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bassist_lewis

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Everything posted by bassist_lewis

  1. bassist_lewis
    These are pretty rare, they were only available around 2005/6, and this one is in very good condition (I've only used it couple of times at home). I have the original box and instruction manual, see pics for condition. Will consider trades for other octavers (especially 3Leaf Audio, if you're willing to part with it!) or drives/fuzzes. £5 postage.
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  2. bassist_lewis
    Of the five basses I own there are two that haven't gotten much attention for the couple of years, the Callowhill MPB and the Acinonyx, but I have no intention of moving them on. The Callowhill was my main bass when I was playing full time, and the builder (Tim Cloonan) died about a year after I got it. Despite the fact I have been asked to name my price on a couple of occasions there are too many memories tied up in it to sell. And I just like the Acinonyx. I got it for about half what they go for now and I like the very particular thing it does (which is exactly why it doesn't get played much!) I keep the basses I like and sell the ones I don't.
  3. bassist_lewis
    I've used 100 and 105s on most if not all of my basses (all short scales) and not felt either was better or worse. I did feel that stainless steels had odd overtones above the 7th fret, but that could be a twisted string or that particular bass (Callowhill). I'd try stuff and see what gets closest to the sound in your head.
  4. bassist_lewis
    LaBella do a set of flats specifically for the through-stringing the Mustang. think they're called FL-MUS or MUS-FL. I've got some on my JMJ, great strings.
  5. bassist_lewis
    Not sure where you're based but you can get short scale D'Addario Nickels here: https://www.stringsdirect.co.uk/collections/bass-guitar-string-sets/products/daddario-exl170s-nickel-wound-45-100-bass-guitar-strings-short-scale?_pos=4&_fid=8a1319f85&_ss=c Finding the right strings can take a lot of time, experimentation and money, but it is worth figuring out what gauge, construction and material you like. Strings Direct is probably has the most options, though bass Direct has a decent selection. Personally, my favourite strings are (currently) Dunlop steel flats (haven't tried their rounds yet).
  6. bassist_lewis
    Pretty sure Viv has said he took a lot of inspiration from Shergold.
  7. bassist_lewis
    Update on the E string intonation: I swapped it for a spare Dunlop flat I had lying around and intonation (and tone) are markedly improved! Maybe that's why they're so expensive!
  8. bassist_lewis
    I also have an Acinonyx and a Callowhill 🤪
  9. bassist_lewis
    I've been the proud owner of a Serek MW2 5-string and a Wilcock Malarkey 4 for about a week now, so I can finally answer this question. I'll outline the similarities and differences, though ultimately I don't think anyone could go wrong with either. First off, build quality is top notch on both (another user commented on sharp edges on the Wilcock but Viv seems to have addressed this). No high frets, no sharp edges, no gaps at the neck join (Serek is a set neck). The necks, aside from being a 4- and 5-string, are quite different. the Serek is a much deeper C-shape (don't know about the MW 4s), while the Wilcock is just a bit shallower than my JMJ, but doesn't feel like a toy. The Serek pickups are louder, which is to be expected from Nordstrands, but input gains on amps are a thing. I've found that the Serek can get a very low action with out any 'snap' (I prefer a medium action, so my 'low' may be higher than yours), while the Wilcock will get that 'snap' more easily. My only gripe about the Wilcock is I can't get the E string intonated perfectly (its 20-30 cents out), so I'm going to replace the screw in the bridge saddle. I don't think anyone would be disappointed with the quality of either instrument, the only thing that will push you one way or another is your personal preference. You can easily try a Wilcock at the Bass Gallery (that's where I first played one), Sereks aren't as easy to try out, though not impossible.
  10. bassist_lewis
    Played my first Wilcock over 2 years ago and finally placed an order last year. Arrived today. Its awesome! Only had a short noodle on it but its sounds killer, love the 'bridge' pickup, getting used the mudbucker, but overall it plays great and its PINK!
  11. bassist_lewis
    I played a support slot in Nice 'n' Sleazy's in Glasgow for some London band. Their gear was absolutely insane. Guitarist had a Suhr stack (never seen one before or since), keyboardist had 2 Nords, full in-ear rack system. The place was just about empty apart from our singer's 5 pals. Anyway, the other band turned out to be Rag 'n' Bone Man. I also supported Candi Statton at that boat venue in Glasgow.
  12. bassist_lewis
    I got a message from this exact user on my last 3 listings within an hour of them going live. The request to complete the transaction off the site is a dead giveaway.
  13. bassist_lewis
    That was the one factor I missed: your own ears!
  14. bassist_lewis
    I have a 30" scale Serek Midwestern 5 and the low B is great, possibly the best I've had, and I've owned 34 and 35" basses. Before I got ym first short scale 5er (Callowhill) I did a LOT of research into scale length and the effect it has on the quality of a low B. The bottom line is that scale length is only one of several factors that contribute to a great sounding B string. The overall construction of the bass - neck material/dimensions, how it's built (1/2/3/5 piece etc), the quality of the neck joint and even just the properties of the piece(s) of wood used - all have an impact on the sound. I believe Jake Serek gets two bits of flat sawn wood and glues them together in such a way as to create the same effect and stability of quarter sawn. In the past Alan at ACG has used carbon inserts to add stiffness to his short scale 5er necks. The string you use will also make a difference, but there don't seem to be hard and fast rules as to what strings work best, though a lot of players are finding that a lower gauge is (counter-intuitively) better. Electronics have some impact, but they will just enhance what is already there. They won't compensate for a bad B. What I did find interesting was a story from Spencer Lull (I think) of Mike Lull bass/guitars on a the SBL podcast (somewhere on YT). They once built a 34" scale 5 string bass and the B was awful. No one understood exactly why, but it wasn't good enough to sell, so they just rebuilt it (poor buyer was made to wait!). My takeaway is that every builder has their methods of getting a good B, regardless of what scale length they work with, but even then there's an element of chance/magic/je ne sais quoi when it comes to getting a great B. Hope that helps!
  15. bassist_lewis
    They don't fit otherwise!
  16. bassist_lewis
    As we're doing shelves now
  17. bassist_lewis
    What are those along the top??? I'll be uploading my shelf pic imminently
  18. bassist_lewis
    These are really beautiful and solidly built boards. People always comment on it whenever I take it out gigging. Lots of space for pedals on the top deck and underneath (see pics/specs below), and comes with loop-side velcro attached. Selling as I'm downsizing to a smaller setup. The board has three Connector Box 'holes' that are very easy to swap over. Currently it only has jack and XLR outs (I plugged straight into a tuner), but you can get other modules from the Schmidt Array site. Sale includes the lid (stickers will be removed before posting), light and gig bag. Specs: 350 mm wide hybrid "flat top" / two level pedalboard • the upper deck is 105mm deeper than our standard decks and therefore has space for two rows of pedals. It is mounted on locking hinges, so it remains in the vertical position when opened and has ball latches underneath to lock it in the closed position when down • the front area is prepared for you to install various different switching systems. • the angle of the upper deck is ergonomically designed for foot switching comfort • the inner area also has space for power supplies and pedals • top deck and the inside floor are finished with high quality Velcro • the side panels are finished with rubber to grip the stage and also to act as protection and Lid location • Supplied with 1 x IEC power socket (male outside/female inside) Pick up from Edinburgh would be ideal, but can meet up at a reasonable distance. Delivery to mainland UK and Europe is £60.
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  19. bassist_lewis
    Love me a Jive, and the new paint work (have to resist buying every time I see one)
  20. bassist_lewis
    Mightn't we say it is very obvious when it's in your signal chain and leave it at that 😂
  21. bassist_lewis
    How do you find the MBD? I was eyeing the one on Joe's Pedals
  22. bassist_lewis
    This is probably my favourite documentary ever. I'm a moderate Metallica fan (I prefer they early work), but I find the story told in this film fascinating. I don't agree with the OP that all they needed was another bass player; they got another bass player immediately after Cliff died and the mess we see is what resulted! To me, Lars and James are what you get when you have massive success very early in life: you believe your own b***s*** and can't see anything you do as wrong. They're fighting like 18 year old kids because they've never had to learn how to work with other people, and it seems James had A LOT of "stuff" he should have been working through rather than drinking and abandoning his family to go shoot bears in Russia. Kirk comes across as surprisingly reasonable the whole time, trying to bridge the gap between Lars and James and make the band work, as does Bob Rock. To me the therapist gives them a lot of tools for communicating with each other. You can very clearly track how their language changes across the film: they're asking if they want to 'go deeper' on something rather than getting into a fight, and Lars even concedes his love of the name Frantic when others disagree with him. I also love the therapist's jumpers, they are absurd. All the rich person stuff is hilarious to me. James driving his ridiculous Goth car in a knock off Wehrmacht helmet; Lars clearly being forced by his wife to sell his Basquiat painting(s) for millions of dollars; having drivers; Kirk with his California ranch and subscription to Rich Guy Magazine.
  23. bassist_lewis
    I've never used a switcher with it, but that's because I've only ever had 2 sounds I needed for one band. Leaning down to flick the switch looks a bit dumb I guess but its only two songs.
  24. bassist_lewis
    In my early 20s, before I was gigging professionally, I practiced 2-3 hours 5 or 6 days a week. At that time I would definitely feel the need to play, on reflection I think because I was worried I wouldn't make the progress I felt I needed to make to work as a musician. Then in my mid to late 20s I was gigging 2-4 nights a week or more, and I pretty much stopped practicing unless it was to learn songs for a gig. At that point I was glad to be away from the instrument that was my job. Now I'm a secondary teacher and I've been reducing the number of gigs I do a year (mostly weddings, though trying to transition to more original or interesting covers). I definitely have a feeling of withdrawal from the gigging more than the instrument itself, more out of habit as I spent 3 or 4 years gigging several times a week. My girlfriend tells me a get real weird when I don't have a gig on a Saturday night! I aim to practice or learn a song I wouldn't otherwise have to learn a few nights a week but life is tiring and busy. I haven't touched the bass at all this week (though I might take it to the jam later).
  25. bassist_lewis
    You are... but so am i... I tend to put it in the case as I would use it i.e. the case lid is opened away from me and the pedalboard is orientated as it would be when in use (top of the pedals are to the bottom of the bag). That way when I open it I can put it in position without rotating it. It does mean I'm carrying them upside down though... and that feels off...
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