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shizznit
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Everything posted by shizznit
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I had a SansAmp Bass Driver many moons ago for direct recording and it was the beans. I used it live for my DI to the FOH desk and was pretty darn good. Highly recommend them. The EBS MicroBass II is a very good piece of kit too. The beauty of using a preamp/DI for direct recording is the complete silence you get. No cooling fans whizzing away whilst you play is quite nice. Most of all...they are very portable.
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You never know, the poor guy was probably told this bogus info when he bought the bass himself and took it for gospel being none the wiser. Happens all the time.
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[quote name='the boy' timestamp='1346910643' post='1794676'] Made me giggle. Your mentor touches something. [/quote] Hehehe!! Sounds wrong now that I have read it back to myself! I never pressure my students to book a lesson every week as if they were learning to drive. It's not down to learning aptitude for each individual, but more to help them build dexterity in their playing which they are not going to be able to do in an hour lesson...that comes with practice in their own time. I have a good bond with my students and sometimes they just want some advice and guidance over a coffee, which doesn't really require a formal lesson. As long as they pay for my Espresso I am happy just to have a chat!
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Still for sale! -
I teach 4 students at the moment, but I also visit my mentor for a lesson every 3 or 4 months. Sometimes its just a jam or he touches on something that might interest me theory wise or sharpen up my playing technique. Never too old or wise to have a lesson!
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Can't find my digital camera, so I had to rely on my useless iPhone camera! Here's my lovely 55-02 in Inca Silver (uber rare), rosewood fingerboard and with original Barts. Built for the NAMM show when they showcased the Skyline models for the first time...this one is number 24 ever made! It's had a hard life living with me, but I could never part with it. Sounds immense and plays beautifully! [attachment=117621:IMG_0686.jpg] [attachment=117622:IMG_0688.JPG]
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[quote name='Dingus' timestamp='1346779016' post='1793129'] Were/ are you the fellow who was in a video for Warwick checking out some basses either at the factory or backstage before a gig, I can't remember which ? It's just that the maple Dolphin rings a bell in my distant memory, and it was a fair-haired British guy from a signed band playing it, I seem to recall. [/quote] Ummm...I can remember doing a silly video thing before a gig at the Astoria for MAD Music who were the main UK distributor and artist rep's back then with Glen Diani whose band was headlining that night, but I am sure I didn't have my Dolphin or the Thumb then...I dunno...my memory is a bit fuzzy...maybe. Besides, my Dolphin didn't see much stage time. I had a couple of beaten up and modded Corvette Proline's and a Streamer LX which I mostly played live. My Dolphin had a dark brown translucent high gloss lacquer finish...does that ring any bells?
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Anyone tried making their own pickups?
shizznit replied to Damonjames's topic in Accessories and Misc
I wouldn't have the patience or skill to build my own pick up. It's not as easy as you think. -
[quote name='cloudburst' timestamp='1346883978' post='1794606'] Not making any comment on what this bass is or isn't....but I thought that you only tended to get the skunk stripe with maple fingerboards, as it was necessary to cut a channel in the back of the neck to install the truss rod, whereas with rosewood, the fretboard would be lifted to install the rod. CB [/quote] Hmmm...I had a Silver Series Squire J that had a rosewood fingerboard and a skunk stripe. Those models were built by the Jap's in the early 90's too I think.
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I didn't know that there was a Lakland Porn thread! Wait a mo...I have to grab my camera! BRB
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'Relic' instruments are getting on my nerves a bit now, especially homemade ones. I tell you what...I will see if this can transfer the relic method to other items in life. I'll leave my car under a tree for a few years, smash a couple of windows, scratch the paint with an angle grinder, place some random fag burns into the seats, deflate the tires and slap 35% more onto the resale value. Anyway...about the bass. I agree with pst62. The giveaway is definitely the neck. I have never seen a MIJ Squire (circa '90-'99) bass with that logo on it. Also, the heel plate looks completely wrong too. Shouldn't it be bigger? MIC P's and J's are normally that small (I might be wrong, but pretty sure).
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I use a 210 for small gigs and it copes really well. It doesn't generate the same amount of air pressure behind you as much as a 410 obviously and placing the cab on the stage whereby you can hear yourself clearly is a bit tricky. If you play with a drummer that doesn't hit that hard then a 210 will do the trick. I play in two bands and the 210 is ample for one band and the 410 has to come out for the other as that drummer strikes with a heck of a lot more gusto and everyone else in the band responds by turning up louder, so the 210 gets swamped a bit.
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[quote name='ojplaysbass' timestamp='1346775352' post='1793059'] PM'd [/quote] Replied
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[color=#ff0000][b]*THIS AMP IS NOW SOLD*[/b][/color] I have some kit to sell that has become surplus to requirements after a couple of years of GAS. I'll be posting more kit for sale as the day passes, so keep your ear to the ground! [color=#292929][font=Arial][u]Euphonic Audio iAmp 500 (white face)[/u] - £250 collection / £270 delivery These amps are quite rare as they were originally built by Ashdown for the UK market in limited numbers when EA were starting up and has a very distinctive white face plate instead of the usual black or newer brushed chrome models. It has the same features as the black faced models, but also has some other handy functions which are unique to this model. An absolute dream to use in the studio and does a belting job on stage...you will be very hard pushed to find an amp with more tone crafting features and channel processing capabilities as this does.[/font][/color][list] [*]A nice unique feature of this particular model is the built in Sabine tuner when switched on can be muted or kept on as you are playing...uber handy! [*]Mixable series and parallel FX loops [*]Two line outs with level control [*]DI out with level control [*]Remote footswitch mute (footswitch not inc. in sale) [*]Deep/Thumb/Presence/Bright presets which are work like pre-shape filters for instant scooped or warm old school tones. You can mix any of these presets together whenever you want to produce some very distinctive results. [*]Separate active and passive inputs with selectable 10dB boost and controllable gain. Very handy for players that switch between electric and DB during the gig [*]Stereo headphone out [*]EQ: Lo, Lo-Mid, Hi-Mid, and Hi all with boost/cut and variable frequency controls (Lo-Mid and Hi-Mid have half/full Octave Q switch) [*]Flat/Tone post gain control [/list] [color=#292929][font=Arial]In a nutshell...this is one heck of a fun amp! It actually has more features than the new EA Pro model or any other EA amp. A truly stunning piece of kit. Perfect for studio use, but sounds great through any type of cab. The amp does not come with a case and I do not have the rack ears as they didn't come with the amp and you had to buy them separately at that time!? Daft I know. Never got round to buying them as the amp very rarely left the house and has sat on a desk most of its life. This amp is in very good [/font][/color][font=Arial][color=#292929]condition.[/color][/font] [color=#292929][font=Arial]I am looking for [u]sale only[/u] for this amp. PM me if you fancy taking this beauty off my hands or if you have any questions.[/font][/color] [attachment=117479:IMG_0676.jpg] [attachment=117480:IMG_0679.jpg]
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I set my treble completely flat on mine and that alone has plenty of perk even when my amp is also set flat. Has to be something else, as Andy mentioned above.
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Martyn has always been very attentive and friendly towards me when I have been there, even though he knows that I have never spent big bucks in there. But surprised to hear that (if it was Martyn at the front of the shop when you visited)
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[quote name='lowdowner' timestamp='1346615351' post='1791295'] But - and this is a genuine question - you have *loads* of basses and equipment, why don't you get another one if it's that good? Are the new ones not as good as the old, or...? [/quote] Good question. Back then I was a working musician under contract and I bought that particular bass out of my advance funds along with a couple of other Warwick basses. Couldn't possibly afford to buy one now. After my deal folded I was broke and I had to sell that bass along with 3 other Warwicks I had (apart from the Thumb which I still have today). The Dolphin I had was built in '04 and was quite different to a usual model. Mine had a walnut body with a quilt maple top, a 5 piece maple and ovangkol neck. To be truthful, I ordered that bass on a gamble as I never even played a regular model before that. Over the years I have played basses made from the early 90's up to present day. Earlier basses don't have the valute on the back of the neck just below where the headstock is angled. I actually prefer that as I find the valute size on Warwick necks a bit too big and a tad uncomfortable when playing around the notes on the 1st fret. Mine had a valute which didn't bother me at the time, but when I play one without is feels better to me. Tone wise, Warwicks sound great from any decade of production IMO. That has never changed.
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I owned a custom Dolphin Pro I 5 and was simply a work of art and an incredible tone monster. IMO that model is in the top league of best 5 string basses that money can buy. Miss mine terribly and one of the biggest regrets I have letting that one go.
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+1 Martyn's crew are the best in that part of the country IMO and probably have the best stock of bass kit in the country. A great place to spend an hour of your time.
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The first proper working band I played for when I was 20 handled my departure very poorly. The singer and guitarist who were very close friends of mine came to my house and told me the band had split. Soon afterwards I found out the truth. I had heard from several people within our circles that they were told by them that they sacked me because I wasn't up to scratch and they wanted a player to join them for a big tour during the summer. That was very hurtful that they lied to me and didn't have the balls to talk to me about any issues they had. They bad mouthed me to my friends and it was all very upsetting and embarrassing. So, they replaced me with a guy that never played bass before and didn't own his own bass!? Thankfully, a lot of my friends saw through the bullsh*t and I had a lot of support from them, but at the time I felt that two of me closest friends stabbed me in the back. The singer apologised for the situation a couple of years ago and were are civil towards each other again, but the guitarist still thinks he did nothing wrong after all these years. Over the years I have seen them both start bands and nark off a lot of talented musicians in the process. I have always been better without them and so have lots of other musicians. I had the final laugh though. My replacement got arrested at Galstonbury before they were due to play for having £600 worth of class A drugs on him.
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Most pubs (large pub chains or managed houses) will have a cap for the amount of money they pay out to 'entertainment acts' no matter how many punters come in through the doors and how much money is taken over the bar. I can't remember the last time I got paid more than £400 for a pub gig (public holidays, Christmas Eve and New Years Eve excluded). Normal rate around these parts...roughly £200-£350. Tenanted houses can pretty much pay you want they want or what you have agreed to. If you think the fee is a tad cheeky you can always ask to sweeten the deal with a couple of free drinks for the band members or even a meal on the house. Don't be afraid to ask. It's worked for me on loads of occasions!
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I'm not a Ricky fan, but I have to admit that yours is a beaut! Congrats! Oh...your Dolphin is pretty sweet too!
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Quick update... ...I spoke to Jon today to see where the build is at. The body is finished and lacquered and the neck is almost finished. We have been discussing how to shape the reverse headstock as the standard 'shape 3' design looks a bit bulky against the sleek appearance of the Uberhorn body. So, for now Jon has left the headstock as a paddle to sketch out an alternative shape which will be unique to this Shuker instrument (or perhaps until someone else orders an Uberhorn with a reverse headstock after this one!). I felt quite guilty as I knew the top would take Jon ages to fill in all of the hundreds of tiny holes and cracks and I wasn't wrong! Yeah, that took a long time to do! But, he is really pleased with the results and told me it was worth it as the body looks stunning! Once Jon has cut the headstock then it will be time to throw in the pup, sort out the electronics, attach the hardware, slap on some strings and hey presto! No pics yet, but Jon has assured they will be on their way over to me me very soon. Quite excited that the bass is not far away from being completed!
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chrismuzz has a point. When I played in rock bands years ago I purposely made sure that I had a bit of fret buzz to get a more aggressive sounding tone and I absolutely battered the strings when I plucked. It's important that your string action is not too low whereby the strings bottom out on the frets and choke. It will sound like you are playing a bass sitar! If you are not sure how to set up your neck for lower tunings you can always take it to a tech and explain what style of music you want to play the bass for. They will have a pretty good idea how to set it up for you judging on your playing technique.
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First gig you went to - who was in the band?
shizznit replied to paulconnolly's topic in General Discussion
Def Leppard at Shefield 1987. Loved them when I was a kid. But, I lost interest in them shortly after seeing them live. Dunno why. I still think Phil Collen is a stunning guitarist though.
