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mrtcat

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Everything posted by mrtcat

  1. mrtcat
    [color=#282828][font=helvetica, arial, sans-serif][u][b]Now £600[/b][/u] Devastated to be selling this beautiful CiJ 75 RI Jazz bass but needs must. Previously owned by 2 BC members after being bought originally by GafBass in 2008 from Ishibashi. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]It's pretty uncommon to find a [/font][/color][color=red][font=helvetica, arial, sans-serif]75[/font][/color][color=#282828][font=helvetica, arial, sans-serif]ri in this colour, (vintage white). In this case the finish is in great condition with one small and one really small chip on the bottom front edge and only very minor marks on the rear. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]There are a few modifications to the bass in the form of a brilliant John East J-Retro preamp, Wizard 64 pickups, a badass bridge, hipshot detuner, Schaller strap locks, internal shielding and a new black pick guard. There is also a hole for an unused side jack from GafBass's brief experiment with an audere preamp. [/font][/color][color=#282828][font=helvetica, arial, sans-serif]The bass has no routing under the pick guard and looks cool without it. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]It currently has a moderately low action but when I received it it had a really low action and was still really playable. The neck is straight and true and the truss rod works perfectly. It comes with pretty much brand new Rotosound Nickel rounds on it.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Sound wise it's as good as you'd expect. The east preamp and wizard pickups together mean it sounds just great and is really versatile.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]It weighs 4.6kg (10lb 1oz) but comes without case.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Postage possible at buyers expense / risk. No overseas postage unless arranged by buyer and only after funds have cleared by IBAN transfer. Collection preferred and potential buysers are very welcome to come and put it through it's paces at my home studio where there is a decent amp and no volume restriction. Based in South Northants between M40 J10 and M1 J15a[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Can be heard / seen here:[/font][/color] [media]http://www.youtube.com/watch?v=CutYNHBTaA8[/media] [url="http://s12.photobucket.com/user/Tom_Caswell/media/75RI%20CiJ%20Jazz/IMG_7628_zpscprualen.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/75RI%20CiJ%20Jazz/IMG_7631_zpsc3jujs8v.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/75RI%20CiJ%20Jazz/IMG_7630_zpsw0dycoj8.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/75RI%20CiJ%20Jazz/IMG_7633_zpsitagsm8o.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/75RI%20CiJ%20Jazz/IMG_7635_zpsuwd05uxx.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/75RI%20CiJ%20Jazz/IMG_7638_zpsbbf2oxi0.jpg.html"][/url]
  2. mrtcat
    Musicman Stingray 4H 3eq in black with maple neck. I only picked this up a couple of months ago and it's a really great stingray. Loads of bottom end and the very versatile 3band eq. Sadly I need to raise some money for a household repair so I'm going to have to let this and my CIJ Jazz go. Owned from new in 2001 by forum member TommyK it has been regularly gigged but besides a little chip in the body paint, as shown in the picture below, it's in very good overall condition. Currently wearing pretty much new Fender Flats (I can throw in some lightly used D'addario coated rounds too if needed) it has a nice low action and the neck is straight and true. I have recently replaced the pickguard with a new genuine EBMM one. It weighs 4.6kg (10lb 1oz) and comes with a generic hard case as seen in the photos. Postage possible at buyers expense / risk. No overseas postage unless arranged by buyer and only after funds have cleared by IBAN transfer. Collection preferred and potential buysers are very welcome to come and put it through it's paces at my home studio where there is a decent amp and no volume restriction. Based in South Northants between M40 J10 and M1 J15a Can be heard here: https://soundcloud.com/tom-caswell-3/live-medley [url="http://s12.photobucket.com/user/Tom_Caswell/media/Stingray/IMG_7637_zpssisycfs2.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/Stingray/IMG_7636_zps537ezd3r.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/Stingray/IMG_7623_zpsa8heha71.jpg.html"][/url] [url="http://s12.photobucket.com/user/Tom_Caswell/media/Stingray/IMG_7627_zpsxkbnnksq.jpg.html"][/url]
  3. mrtcat
    I picked up my Limelight P from Mark about a month ago. Absolute doddle from start to finish. You email / phone to tell him what you want then he lets you know pricing and asks all the necessary questions. If you wish to proceed you have to pay a deposit (a couple hundred £ if i recall although I gave him 50% upfront as that was better for me at that time) and the balance is due on completion of build (mine was 12 weeks). Mark is a lovely guy and my Precision is absolutely as I wanted it. Couldn't recommend the Limelight basses highly enough, especially for the money. Mark is very low pressure so just drop him a line and he'll let you know what he can offer and how it works.
  4. mrtcat
    Yes I tend to agree that, at the lower end of the scale, many of the compact combos are a bit naff. Like WOT I have a promethian and it's very good. If it dies I'll be getting a little class d head and a bf midget. That would comfortably do most of my gigs too.
  5. mrtcat
    Just spent the last hour and a bit in bass direct. Was at an exhibition in Birmingham so stopped in with my colleague on the way home. He's a relative newby player but a very successful businessman. The shop was dead when we arrived but Marcus was friendly and was happy to let us try some basses and answer any questions about the basses and gear in general. My colleague was thinking about a possible new bass and explained that he wanted something light and around the £1200 mark. Marcus let him try Dingwalls and sandbergs that he wanted to look at and then offered a suggestion of a new maruzchychk which was more expensive but might suit better. Instant hit. Job done. £1750 spent with a really nice strap thrown in. It was simply very good service. Mark came out and shook his hand at the end too which was a nice touch.
  6. mrtcat
    Years ago I used to play with a band that put the theme to the kids TV show "Rhubarb and Custard" into tge ending of status quo's "Down Down". Was fun but I reckon that would be a bit lost on Joe public these days as both the song and theme are wildly outdated.
  7. mrtcat
    Hey Bob, not quite in MK but only just down the A5 nr Towcester. Welcome to BC, I can see an MK mini bash in the future at this rate.
  8. mrtcat
    Keys player. If there's paid work involved he responds in seconds. Everything else he's just awol for. He's our biggest critic, wants complete musical control and claims to be the only one creative enough to decide how, where and what we do promo material wise but just never replies to any WhatsApp group discussion. We just pretend like he's not a member, make all the creative decisions without him and just fill him in on stuff at gigs. He still complains that he'd have done it better but we just laugh at him and tell him to pull his finger out if he wants to change stuff.
  9. mrtcat
    1.Japanese 75 ri jazz with east J retro 2.Stingray 3.limelight P 90% of gigs on number 1.
  10. mrtcat
    [quote name='JTUK' timestamp='1477481256' post='3162478'] Generally I would be thinking I'd advise the client on the best course which is to do it our way. So altho budget is a BIG consideration, playing what the punters wants to hear is not. The reason we'd be having the conversation with the client is because they want what we do so they don't get to call the set. If they want that, get someone else. If the band wanted to money that badly, they may need to consider throwing in a few numbers but mostly they don't. Yes, this does cost gigs. [/quote] Personally I would take the gig rather than take that approach. The guys in the band are essentially all pros except me and the singer. They will go where the work is and will happily flex to suit the customer if it means getting the gig. Playing only what they want, the way they want to play it doesn't pay their mortgages.
  11. mrtcat
    I totally understand about the feeling of being stuck to a strict structure and of course that's absolutely true. I think if you used click for every song in the set it would feel pretty restrictive but if you were in a 15 piece outfit with strings and horns etc you would be pretty restricted anyhow. As before though, it's all about context. We wouldn't use tracks for pub gigs if we ever did them. We'd just enjoy the freedom and lack of pressure but for bigger functions we often have lighting programmed too so that would stop us from straying from structure too. We don't use tracks on every song but probably about 40%. You can still change the running order on the fly. It really helps if your drummer is up to it. If he can keep the energy and feel whilst working with a click it's great. We have spoken prompts on the click which is a great safety net to keep everyone together although some of the guys prefer not to hear the click and therefore don't get the prompts.
  12. mrtcat
    A decent drummer will still hold it together when a stick is dropped and not miss a beat 99 times out of a hundred. If they're dropping sticks often then they need to sort something out or get sacked. Likewise if they are throwing in fills that pull the band out of time they need to go. One bad fill in a million is OK but if they're doing at least one a gig then forget it. Like JTUK says, this sort of thing should be so infrequent that it's not an issue.
  13. mrtcat
    Bass comes first. It's the source of the sound (well I guess my fingers are really the source but I'm stuck with the ones I have) and amps and cabs are only used on about 50% of the gigs I do now. For me it's a bit like recording and mixing studio stuff - get the sound right at source and you stand a far better chance of a great sound in the mix.
  14. mrtcat
    Many pub landlords / ladies are just really disorganised. This just highlights that. Poor of your bandmates not to back you up though. If you agreed a fee then you agreed a fee regardless of whether the venue was able to make money. If they didn't think it would be profitable on the night they should have cancelled sooner. I think a booking form with a few terms and conditions could be helpful for future bookings.
  15. mrtcat
    It's all about context though. A band with bass, guitars, drums, keys and two vocals using track to add a little something on a big arrangement like a 70s disco tune is completely different to one man with an acoustic guitar using tracks for bass, drums, keys, horns, electric guitar etc etc.
  16. mrtcat
    [quote name='bertbass' timestamp='1477222702' post='3160615'] Hate this sort of thing. It's just karaoke. Any decent guitarist doesn't need to thicken up his sound, just learn to play better. Anything on a backing track is totally unacceptable to me, so there!!!!! [/quote] Wow that's pretty militant. We use tracks for horns and strings. We have a great keys player but it always sounds more natural if he is freed up to concentrate on more piano, Rhodes, moog and synth stuff. If a drummer can work well with click then it's a great way to improve the overall size and depth of sound. Monitoring is really important if you are using tracks. We all use in ears for best results. It does take away some flexibility but, if used only when beneficial to the song, is a great tool to have. That said, if it was just to cover a shortfall in a guitarists ability to fill space, I'd be more inclined to ditch the guitarist. Why he needs to fill space is another question that should be asked. Unless you are doing big rock songs then you shouldn't need more fill from him.
  17. mrtcat
    For me the pinnacle isn't one single bass line. My personal pinnacle would be the time when I realise I can write and nail great bass lines and fills and solos on the fly which really complement a song. In terms of who I feel can do this currently then it's going to be Paul Turner, Joe Dart and a whole load of other groove players plus Pino Palladino. I totally understand that players like victor wooten are ridiculously talented but I can't really get into solo style stuff. In fact Nathan East doing his sir Duke thing a couple of years back made me sell my NE signature yamaha lol.
  18. mrtcat
    [quote name='Fisheth' timestamp='1476899124' post='3158308'] Limelights look absolutely delightful, what's the pricing on them? [/quote] Due to the poor exchange rate, the prices have just gone up a touch. Precisions are slightly less expensive than Jazzes as there's less parts but for a standard Precision you would be in the region of £850 and a standard Jazz around £900. Obviously these are custom items so if you opt for blocks and bindings etc it will push the price up. Your best bet is to drop mark a line and ask. He's really easy to deal with and is definitely not the kind of guy to push to make a sale. He'll just answer anything you want to know.
  19. mrtcat
    Thanks Karl, and thanks everyone for the kind words. Definitely feeling pretty lucky despite MrsTcat telling anyone who will listen that she's considering trading me for two 20yr olds.
  20. mrtcat
    [attachment=230191:Limelight P.jpg] That's the only one I have that's uploadable right now.
  21. mrtcat
    [quote name='Bass_Guardian' timestamp='1476712609' post='3156523'] Ahh I can't see the picture [/quote] My bad, try that.
  22. mrtcat
    After what seemed like an endless wait I can finally introduce my new bass!!! Today is my 40th birthday (seems I share a bday with Pino Palladino which can't be a bad thing) and when I came downstairs this morning this was waiting for me in the living room. My wife and family wanted to get me something special and I've always fancied a workhorse Precision. As I was born in 1976 then a '76 P would be the dream bass. That said I wasn't going to push my luck and ask for £2k's worth of something special and to be fair I probably wouldn't take a proper vintage bass out of the house. Therefore we decided a nice Limelight replica would be a great option. I contacted Mark at Limelight way back in April to get the ball rolling. He was absolutely a pleasure to deal with at all stages and he agreed to hold on to the bass until early October because we were visiting Devon then and I really wanted to be able to pick it up in person. Mark was really welcoming when I arrived at his HQ to collect and we had a really good chat about basses, playing and bands. I was really glad to get a chance to meet the chap who built a guitar that I will own for the rest of my life (there's no way I could ever sell a bass that my family had all chipped in to buy me for a milestone birthday). The bass was swiftly confiscated from me by my wife (ok I admit I sneaked it out of the cupboard when she wasn't looking) and I wasn't allowed to have it until today. So here it is. A Limelight 1976 P replica in Olympic white with a light relic. It plays beautifully, sounds huge and I'm a very happy fella today. [url="http://s12.photobucket.com/user/Tom_Caswell/library/Limelight%20Precision"]http://s12.photobuck...ght%20Precision[/url]
  23. mrtcat
    Mark made my Limelight 76 precision. I picked it up from his house in Devon a couple of weeks ago. He was an absolute gent and clearly passionate about basses. I couldn't be happier with my new bass and will definitely be ordering a nice 60s Limelight jazz next. He's very easy to deal with and knows his stuff.
  24. mrtcat
    [quote name='mcnach' timestamp='1475712613' post='3148226'] cool! I like your red cabs too, what are they? [/quote] Haha yes they must look kinda familiar to you ;-)
  25. mrtcat
    [quote name='chris_b' timestamp='1475921229' post='3149743'] That's not an answer. You can always hear the PA, even from behind it. When you're using IEM's you're shut off from all of the FOH so how do you maintain a balance out front through out the gig? I'm asking the question because maybe the guys using IEM's have solved what to me seems like a show stopper, unless you have a sound man. I've not been in many bands that were able to maintain a balance using backline, but you can hear when the band and volume is going out of balance, but how do you address this with no backline and when you're cut off from the PA using IEM's. [/quote] I wouldn't adjust the pa from the stage whether I use iems or not. If you have a monitor wedge in front of you then you're not hearing what the audience hears so any adjustment to pa is going to be mostly guess work. We do a decent sound check before the gig and don't adjust it. On gigs where I use iems the process is exactly the same. I don't put my in ears in until after soundcheck. If at any point there was a problem with the foh sound I'd have to go out front to fix it regardless of whether using iems or not and if using them I'd just pop them out to hear what's going on out front.
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