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Showing content with the highest reputation on 04/12/23 in all areas
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A long trek through the semi-snow from Nottingham to Gateshead on Sunday to play at The Black Bull with In Isolation, for a final night of the Dark Side of the Tyne "festival". It looked pretty grim in the morning, but it turned out that the worst snow was in Nottingham and once we were on the M1 it was fine. Unfortunately because of the weather it was a smaller turn out that the promotor and we had hoped, and hadn't been helped by Westenra having pull out of the opening night gig due to being snowed in at Whitby. However we played pretty well including all the new songs and to an audience who had mostly never seen us before and more importantly stayed to end when we sold a few CDs. Here's a couple of photos from the gig: Next one is on Friday at the Sal in Nottingham.16 points
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Played in George Sq,Glasgow for the Winterfest. The usual market and funfair Chrimbo stuff. Very busy and great atmosphere. Was not looking forward to it at all due to worries about parking and the gear we had to use on shared stage. No worries though,all good with a decent onstage sound and seems it was great out front! Many thanks to The Clutha Trust for asking us! I played through a Line 6 combo using my Squier Classic Vibe P bass which is deffo living up to the hype! Loving it!15 points
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A bit of a get-together down by the Tyne today. Lots of it spent messing with a Kemper and a mad Russian plastic bass from the 80s.13 points
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It was our 13th gig as a band, so we knew that something just had to go wrong! We played the Akēdo Gaming Bar in Lincoln last night (it's our second time there this year), which is a great little venue but with one of the smallest stages that I've ever seen. The guitarist and I live relatively close, so we loaded up one car with gear and started out relatively early to give ourselves plenty of setup time (lots of snow, ice and fog on the road!). Just as soon as we set off there is a text message from our vocalist: He's just been in an accident. Fortunately our singer is physically okay, but his car is not. Guitarist and I quickly divert to head north one additional hour and pick up the vocalist. We arrive at the venue about 30 minutes before we're due to start playing; the organizer is relaxed and doesn't mind a late start. Phew. We played really well last night, maybe the best yet. As I've mentioned on Basschat a few times, we always record our sets live. This significantly added to the stress of a late arrival (with mic setup, etc.), but it all worked out in the end. There was a small boy, maybe 6 years old or so, in the audience (with some pretty serious hearing protection, of course). He really seemed to enjoy the show, dancing around as we played our set. He and his mom are friends with our drummer and came up to the stage area afterwards. We gave the boy a few souvenirs (setlist, drumstick, plectrum). Our singer crowd-surfed at the very end of our set, and fortunately survived. No one broke any bones, this time!13 points
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She is done!11 points
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A couple of actual gig photos....Think I need to take my tuner off the headstock next time.... drive-download-20231204T113902Z-001.zip11 points
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The Sarah Moore in Leigh-on-Sea on Saturday night. Usefully, about 5 minutes from my home. Arrived in good time for an 8.30 start and 11pm finish but we weren't able to start setting up until nearly 7 before we could start setting up as the landlord had put a couple of handwritten signs on the two tables in the band area saying "reserved until 7pm". So, it ended up being a bit of a rush to get everything set up and soundchecked. Not to mention bringing the wrong mixer and having to wait 30 mins for the right one to arrive. The pub was busy all night and was up for a party from the start. And we had a dep singer (Sophie) standing in for Jen (who has been poorly), who did a grand job and brought a small crowd with her. I've also had a cold brewing for two or three days prior. Just an irritation in the throat, but my voice was shot by the end. One of the guitarists remarked that I sounded like Voldemort. Hopefully, me and Jen will be back fighting fit for the next 2 two gigs later this month.11 points
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Firstly, I'd just like to say StingRayBoy42 wins the weekend with 'Depping on Sousaphone'... 🙂 Lively gig in a rammed pub (new venue for us, we'll be back) Satdy, despite not much room and a 10pm start once the footy had finished; luckily the crowds of blokes trooping out dejectedly were replaced by a lot of ladies in spangly tops sashaying in, so it was a good gig all round. Nice to see some pubs still thriving... On the timings, we generally play a 45 minute 1st set, break for ten or fifteen, and then play through an hour or so (usually a bit longer, depending on the audience) plus encores...seems to work OK...10 points
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Sat here with a large coffee, after a morning session with my (current) favourite 3 basses. Regardless of price…. these Arias are absolutely my go to basses right now. Lovely players, comfortable and awesome sounding. It does make me wonder why I still hanker for expensive gear, when instruments like these are around for peanuts. I hunt around for the Korean ones mostly, or the Japanese ones if there’s a bargain to be had. The 5er at the top is an IGB68 and was 200 quid. Awesome tone, beautiful fretboard, crap tuners, I intend to change them. The Integra on the left was a 100, fabulous tone, the pickups are brilliant in these, nice neck…. and the GTB on the right was 50 quid….. absolutely ridiculously lovely bass, again great neck, great pickups. I put Gotoh GB707s on both of those basses. It massively improves the playing experience. To be honest, between the three basses, I really don’t need any of the others, they’re that good, in my opinion.8 points
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I’m in the house band for the Sunday jam in the local blues dive , been doing that gig for well over 25 years. It’s that time of year , snow tonight , and one greasy old drive home. Great night despite the drive.8 points
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Well... today's 4-6 venue turned out to be huge, but the audience wasn't. We were not expecting much but the audience we had were great. Two of them came because they've seen us before a few times. We kept up a constant good-natured banter with the soarse audience "get ready, I'll do some crowd surfing in a minute". At one point we greeted a three year old and sang happy birthday to her baby sister via a phone. And we did a couple of requests. They were apologetic about numbers and desperately want us to come back. Shame for them as it was a good paying gig and they did a lot of publicity. Just looks like sunday matinées wontwork for them. To our surprise we all enjoyed the gig and ended up playing an 80-minute second set uncluding encores!8 points
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Another North Dorset gig for Mustang Sally, this time at Rocky’s bar in Gillingham. It’s a very well updated sports pub, but at first sight not an obvious venue for our melange of classic rock, country, soul and pop - but why? Well, the age profile was 18-35 for a start, and the hoooge flat-screen TVs stayed on all night showing (without sound, TG) Man-U losing to Newcastle. Add to this the arrival of an already-merry rugby team, rather ‘happy’ after a win, and this could have gone one of two ways... fortunately, after a slow start it got better and better, with table dancing, singalongs and many encores. Ok, it was a near midnight finish instead of 11:30 but no-one minded, it’s what good gigs are made of! Back home at 1:30am to a censorious glare from our cat. He was bought off with two very early breakfasts...8 points
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We`ll never rise up, we stand at the back and try not to be noticed.7 points
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This is something I never expected to do...put my custom built (design and spec produced in conjunction with Jens) up for sale :O( After a serious back injury I find I can no longer play bass with any degree of comfort (and hauling bass gear around????). This is just simply one of the finest basses in the world. It has a beautifully carved neck, very comfy, sculpted body shape and is lightweight at 3.6 kg. The electronic design was custom made to keep the front controls simple, with a master volume and rotary pick-up pan. The eq is adjusted via the back panel. Complete spec in the pics. There is very slight string marking on the fretboard which will easily polish out...if I get a chance I'll do that but just being honest about the condition. The bass has a virtually unused Gigblade case. ** I might consider another bass (it'd be a shame not to have one in the house ;O)) or an electric/electro-acoustic guitar, in part exchange. **6 points -
I took my HB P bass to its first Policed gig on Saturday. I rolled the fingerboard edges and cut the nut a little deeper, so the action was nice. My word, what an amazing bass. It sounded wonderful, the big neck sat lovely in my hand. The band commented on what a great bass sound I had. I couldn't recomend this bass enough, yes it needed a little set up and the rolled edges are amazing but it's just a great instrument.6 points
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Bit of a feeler at the moment, I lusted after this bass for a while, and finally caved in and bought it. And though I still love everything about it, it’s quite a change from the Ibanez EHB I’ve been gigging. So thought I’d see what sort of interest or trades were around. It’s wonderfully made and in immaculate condition, and has been upgraded with bartonlini pickups and a j tone preamp to give more flexibility. The B string is great as expected with these. 35 inch scale, 19mm string spacing and weighs in at a lightweight 4.1kg. I’ve added the original ad, hope this is ok with bassed in bucks. His photos are much better!6 points -
Hi! I am selling my Fender Jazz Bass Marcus Miller V made in USA. This bass is from 2003 (1st year of production) entirely original, it will be delivered with its original case, all the documents and the specific trussrod adjustment key. I am based in France, I am used to shipping and equipped to make a solid package. All the best5 points -
Also made a few pics of the bass without the pickguard5 points
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Completed the build of the Brooks EB-TB-IV today. - Neck through with mahogany body wings - Nine ply mahogany/walnut neck - Ebony faceplate on headstock - Tobacco burst gloss transparent acrylic finish - Rosewood fretboard - Jumbo frets - 34" scale - Handcut bone nut - Three ply white-black-white pickguard - Wide travel Thunderbird bridge plus tailstop - Spokewheel trussrod - Thunderbird style pickups nickel. - Hipshot Ultralite tuners - Output Pure Tone - d'Addario EXL170BT Balanced Tension strings - Strapnuts: Dunlop Straplok Nickel Dual Design - Weight: 3.5 kg I'll post pics of the build process in posts below4 points
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I'll Beetroot To You ～ The Monkees4 points
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My Sweet Corn — George Harrison4 points
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Brief update The mystery preamp had mysterious technical issues - couldn’t get it to work. The maker is very kindly going to make another one, but it may be some time. I need to record some video, but I have tried out the latest Turner multicoil pickups with a design that is closest to the Wal - more windings per coil, different wire, etc. Paired with the Lusithand Double NFP Special, these are a triumph. I did some very rough recordings today and I now doubt anyone could tell the differences. This is a win. The Wal and Double NFP Special preamps handle treble quite differently, but actually you can get similar treble boosts out of them. Basically ‘10’ on the Wal for the front pickup is ‘8’ on the Wal-ish, and ‘10’ on the Wal rear pickup is about ‘6’ on the Wal-ish. So, on the Wal, you get more treble either by pulling the ‘pick attack’ switch, or by maxing out the control knobs and pulling the filter boosts. On the Wal-ish, I just turn up the filters to closer to ‘10’ and/or pull the filter boosts. Of course, given how the preamps work, the Wal gets more granular mid controls, a little bit at the expense of finer trable control. The Wal-ish gets finer control over treble and slightly less over the mids, as the range of travel down to 0 on each knob is less than on the Wal. However, it does this with 1 less switch and a less complicated preamp design overall. (The Wal, as we know, separates out the treble then adds it back in later, if I recall correctly mainly from the neck pickup signal). I’ll make the video…It’s easier to show/explain I think. I took the Wal-ish out to a band rehearsal last Friday and it was a win there too. I’m very happy. I think I’ll be able to sell my Wal next year. I may keep it for reference for a bit - I’d like to compare other preamps - but I think the Wal-ish is finally where I want it to be.4 points
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Stupid click-bate video where someone is deliberately doing it wrong in order to preach to his sycophantic audience. If he had a proper interest in showing how quantisation should be used, he would be demonstrating the right method, which is to create a "groove template" from the drumming as it is and then use that to tighten up the placing of any other parts that actually require it. Of course this method is far less interesting, and less noticeable on the finished track and doesn't pander to his audience's prejudices.4 points
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Pretty up close and personal! Last night of a local pub, and they had invited us earlier this year based on the strength of a previous performance. Couldnt move in the pub and considering how cold it was inside, this was one of the warmest gigs! Went pretty well all in all!4 points
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SOLD- Price reduction to £10,500. The time has finally come after 10 years for me to offer up this beautiful example for sale. Description: 1961 Fender® Precision Bass®, featuring slab Brazilian Rosewood fingerboard, and Sunburst finish. The bass is all original. Although the body finish has the normal chips and dings, the neck is in excellent shape. Both body and neck feature their original finish, and the lacquer on the neck is in excellent condition. The bass was mainly played prior to my ownership with flat wounds so the frets are in great condition. The Brazilian rosewood fingerboard is a deep, rich, dark colour, almost Ebony-like. The neck is straight and the bass plays wonderfully. This neck is the typical "C" shape of the period, with the thickness measuring .781" at the first fret and .972" at the 12th fret. The sound is killer from this great example from one of the best eras of the legendary Pre-CBS Fender® Bass. At one point the owner of the bass (this was a one owner instrument), had the pots changed and these slightly larger pots required slightly enlarging the cavity. The original pots, both dated 304 6107, are now back in place. No other modifications, alterations, or other issues exist with this bass. The neck date is 4/61 and the serial number is 639XX. The bass weighs a very light 8 lb. 3 oz., making this attractive example easy on the old back on those long nights. The pickup set is strong and healthy, measuring a perfect 11.6K for the pair. The bass comes in its original brown tolex case. The case is in good condition for its age, but does show signs of wear. The leather on one side of one end is missing. All latches work correctly and pop when opened. Interior is clean without any odours. Thumb rest, bridge and pickup covers included. I priced this with reference to a well known dealer's prices for Precisions dated either side of 1961 but happy to negotiate via direct message/phone with reputable Basschatters in possession of good forum feedback. Many thanks for looking.3 points -
Price drop - £825 I have for sale a lovely Fender Precision. I received it in a trade on here around a year ago. Only listing as the '70s Copy of a well known American Bass) next to it in one of the pictures) isn't getting much attention when I have listed it for sale... And needs/requirements change (I'll keep one of them). From the serial number it's a 93/94, and has the Crafted in Japan stamp on the neck heel. It's setup brilliantly with some nice old flats, and does everything you'd want an old Precision to do. Best of all it's very light for a Precision (8lbs) so looks and sounds amazing, but is giggable. Check out the pics - not a case queen, but definitely not abused. Postage is cool, but would need to sort specifics with a buyer. Would consider trades, but, looking for at least £500 my way. Any questions let me know.3 points -
Not a bad one for the final before one guitarist and vocalist jet off to sunnier climes. New bar opening down the road and a big puller just out of town so I held out little hope for the usual noisy night for our venue, but it was reasonably busy and they were up for it…so go in glass half empty and be pleased by half full worked. A couple of us suffering from the start of this *****y cold doing the rounds but didn’t affect us too much. The odd fluff, but “no one died” and I doubt the crowd noticed. next up for me a couple of deps at the end of January and rehearsal/get together to make some noise pre-Christmas for my first band from 45 years ago (unless any more deps come in the meantime)3 points
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Cut the top nut for a piece of bone Filled the pores with Rustins porefiller And then took to staining the bass First a coat of yellow to give to that golden glow under a certain lighting and angle. I use Clou waterbased stain. Then did the edges with a light mahogany stain and feathered it out with a dry brush. Stained the neck and headstock And the last phase was to stain the sides of the body a very dark mahogany color mixed with dark walnut Then sprayed with sanding sealer And then started to build up layers of clear. With lots of wet sanding in between When the surface was completely smooth I applied the decals to the headstock Customer found out it is the 100th bass guitar he has ever owned. So he asked me to add the number 100 somewhere And I live in Velp 😉3 points
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Shaped the neck profile Prepared the ebony faceplate for glue up Cut out the moustache (or open book) shape with a jewelers saw, before I glued the faceplate onto the headstock Glued the faceplate to the headstock Drilled the tuner holes Didn't drill all the way through to prevent tear out. And to keep the diameter of the holes on the other side slightly narrower than the front. I've learned that the Hipshot Ultralites barely cover the entire width of the holes. Shaped the volute Shaped the headstock outline3 points
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I've been using the zoom b6 for around 6 months now. Played a couple of gigs with it, fabulous box if you are looking for easy to use straightforward muliteffects for your bass. Sounds are fab, take a bit of tweaking at gig volume but two inputs, with variable levels, DI out (with four DI models) on top of the good amp sims and available effects I cant think of a band gig situation where this wont meet my needs. Jonny3 points
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My Swede Lord - George Harrison3 points
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A Touch To Mulch ～ AC/DC3 points
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Grossly overpriced, especially considering Leo let the work-experience kid spray that one up. That black band is as wide as the M5 outside of Bristol.3 points
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Plowed - Sponge Yes, associate with either word.3 points
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Yes, I own three Serek Midwestern 2's and a Wilcock Mullarkey. The fit, finish and feel of Serek is flawless. My Mullarkey (custom build): Hmm. Where I felt, Willcock let themselves down was the neck, there were 'keen' / sharp edges on the neck and this was a disappointment So disappointed that I nearly sold it on - I didn't and spent some time having the neck worked on. The electrics were noisy too, but as part of a cure, when I shielded it, I changed the pick-up wiring from three way switch to VVT. In my experience the buying experience of the Willcock was weird. Typically clipped one line email replies, that didn't leave me excited to place another order. One defence of Wilcock here is they are a busy shop etc. However, when I dealt with Jake Serek, at the time he was a 'one man band' over two of his custom builds. I was treated like an old friend, aside from import taxes, I wouldn't hesitate to buy from him again. 12 months on, living with and flipping between Serek and Wilcock basses. I've got over myself the buying experience now forgotten - (your post triggered me). I play both; now they're just basses from different builders and I like both a lot. Hope this helps.3 points
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Planet Girth - Durans...3 points
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This demonstrates it well3 points
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Yamaha BBP34 Vintage White. Completely mint, no marks or damage, cellophane still on pick guard. Complete with original case, certificate etc. It's the exact bass shown here with better photos than I could ever take: https://www.peachguitars.com/yamaha-bb-series-bbp34-vintage-white.htm 9lbs, 10oz. It's much more of a yellow than other vintage white Yamaha's I've had (I'm colour blind so take that as you will). It's a lovely, lovely bass with one of the nicest neck profiles I think I've played but I've had GAS relapse and need to avoid divorce. I will take some pics over the next few days. Construction : Bolt-on (6-bolt mitre neck joint) Scale Length : 34” (863.6mm) Body : Alder/Maple/Alder construction Body Finish : Gloss Polyurethane Neck Materials : Maple / Mahogany 5pcs Neck Finish : Satin Polyurethane Fingerboard materials : Rosewood Fretboard Radius 10” (250mm) Fret Wire : Medium Frets : 21 Nut Materials : Graphtech Width @ 0 Fret / 12th Fret : 40.0 / 56.3mm Thickness @ 1st Fret / 12th Fret : 21.0 / 23.0mm Neck Pickup : VSP7n : Split Single Coil / Alnico V Bridge Pickup : VSC7b : Single Coil / Alnico V Controls : Neck PU Volume, Bridge PU Volume, Master Tone Hardware Bridge : Vintage Plus : Convertible Stringing, Brass saddle, Steel Plate String spacing : 19mm Tuning Machines : Lightweight Open Gear Pickguard : Midnight Blue, Moonlight Blue: 3Ply Cream / Vintage Sunburst: 3Ply Black / Vintage White: 4Ply Tortoise shell String Gauge : D'Addario EXL170 / 0.045-0.100 Case : Hardshell CaseSpecial Features : I.R.A. Treatment Collection/inspection welcome from Orpington BR6 or can post at buyer's cost and risk.2 points -
Sunday's venue posted some lovely words and this photo.2 points
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The influence of the fretboard is profound. Far more than I would have given credence to a few years ago. But in swapping around necks I have found that the sound of the bass trends to follow the neck, assuming pickups unchanged and strings unchanged. Assuming nothing else changes and the neck is a bolt on single piece of maple, I find a maple fretboard is bright and clean, rosewood has more mids and no ‘spank’ at the very high end and has a nasally kind of twang to me, pao ferro is somewhere in between maple and rosewood but very pleasant, and ebanol sounds like it has a big fundamental but also plenty of mids. There is endless debate about where the sound of a bass comes from, but I’m not entertaining a lot of debate on this thread, quite deliberately. This is what I think and what I have reasonably shown from my own researches and videos.2 points
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“ELECTRIC GUITAR 4 str. semi-acoustic art. 426 r PCT RSFSR 508-75 MAA 1987 The price is 125 rubles. 197061, Jlerun pa, 33 ECCA he is Chapaeva, 15 r. coch T. Lenuprizdat” The body is a strange ‘composite’ type plastic. As you says It doesn’t look plastic, it also doesn’t feel or sound it. 30” scale The translation of the company name is Marya or Maria.2 points
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Laser cut the pickguard. Customer wasn't sure about the pickguard. I gave him the choice between none at all, White or Vintage White. In the end we chose for Vintage White When the bass was wet sanded to grit 2500 and polished with Meguiars I mounted the hardware and pickups It's hard to capture the color of this bass. Looks different in each light Final step was soldering the electronics2 points
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Love that BB2 points
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Just to update this thread, I just bought a Valco KGB Dist(ortion) to add to my collection. I've found the fuzz so useful and flexible that I wanted to check out the distortion variant too. In addition to the flexibility of each discrete clipping type, AND the impedance control, this has a variable LPF to control the tone. Quite excited to try it out!2 points
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Go on, admit it, you’ve been out and spent a load of cash on basses that you didn’t need and a coffee you didn’t want just to use that excellent thread title! It was money well spent, sir!2 points
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Since you've bean gone - Rainbow2 points
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I think people are confusing constant tempo and relative time. Record in free time and it doesn't matter too much as long as the whole band is in time and it's not meant to be a massive change. Playing to a click, that's where a bad drum performance has to be sorted out. I do drum editing for a few producer mates who live in Canada. The sort of stuff they do is metalcore/thrash, so it has to be exceptionally tight. They favour absolute on the line positioning. Even when someone has played really, really well. Some genres get away without it. Most modern metal (especially if it's djent) will have been quantised within an inch of it's life. As with all things, it's how you use the tools at your disposal, not what they are that makes them fundamentally right or wrong. Loads of musicians can't play to a click. Sometimes that's a problem, sometimes not. It depends who it is in the band that can't do it and what order you choose to record in.2 points
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Land whore. The Doors2 points
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I'm not a great fan of bass demo's when played on their own, one needs to hear how the bass sounds in the mix...so to speak. This gives a good idea of the MB4 sound.....to me, as an ex Stingray owner if I was blindfolded and asked what bass is this....tutto bene.2 points
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You have to say this is a failure of government. There should be laws to prevent the unwary being exploited and moral hazard for all those who mis-sell or mis-price goods. It is everywhere from the pricing of train tickets to the sale of insurance. Even the removal of VAT on women’s sanitary products was taken by companies as a dividend and no reduction at all was passed back to the customer. When regulation is seen as ‘red tape gone mad’ or the ‘nanny state’ then you can only expect to be exploited. I would love to live in @Dad3353 world but sadly increasing parts of the economy ae controlled by corporations where the shareholder is king and the customer is only there to be exploited. Mind you we choose the government.2 points
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