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BigRedX

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Everything posted by BigRedX

  1. BigRedX
    And a quick reminder that Hurtsfall will be playing the "In The Black Midwinter" festival in Sheffield next weekend. We're on first in the evening on Sunday 18th at around 7.00pm, but if you're into your gothic post-punk music the whole weekend is worth seeing.
  2. BigRedX
    Yes you can. Basschat should save where you are in your typing so that when you return to the thread and click "reply" everything you wrote previously will still be there. It's caught me out a few times when I've started to reply to a thread and then something else has come up, several days/weeks later I find I have a useful contribution to make, and much to my surprise my half finished reply come back up. I don't know if there is a limit to how many "drafts" you can have but in theory you could have one for every thread... However what's wrong with opening an extra tab/window or two (or more)?
  3. BigRedX
    Once again excellent stuff! Is it just me or is the vocal delivery reminiscent of Howard Devoto?
  4. BigRedX
    This is because on the whole UK luthiers have steered away from the Fender copy market, and so they should because IMO it is over-saturated at all price points. Generally UK builders can't complete with the US manufacturers let alone the Far East on price, so they have tended to stick with the custom market. Even those with set standard designs tend to build to order and adjust the specification to the customer's requirements. I'm not surprised that you didn't get on with Sei if it wasn't built specifically for you. When I went to pick up mine, Martin was still making some final adjustments, so while I waited he let me have play on another Sei - also 5-string and fretless - which was very nice but didn't speak to me like mine did when it was finally ready, as IT HAD NOT BEEN BUILT TO MY SPECIFICATION. This is whole point of the custom market; you get your chosen luthier to make what you want, not what someone else has specified and not what someone else might want should you come to sell it. If you are not brave and single-minded when you spec your bass you are unlikely to be happy in the long run. Production-line instruments aren't financially viable in the UK right now. For me the whole point of custom luthiers is that they offer something that the mainstream doesn't. If you are already happy with a production-line instrument why would you want a custom one? If you are not, then you need to be brave and specific exactly what you want when getting your bass built.
  5. BigRedX
    The Cure are a difficult band to pin down because there are so many different versions that have covered different musical styles. And while I'd agree that there are a lot of great songs that weren't singles there also a lot of filler on nearly all the albums. So rather than go and buy any particular album(s) stick their entire back catalogue on shuffle on Spotify and see what you like.
  6. BigRedX
    Two shots of the Eastwood Hooky in action on Saturday:
  7. BigRedX
    And the non-remixed version is out now:
  8. BigRedX
    Are you posting that to agree or disagree with my statement? I can't find anything on the website that says how many people work at "Manton Customs" other than they use the pronoun "we" but that could simply mean there are two of them or has been used make an organisation which is a single person sound more impressive.
  9. BigRedX
    Also most UK luthiers are small, often single person outfits and don't have anything like the overheads of Alembic or Fodera. I know Fodera bang on about how they are based in NYC when in fact they are down by the docks in Brooklyn (which is similar to saying you're based in London when the reality is that you work out of a unit on an industrial estate in Croydon), but even so I suspect that their rent/rates etc.are considerably more than than having a workshop in your back garden (Gus).
  10. BigRedX
    I don't know why anyone would do that. If you slacken off the strings for transit then really you need to slacken off the truss rod by an equivalent amount so the neck remains in equilibrium. I'm pretty certain that they don't come from Squier like that (my Bass VI certainly didn't and IIRC was almost perfectly in tune when it arrived despite having been shipped from mainland Europe).
  11. BigRedX
    That is very nice looking. It's probably just as well I find the neck way too narrow or I'd have got one too!
  12. BigRedX
    It's also one of those songs that is arranged so that the whole is much greater than the sum of its parts. IIRC the bass line on it's own is essentially meaningless in places and it only really comes together when all the band plays the correct parts.
  13. BigRedX
    I play in two goth/post-punk originals bands, and one of them is currently working on an original Christmas song for next year. The other has been playing a cover of Greg Lake's "I Believe In Father Christmas" at all December gigs for the last 5 years and which has gone down so well that this year we decided to put it out as a single:
  14. BigRedX
    There are lots of options for UK designed and built instruments. I have realised that for the majority of my playing years (almost 50 now) has been done with guitars, basses and synthesisers made here. In order: Self-made solid electric balalaika Self-made solid electric guitar Burns Sonic Bass (original 60s Made in London) EDP Wasp Overwater Original 5-string Bass FretKing Esprit V Custom (from the days when they were made in a workshop behind Musical Exchanges in Birmingham) Gus G1 Guitar Gus G3 5-string Bass Sei Offset Flamboyant Fretless 5-string Bass The only non-UK instruments I have spent any serious playing time with: Kimbara acoustic guitar (my first proper instrument) Korg MS20 Casio CZ5000 with a Yamaha KX5 Keytar Warwick StarBass II Burns Barracuda (designed in the UK, made in the far East) Eastwood Hooky Bass 6 PRO (essentially an exact copy of a UK designed and made Shergold Marathon 6 string bass)
  15. BigRedX
    Interesting, when I saw them in 1980 and 81 I'm pretty sure he was playing an Ibanez Musician bass rather than this Fender P.
  16. BigRedX
    This. If your bass is a short scale Burns Sonic Bass, pretty much any of of their short-scale strings will fit. They also made the only strings that ever gave me a decent note out of the low E on my Burns.
  17. BigRedX
    And if your cabs are for the listening benefit of your audience you also need to get out front around the venue to listen to how the sound changes in different locations. It's no good having a rig that sounds great when you're stood a couple of feet away from it and crap everywhere else, because you are the least important person from the PoV of sound. It's your audience you should be aiming at. That's why my on-stage requirements are simply that I can hear that I am in tune and in time with the rest of the band, let the PA do the heavy lifting sound-wise and trust the PA engineer will make me sound awesome FoH.
  18. BigRedX
    If you piled on enough options to a Gus you could reach that price point. A few years back I got a price for Simon to build me a Bass VI using his G3 baritone model as a starting point which ended up being about £6500, and that was without a lot of the additional features that you could add to a more conventional bass from Gus.
  19. BigRedX
    Gus:
  20. BigRedX
    WoT has hit the nail on the head. Remember all those establishments using recorded music to make the places more attractive to their customers, would have had to employ actual musicians or made do with silence in the days before it was possible to use recordings, so shouldn't the musicians who wrote and performed on those recordings benefit when they are used in lieu of the performers in person?
  21. BigRedX
    Other thing that you can't predict is that when you use two different cabs they will produce different sounds in different places in a room, depending on the projection/dispersion/beaming characteristics of the cabs combined with the acoustics of the room. This is yet another reason why mixing cabs is not a good idea. It's become a strange situation that for bass players the bigger and more impressive the gigs you play, the less important your choice of cab(s) becomes. The vast majority of gigs I have done over the past 20 years have had sufficient PA support for my rig (when I was still taking one to gigs) to be little more than a personal monitor, albeit a very impressive looking one. And for anything but the very smallest of stages it didn't even have sufficient dispersion to cover the whole stage, so I would be relying on the monitors to hear myself as soon as I stepped away from in front of my rig. As a result my conventional rigs got sold and replaced with a Helix and FRFR, and the latter is mainly used for band rehearsals.
  22. BigRedX
    If I can't be down at the front at a gig I might as well wait until it's available in format to watch at home on the TV.
  23. BigRedX
    We first started playing this back in 2017 when we asked to perform a Christmas song on a local radio show and it was a toss-up between "A Wombling Merry Christmas" and this. It's been part of the set for all late-December In Isolation gigs ever since. We finally got around to recording our version earlier this year and although we weren't able to properly emulate Slade and record it in LA in August, it was done during one of the heatwaves earlier in the year. So, I give you our version of the Greg Lake/Prokofiev classic "I Believe In Father Christmas". We've decided to release the storming Matt Pop remix first with our more conventional version and accompanying video (which we shot earlier in the week) coming out a bit closer to Christmas itself.
  24. BigRedX
    Thanks! In case anyone is wondering what I'm doing there, I'm using a pick to "bow" the higher strings giving a sound that's a combination of the typical plectrum scrape but with a proper note behind it.
  25. BigRedX
    Hurtsfall at The Lending Room in Leeds playing the Carpe Noctum night supporting Skeletal Family. Apart form some weird sound problems at the start of our set, due to technical issues for the headliners at the soundcheck which meant set up time for the other bands was somewhat truncated it went really well.The venue was pretty much sold out and there were even people dancing all the way through our set. Plenty of positive comments afterwards and we sold CDs and T-Shirts. Some photos of us on stage: Next gig on the 18th December at the "In The Black Midwinter" festival in Sheffield.
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