stain a bit further down the line - will see how the tru oil finish wears and perhaps when it needs a refinish, I may give it a go. Will post finished pics when it has some new flats on and I have completed the side markers.

I’ve been slowly lurking to find an older Warwick Thumb NT to add to my stable. I had one many (Blue) moons ago, but let in go in a moment of temporary insanity. Finally found this beauty in Stockholm. I’ve dealt with this seller before, so I took a punt. Rather glad I did!

Oh, go easy on Greavsey there. Can't be easy what with all those WokeyDokeys cancelling everything, rewriting history and locking you up for saying that you're English. Can't even have a nice, calming pint of Bigot's Best in the Hung Golly any more. Dunno what the world's coming to.

No frets here and what a gorgeous bass. I got this from @jhk at the weekend and I’m very happy. It weighs just under 10 lbs and sounds huge!! It’s a 1992 bass, so over 30 yrs old. The neck has a lot of Birds Eye and the fretboard also has figuring. Altogether a very pretty (imho) and great sounding bass.

Well - I've been offloading lots of gear since I won't be needing that much for the gigs we do (or if I keep doing live music). Means I've done away with the octave-fuzz-filter OFF1 from Mastro Valvola, same as the LEM and the Redwitch Empress Chorus, and gone back to my pedaltrain Nano. Having said that, I saw yesterday a juicy limited pedal (not edition, limited pedal altogether!) that Hudson Electronics made for Joe's Pedals... Less than 24hrs later and with big thanks to Joe (you're warned, fantastic bloke and great gear) I have the Motorcycle on my board - very, very very similar to the Broadcast, just maybe the controls are more flexible to the character/tone with the EQ controls and potentially easier to dial... if at all? The mojo and tone of the Broadcast is superb, and I genuinely don't care which one stays on the board, but the Motorcycle is limited and #8 so that one stays, Broadcast off to sale...: For those wondering, the Barefoot buttons have different heights, so I can stomp on the Motorcycle without actioning the compressor which I keep always on. Very simple but boutique/elite pedalboard now lol - super nice clean and super nice distortion, all I really need! Ander.

My first fretless stingray.

According to the stories he healed the sick, fed the hungry and helped the poor so basically another socialist woke lunatic. Apparently rewrote the rules of the old testament as well WHICH IS YET MORE CANCEL CULTURE, WHY DO THE WOKES EDIT AND ERASE ARE HISTORY?!!?!?!!

The board has been significantly downsized since the last rehearsal, since this band is a 60s style one and apparently my 3 fuzzes weren’t needed… My HX Stomp lost the battle for space with the Collision Devices, so once I stop being lazy I need to put stuff up for sale. Does anyone else feel like selling pedals is losing the game somehow? (Edit, I’ve just realized I have 3 space related pedals in a row).

Aye, it appears history has tortoise nothing...

Another shout out to Ashdown, and in particular Dave Green. I messaged regarding my ABM500 randomly cutting out on a couple of occasions. Spoke to him this morning. Send it to us, I'll strip it and fully service it, It'll just cost you a tenner for return postage.. This is a 20 year old amp I bought second hand. Amazing service...

Ignoring the fact that both Steve Albini articles are so old as to be totally out of date (and first now totally irrelevant in todays musical environment), they also conveniently avoid pointing out that people like Steve Albini and Marillion are still able to exist as musicians today because they have built up suitably sized fan base under the old (bad) system. They may not have made a lot of money under this (or so they claim), but at the time they were relatively big fish (pun not intended) in a relatively small pond, they should have had the whole and very extensive weight of their record company publicity machines behind them; and that is what is now allowing them luxury of continuing the exist musically. Similarly for the album in the OP. The crowd-funding model only works because Stuart Hamm has already built up a reputation in the 80s and 90s. I do notice that his costs are relatively modest, although I wonder if he did look at getting any of the work done up front for free in exchange for a share of the profits? Especially that given his reputation he should be have no problem generating sufficient money from this venture. Nowadays when there are somewhere between 40k and 100k new tracks being uploaded to Spotify EVERY SINGLE DAY. How can a new artist ever hope to be noticed in order to be able to build up a large enough fan base to be able to make crowd-funding work for even the most modest of projects? I wonder how many of upon here playing music we have written ourselves would be able to raise the kind of money that Stuart Hamm is looking for through a similar system?

And it will carry on, till the thief rips off/encounters the wrong person. Law of average surely will work eventually ? I cant wait.

Hi all, So... I was looking for a cheap backup amp and saw the Harley Benton Block-800B had good reviews and was only £300, so bought one off Thomann which arrived yesterday. Interestingly the one they sent me is MKII. Long story short, I think this amp is just too good to be sold at this price with 3 year warranty. I think I might actually use it as my main amp! I also currently own a GK Legacy 800, a TC RH750 and an Eich T900 (as well as many others in the past). A few things I noted... The good: Physically it is a very quiet unit, the fan doesn't always run and when it does it's whisper quiet. Can barely hear it. Ugly knobs are easily changeable. Heavy enough not to vibrate off a cab (3kg). I really like the EQ frequencies of the HB compared to the Eich and GK. Haven't noticed the amp getting warm at all, despite there only being two small vents on either side. Opened up the chassis and can see it has an ICEpower 700AS1 power amp. Very impressive considering the price. If I'm not mistaken, this power amp is more powerful than what is in the Eich, which is the 250ASX2 (700W vs 500W). I believe the 700AS1 is also used in the Genzler 800 and Darkglass Microtubes and possibly the GK Legacy 800 (it makes the same clicking noise on startup). These are all far more expensive amps... Although interestingly the 700AS1 is $65 cheaper than the 250ASX2, so not sure which one is better. The latter has lower output but louder dynamic range? 250ASX2 700AS1 The not so good: It seems to have a very constant high noise floor. By constant I mean it is present with no bass plugged in, plugged into the input or effects return, volume at zero or max, mute engaged/disengaged etc... It is worse than my GK Legacy, which I already thought was quite bad. There is lots of white noise even at zero volume, both through DI and headphones (worse through headphones). Haven't had a chance to try it through my BB2 cab yet. There is very little white noise from the TC or Eich. The TC actually has zero white noise when running through the effects return, even on max volume... But I guess that's because the power amp isn't very loud, presumably as it's only 236W. I suppose it's the magic in the preamp that somehow makes it sound much louder. The mute button doesn't mute the white noise or the effects return. DI out volume is pretty quiet (not necessarily a bad thing I guess). Onboard compressor adds a noticeable volume boost... not sure whether I'd use it. Questions: Does anyone know the difference between the MKI and MKII? Is the amp protected from phantom power? In summary, I think this amp is brilliant value for money. So much so that I am going to return the Eich which cost me over £900, and sell the TC. Might end up buying another HB as a backup to the backup!

Retrovibe are offering a near-copy. And they will do five-strings to order. And it weighs a little over 9lb. Which I suppose might put the purists off Unfortunately for me, it's sunburst only. https://retrovibe.co.uk/product/retrovibe-tt40-tt50-bass-34-scale-3-tone-burst-maple-neck-peavey-t40-style/?fbclid=IwAR1bbeo7d_8mK3h1dxVAgq-Xn-6L-UAnJzC3Nr4WfMP6neRO3b9_Hxq4kRc

I see Ringo will be in town soon, Milwaukee WI. I plan on going to see him. Blue

My Contribution to the May round of the Basschat Composition Challenge, inspired by the picture chosen by last months winner, Me. I started off working towards an ambient electronic track, as that's how the image felt to me, but as I started getting lyric ideas together, they largely centred around the idea of doors, real and metaphorical, be it to another realm, or some earthly change or opportunity. From that it developed into more of a 'song' than a cinematic thing, so I ended up with a bit of both... I think! Tech wise... Recorded in Cubase Elephants 10 using an NS Design EUB and a Westfield Standard Guitar, both treated with bundled effects. Drums courtesy of Monster Drums, and a sprinkling of the bundled VSTs. Vox treated with CLA Vocals. The mixing process was my usual move sliders and hope for the best technique... I really must learn something about that stuff.

A @AndyTravis favourite...In London, currently £150 with 2 days to go https://www.ebay.co.uk/itm/266247704997?hash=item3dfd9991a5:g:xvoAAOSw-LZkVhnK&amdata=enc%3AAQAIAAAAwFrT4IbEAvUq1mQOLUxLk%2BW3O07%2FERsqKcqd0217yZHQA3lrbzI%2B6d%2FQ5y4DmlvnFXc3w6j9uyRBJaP4t0rr85cfQMakGNL6rIdXCxca%2F1V7ovPkoJ3FxL03CInyyXoo%2Btal1vK9zNSgPlN9HyK1i%2Bh9kvkHcbXgbkF5KOtdrU2PpYnalxeM5fqcpiGFvK%2BTHFCky7yCcL%2BMXQ0dgru0DD7JNRfCr3io%2FOCz%2FtPnxJz%2BpCIDZyiED3%2BHAPLba66QyQ%3D%3D|tkp%3ABk9SR7KW2KqBYg

In my lawsuit arguing that multi-fx don't generally need XLR: I put it to the jury that: a) It's fine, and possibly preferable for buffered instrument or line level signals to go through unbalanced cables up to about 25 foot, and not much of an issue beyond that unless really long distances (unlike mic level signals that do definitely need balanced even at short distances) . DI XLR for distances from instrument/line level pedal to Cab is probably not necessary or preferable: I call forward expert witness #1 "when the cord length is under 10 feet, unbalanced cables actually have a stronger signal than balanced cables. This is because at this length, any distortion is unlikely, and the simplicity of unbalanced cables can work wonders when there’s no detriment coming from potential distortion. For instance, mastering studios typically use unbalanced cables ranging between three and ten feet in length.".........."If you’re using a longer unbalanced cable on a loud device like a guitar, there won’t be a difference at all (vs balanced)" Witness #2 " most people have the impression that a balanced connection is superior because it is more resistant to external signal noise sources. While this is true, it does not necessarily mean that the balanced line is "better" than a single-ended cable"......"Under 10 feet unbalanced cables actually have a stronger signal than balanced cables. Great for low-level/gain signals like instruments"....(unbalanced is) effective at cable lengths up to 20-25 feet" b) Using XLR has a potential risk from phantom power Expert witness #3 'Wikipedia' "Phantom powering can cause equipment malfunction or even damage" Expert witness #4. Line 6 LT/Floor Manual "IMPORTANT! Never connect the Helix device's XLR outputs to a device whose XLR inputs have 48V phantom power enabled! c) There is no harm in using the DI XLR for pedalboard to belt pack for IEMs or home use but it isn't necessary or preferable for those short distances, a higher volume output (instrument or line level) via un-balanced would potentially be better. d) Expert witness #5 "The FOH guy" prefers to use their own DI box, this is usually the case. My concluding remarks to persuade the Basschat jury to rule in favour of not really needing an XLR on a multi-FX pedal: Cable distances aren't usually large enough to matter for multi fx buffered instrument or line level signals. Modern mixers can take instrument or line level inputs where interferance isn't usually an issue (unlike mic level). If there are long cable runs to mixers where a balanced signal would be beneficial you are probably playing at a festival or music venue - they will want to use their own DI to their mixing desk. If you still need your own DI then most Amps have them. In a situaltion where none of those things above apply (and how often is that the case?) then a seperate DI box is better than it being built into a multi fx unit because it can protect against damaging phantom power. Having a seperate DI box isn't an issue as they can be bought for as little as £11, they are small and tough, and passive ones don't even need to be plugged into power. ......Case closed!

Up to seven!

As many do, I used to live in flats in London and had to give up double bass as a result of neighbour complaints and threats. I never played bass at home through an amp and got into a habit of playing through headphones at all times. I think horns and drums require common sense on hours of practice but to prohibit music at all is ridiculous.

I've had over 50 basses in my life, from Dingwall to Mustang and I keep coming back to Jazz Basses. So, after selling my upright and my Dingwall, why not get another one? I found this beautiful Custom Shop '64 Limited Edition Jazz in Germany. The seller was in NL yesterday so that was a perfect opportunity to pick it up. Lovely rosewood fretboard, Abigail Ybarra pickups, shoreline gold finish. Very happy with Jazz number seven in my collection.

Unless the person in the story was practicing at ludicrous volumes, a complaint to the Local Government Ombudsman looks to be in order.

Earlpilanz on ebay. I’ve used him… I think lots of people here have. Highly recommended.

I'd take a 5 string over another Fender copy, I'm not much of a retro guy but that looks quite smart. They're obviously not in the vintage replica business and more power to them.

Oil Be There - Jackson 5

Miss them? Nah, still have 2 and lots of parts. I've seen a couple converted to 5s and I might do that later my making a new bridge and neck once I get the CNC dialled in. The Retrovibe is sort of cool, but unless it has the same pickup construction, and it clearly doesn't, I don't see how it would sound similar. Plus no ash body and I loathe bursts. I still wish him best of luck with the venture.

I play drums as well as bass so I use my Roc 'n Soc throne with a backrest. The backrest is essential for me otherwise I suffer badly. The throne is not cheap but I figured I would be using it for hours everyday so I'd get my moneys worth plus it is supremely comfortable. I also use it when I'm recording as it's the right height when I'm at the mixing desk. There might be cheaper alternatives but I certainly don't regret getting it and it seems like it'll outlast me.

I use one of those race car computer chairs that was originally for using a PC but i find its too relaxed for longer periods on the bass and my back starts to ache a bit if i'm sitting upright on it. Sitting back into the chair means the bass lies at an angle. Because of that i change between sitting and standing but i do find playing a lot easier when sitting and have to rework some parts when standing. This thread has made me realise i need a proper seat for practicing in/on. I like the drum stool thing with small backrest. Dave

Ah, yet another person who uses 'woke' as a pejorative, yet can't explain what it means.... I expect you like to use the word 'snowflake' too? Are you a Daily Fail reader perchance?

Thai Your Mother Down ～ Quëën

I would learn to play right handed to have that bass. Absolute perfection.

Thanks to everyone for your input, it seems to be a topic that others have thought about too. @SubsonicSimpleton you have some good suggestions. I’m 58, and well aware of my mortality these days, and the aging process on my joints. My other passion is food growing, so I do spend a lot of time inadvertently working on my core strength. I’m not overweight, but more tall and lean. I do yoga every day, I have to, having had spinal surgery a few years ago. I have opted for @JohnR’s suggestion of the drum throne. It does seem like a bargain, and exactly fits the bill. I can also fold it up and stash it away if I need to. It should be here next week, so I’ll report back and let you know if it’s any good for me. Cheers, Rob

I wouldn't. Too many fudgy numbers flying around which means more power is almost never the answer.... 1000w is a pipe dream cab rating, and OP is looking at the low end response where the rubber hits the road. Class D amps usually get a notable bit over half of the rated output when pushing 8 ohms. 700w could easily be pumping out 500w thumps. I reckon he's pretty darn good for power. To make an appreciable difference the cab would need an actual thousand watts up it, and that would break it.

Mousetrap? Yes, it certainly was, until I lost the big ball bearing and then it was just so much plastic junk in its box on top of the wardrobe. What with the advent of computer games it was rendered pretty mu... Oh, sorry, you meant Buckaroo!

Well, our Mick is the right man for the job, given his extensive experience in shafting people.

Ey Up Mi Duck festival near Doncaster on Friday night (late, I know). We were last on and the tent was absolutely packed. I'd guess around 800 people or so. We played an hour and 15 minutes and they went absolutely mad for it. Ace gig. Here's a photo of the rest of the band as it's all I could find. Credit to Martin Borrett Photography https://www.facebook.com/profile.php?id=100087496146690

It’s strange how misguided the punters are, liking songs that many musicians seem to find so terribly boring...

Whatever's easiest. Frankly nobody in the audience will care. Now if you were asking me about Sweet Home Alabama, that's a whole different question entirely..... 😄

Except that we aren't talking about people not playing a song because they don't like it. We are taking about people not playing any of an artist's songs because of something the artist has been accused of doing. And not just in our bands, on the radio, not including them in shows, on TV. The artist (and the rest of their band in some cases) loses royalties etc. And the key thing here is 'accused', they've not actually been found guilty in any court of law. It's a social media thing, where rumours and misinformation can bring down someone and the person who started it hides behind anonymity and there's no possibility of legal recourse.