bassbiscuits
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An Evening of Duran Duran BBC 4, Fri 29th June.
bassbiscuits replied to darkandrew's topic in General Discussion
Bog celebrity spot - i once had a pee standing next to Rod Hull (no Emu thankfully) in a pub toilet in Swansea. I said hello but I was being a terrifying drunk Welsh bloke at the time. Poor man! -
Definitely! The P has La Bellas too which I only discovered about two years ago doing some recording and have never gone back to rounds. They are a lovely pair - it's sort of a smaller brother to the P!
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Ah - was the replacement pickguard hard to find? I'm liking the idea of a pearloid one or even a redder tort than this. They're very likeable and playable basses - I wasn't sure what to expect but it's great.
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One of those situations where I'd been lusting after one of these for so long clearly I wasn't going to be happy until i'd bagged one - and here it is! Its beautiful to play - even though it's 30" it doesn't feel at all cramped compared to my regulr 34" precision - it has the same sort of proportions, and same very Fendery sound. It's a 2013 Made in Japan model, with a slab body, 7.25 radius and smallish frets - kind of slightly bigger than vintage. Really lightweight at 3.5kg and pretty well balanced too. The condition is immaculate - the guy i bought it from was retiring from playing and selling off his stuff - he'd barely played this, and never taken it out of the house. Genuinely could pass for new. Its just had a set-up by our local luthier here and now has a lovely low action and strung with La Bella Mustang flatwounds I'm gigging at a little festival next Saturday and itching to take this along - I really, really hope it's a keeper, as I've had to sell my Epi Jack Casady to help pay for it
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SOLD Epiphone Jack Casady bass and hard case
bassbiscuits replied to bassbiscuits's topic in Basses For Sale
Cheers Cosmo, Yes with the scratch being in the surface of the gold paint, it sometime appears dark and sometimes white, so it's quite hard to capture properly. I was still v annoyed with myself for doing it tho... -
AC/BG - i love it!
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Forgive me if this has already been asked.... Is there a rule of thumb to calculate/estimate how much string tension decreases as scale length gets shorter? A set of 45-105s feels looser on a 30" bass than it does on a 34" bass, right? But is it possible to accurately calculate what gauge would be needed to keep the tension the same? (For example when i play guitar, i use 10s on Fender scale lengths, but move up a gauge to 11s for Gibson.) Just curious...
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Now sold - thanks. Hello all, I'm selling on this lovely Epiphone Jack Casady Signature bass. It's a 2007 model, wonderfully made at the Peerless factory in Korea (unlike the newer Chinese-built models). It is beautifully set up and has been well cared for by me since I bought it in 2016. I've played a few of these and this is a really good example. It's strung with Thomastik Infeld flatwounds, with nice low action and zero fretwear. Its 34”, with a fully hollow body, one low impedance humbucker, controlled by master volume, master tone, and three-way Varitone impedance selector. The Varitone also gives you three distinct sounds – ’50’ gives you an acoustic bass sort of tone; ‘100’ gives you a fat, Precision bass-esque thud, and ‘500’ gives you a real growling, driven snarl. Great bass, full of very tasty, useable tones and a lot more versatile than you might expect. Excellent condition all over too, with only one noticable scuff on the paint between the bridge and the bottom strap pin. It's a very shallow scrape in the top coat of the gold paint, and while it is narrow and just in the paint surface, it is about an inch long and noticeable up close. Obviously it has no bearing whatsoever on the playability of the bass but I've tried my best to picture it. (I knocked it on a keyboard stand while in the throes of a gig, but alas that's the life of a working instrument I guess). It comes with a very good condition fitted Epiphone hardcase, with a plush fur interior giving a perfect snug fit. Overall weight of the bass is 3.7kg. It looks great onstage, and has been very useful for recording too. I’m not over the moon about putting this up for sale, but it'll help to cover the recent purchase of an MIJ Mustang. I’m after £425. I’d much prefer collection from Leicester LE2, or happy to meet up for a share of petrol money. I’m not keen to post this one.
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I did a gig standing in on guitar for an old couple's diamond wedding. We'd been told the old boy was a guitarist and sure enough he said he'd like to play Johnny B Goode, so I gave him my spare guitar and plugged him in. He asked what key, and I said A. Off we go. Throughout the song I could hear an annoying background noise, but couldn't pinpoint it and just ignored it. Afterwards the keys player pointed out that the old boy had actually just been playing the same A chord for the entire song.
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We were a five piece pub rock/indie band of blokes all aged between about 38-45 at the time. A drunk woman asked if we did any Girls Aloud. Jeez.
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I get annoyed by people who don't know the difference between "Yes I am aware of a song" and "Yes the whole band knows how to play that song." Which leads to conversations like: "hey mate do you know Delilah?" "Ah sorry man, we don't know that one." "What do you mean? You must know Delilah (starts trying to sing it to me at this point....).
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I've always felt that an audience appreciates a good gig with real momentum and excitement, more than they give a monkey's about tiny differences in tone. Maybe it's because i play bass and acoustic guitar, both of which involve just one sound thru the whole gig (fingers/pick and tone control etc doing the rest of the variation).
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Ah yes - being smacked in the teeth by a mic when a drunk person dances into the stand. Always goes down well. Its about as funny as people who shout "three!" when you are soundchecking the PA. Comedy gold that is.
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Punters who try to start a conversation or ask if you know a tune when you're still in the middle of playing/singing the previous one and can't hear a word they're saying anyway.
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Gigs where the organiser/agent etc has made a big deal about you turning up early, and youve left work early/rushed to be there. Only to find the event is running late and you end up sitting round for hours doing nothing. (ie every wedding gig I've ever done!)
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Noise limiters.
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1. Guitarists who make miniscule, imperceptible adjustments to their sound in between songs, delaying the start of the next song and killing any momentum (and emptying the dancefloor in process). 2. Members who have a long list of reasons why they can't possibly drive or help bring any gear to the next gig, because they're drinking/meeting friends there etc - so can you take all their stuff instead? 3. Alternative to 2, "So can i borrow your guitar/amp/PA etc instead for the gig?" 4. In the case of 3, then won't lift a finger to help you set up the gear that's for them, or pack it down or load it out afterwards. 5. Musicians who pick songs for the band to do 'because they are easy' rather than 'because they are good.'
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And now sold thanks.
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On hold now pending sale
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That's lovely. My 2007 JC is Peerless-made according to the serial number. The Peerless own-brand one looks like it has a shorter headstock and smaller tuners, so might even help tackle the neck dive a bit.
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Now sold. Thank you -
I've been using Martin acoustic strings for years now. I used to use D'Addarios but found they felt quite abrasive, and prefer the warmer tone of the Martins.
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When not playing the bass I'm mostly playing acoustic guitar and singing. Have been doing solo gigs for years, but stepped it up in the last 12 months. I also stray into the territory of electric guitar too, but not often on stage. You'll also find me doing life drawing down the local art college if I get half a chance, which isn't as often as I'd like.
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On Hold pending the usual gubbings
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Did your playing improve AFTER you left a band?
bassbiscuits replied to DaytonaRik's topic in General Discussion
I was in a covers band for 12 years up until last year. A lot of it was stuff was just bog standard pub indie, and also there was some ongoing friction not far below the surface. At the same time I got asked to join an original band to replace their old bassist. It was a breath of fresh air, and opened the way for me be really experimental on bass. We immediately starting writing new stuff and I came up with some of my most creative bass lines so far, with a real sense of meaningful input, instead of struggling to make my opinions heard in the previous band. Sadly the original band was put on hold a couple of months later due to some personal crises among the other members, but I've taken that sense of experimentation and freedom to my current original material.
