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Everything posted by BigRedX
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IME stick noise is actually surprisingly loud. I used to rehearse with a band which had a drummer using an all electronic kit in my house and by the time we'd turned the overall music volume down to a neighbour-friendly level the noise of the sticks hitting the pads was drowning out the actual triggered drum sounds.
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[quote name='Paul S' timestamp='1444748462' post='2885577'] And as long as a piece of string! I have seen the figure of 4.6kg mentioned somewhere on the interweb, which could be about right? I like the shape very much but probably too heavy. [/quote] That sounds about right IIRC. About average for one of my basses. I have a feeling that they might have gone out of production again. When I sold mine about 18 months ago it went to a buyer back in Japan.
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[quote name='Low End Bee' timestamp='1444744248' post='2885526'] What's the going rate for one? I really like the look of these. [/quote] [url=http://tokai-guitars.co.uk/index.php?page=shop.product_details&flypage=shop.flypage&product_id=17&category_id=6&manufacturer_id=0&option=com_virtuemart&Itemid=31]In theory you can get a new one for £899[/url] but I think I paid around £400 plus shipping and import for mine, so on reflection it might only be slightly overpriced provided it is in good and 100% original condition. The bridge is a terrible piece of design if you need to adjust the intonation though.
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The body is hollow and lined with foam to prevent feedback so they are about the same weight as a standard 4-string bass. Despite the fact that it's a rare colour that is massively overpriced. Edit: I never had any feedback problems with mine (which is probably the one that Jon had previously seen on eBay). I don't use masses of distortion, but it did have a fair bit of valve drive to the sound and it was OK with that. Having said all that I did get mine directly from Japan because all the examples I'd seen for sale in the UK had so many casting marks and blemishes on the body that they looked like seconds.
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Which is exactly why deps don't work for most originals bands. If you could afford to pay a dep a decent amount for the time and effort they needed to put in to learn a set full of unfamiliar songs with non-standard bits in them, you could probably afford to employ someone full-time to do the job
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IME deps don't really work in originals bands. We've done it in the past to get around our revolving door guitarist and drummer problems, but it's never been ideal. They rarely look the part on stage, and we've had some spectacular f***-ups on stage with musicians who hadn't taken the time to properly learn the songs - on a casual listen our stuff sounds fairly straight forward but there's lots weird bar counts and added or missing beats in most of the songs. The worst one was a drummer who managed to f*** up the single both in the main set and again (in a different way) when did it as the encore.
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It's all down to the type of bands you play with and how busy they all are. To be brutally honest if you are in a covers band none of the audience really care who is on the stage so long as they are performing their parts adequately. You can even replace the singer - I know from experience in the covers band I used to play with who normally had a girl singer, but on a couple of occasions when she was unable to do the gig, the previous (male) singer stood in for her (with an appropriately altered set list) and I never heard any complaints from either the venue or the audience. I've been in two bands at the same time on 2 occasions. The first time it was reasonably easy. Both bands had different set rehearsal days and only gigged about once a month. On the second occasion it went less well. Both bands (quite rightly IMO) assumed that they were the most important and although one of the only did a handful of gigs a year, inevitably there came a time when both had a gig on the same evening. That one experience made me realise that being in more than one band was unfair to both of them, and therefore I quit the less busy one to concentrate on the other. The rule in the Terrortones is that if you also want to play in another band, we come first. Gigs are always the problem. Realistically unless you are on the bill with a band who are guaranteed to pull a good sized audience to a midweek date, there is little point playing on any day other than Friday or Saturday. That pretty much limits to gigging opportunities when you have musicians who play in multiple bands. Any band that is any good should be able to fill both of those days nearly every week without problem. We've had problems with guitarists being in multiple bands in the past. One ended up being dropped from most of his other bands because he was so busy with us he no longer had adequate time for them, and the other we had to let go because his other musical projects were meaning that we had to turn down too many good gigs. These days I really don't have time to play in more than one band. I'm far too busy the one I'm in and TBH if I was able to find the time to do something else musically it mean that there was something seriously wrong with my current band.
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[quote name='Woodinblack' timestamp='1444673496' post='2885006'] It looks the same style as the firebrands that came slightly later, with a control panel like the LP Recording. But yes, it certainly looks like a SB 450 that someone has replaced the bridge on for a modern version [/quote] According to the Fly Guitars web site the 3-point bridge was fitted from 1973 as standard. The only non-original item I can see is the extra mini-toggle switch on the control panel.
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[url=http://www.flyguitars.com/gibson/bass/SB.php]Yes - but it's an SB not an SG bass[/url].
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Having had a second look it could be that Schaller Bridge. When I first saw it I thought it was a Badass II. The string spacing in each course is way off though. Only the E string pair look vaguely right, plus the strings are the wrong way around from the normal octave string on top arrangement.
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[quote name='Highfox' timestamp='1444558925' post='2884013'] I'm afraid I can't agree with that. [/quote] No basses don't all sound the same, but within the context of the band sound they can all be made to sit properly in the mix with a few tweaks in the signal chain.
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IME having a single saddle for each pair of strings makes an 8-string bass unplayable due to tuning issues above the 7th fret.
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Yes indeed.Provided I could find someone to make me a 5-string version.
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All my basses sound like basses so I use whichever one looks right for the band. For the Terrortones currently this is the Warwick Star Bass. If I was auditioning for a new band I'd probably take the red Gus as this is the best playing and most versatile sounding and it makes it clear that I'm not a conventional musician. Any band that had a problem with it is very unlikely to be a band I would want to be a member of.
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[quote name='JPJ' timestamp='1444502031' post='2883757'] And less than 48 hours after collection, she's out earning her keep :-) [url="http://smg.photobucket.com/user/JPJ/media/straightout_zps8m1giuq3.jpg.html"][/url] [/quote] One of the few times that I could do with a "like button" on Basschat.
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Great to see this bass go to a good new home.
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Learn how to sing.
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Poll, how many many basses have you got?
BigRedX replied to PaulWarning's topic in General Discussion
Used to have quite a lot of guitars and basses. These days after selling all the ones I wasn't using I've still got more than I really need. However given sufficient storage space and cash I'd have loads, and at least 2 of anything I was using regularly so I had an identical back up instrument should I need it. -
[quote name='Bilbo' timestamp='1444297786' post='2881932'] The one that gets me every time is Martin Brierly's Rickenbacker on Dave Greenslade's 'Time and Tide' LP (every time 'Animal Farm' appears on my ipod. [/quote] Which is why good or bad tone is entirely subjective. As a Greenslade fan there is very little I like about the bass guitar sound on any of the Time and Tide album.
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Recommend me a CD writing/duplication/printing service please!
BigRedX replied to cameltoe's topic in General Discussion
[quote name='cameltoe' timestamp='1444245965' post='2881594'] Mastering to the tracks individually has been done, but I'm concerned there may be a slight difference in volume as three tracks were recorded at Cube studios in Cornwall, the other two at Sawmills. No problems when taking tracks on individual merit, but I'm thinking there may be a difference when listened to in sequence. Would re-mastering then solve this issue if there is one? [/quote] Getting your individual recordings to sound right in sequence is one of the main points of having the recordings mastered in the first place. What you need to do is get the original un-mastered mixes and supply them your mastering house of choice along with a running order. -
Recommend me a CD writing/duplication/printing service please!
BigRedX replied to cameltoe's topic in General Discussion
[quote name='charic' timestamp='1444224366' post='2881309'] Out of interest what kind of rate are you talking for mastering with Formation? [/quote] IIRC mastering for the album cost around £400. That included 3 revisions to masters (including 3 extra tracks that we didn't eventually use) and different versions for cutting the vinyl and downloads. -
That's a shame to hear about the Jetsonics current inactivity. Good luck with your quest to find a new band!
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Recommend me a CD writing/duplication/printing service please!
BigRedX replied to cameltoe's topic in General Discussion
[quote name='cameltoe' timestamp='1444215893' post='2881155'] If they are astute enough to notice/adjust any obvious differences in volume this would be useful too, as the songs were recorded in two studios and mixed by two separate engineers. [/quote] To get the best sounding CD you really ought to have your recordings properly mastered before sending them off to have the CDs made. This will also help to make the EP sound like a whole and not a bunch of different sounding recordings. I would recommend [url=http://mastering.ninja]Formation Audio[/url] who have done an excellent job on the Dick Venom & The Terrortones releases including our forthcoming long player. -
Recommend me a CD writing/duplication/printing service please!
BigRedX replied to cameltoe's topic in General Discussion
[quote name='cameltoe' timestamp='1444219678' post='2881224'] That's interesting, never knew that. Can you recommend a place for orders above 500? We don't want or need that many CD's, but we'd like them to be half decent. [/quote] Disc Wizards is still a good choice. Glass mastering is expensive (a couple of hundred pounds IIRC) but after that the CDs are cheap and don't get significantly cheaper unless you order tens of thousands of CDs. On the other hand CDRs are a lot more expensive per unit, but there's no glass mastering to take into account. The actual cross-over point comes at about 350 units when it become cheaper to have 500 glass mastered CDs manufactured rather than having CDRs. However it might be worth getting in touch with [url=http://www.mobineko.com]Mobineko[/url] who specialise in short runs. I've just done an on-line quote for 100 and 250 units and the prices looks more in line with CD manufacturing rather than CDR duplication, but I would ask the question before placing an order. -
Recommend me a CD writing/duplication/printing service please!
BigRedX replied to cameltoe's topic in General Discussion
For small runs (under 500) you are going to get CDRs and not properly manufactured glass-masterd CDs. This means that they won't have the same lifespan as a real CD. If you are OK with that I suggest that you get in contact with [url=http://www.discwizards.com]Disc Wizards[/url] who I have used in the past and been impressed with the speed and quality of their service.