JamesBass

Looking at getting either of these for a home studio that can also be portable if needs be. What experience have BCers had with either?

I give you the Superlux PRA 628 MKII, this is a "cheap" copy of the Sennheiser E906. I'll be getting myself a Superlux after using it in a studio and it was great for guitar and some drums as well as the bass! http://www.thomann.de/gb/superlux_pra_628_mkii.htm

[quote name='Chiliwailer' timestamp='1399039059' post='2440341'] It's a commission sale so the shop are pricing accordingly to the owners wishes I guess? Ron who owns NoTom is a spot on Gent. I think the guy who got it from me is buying a house so is selling some lovely old basses, this one included. I doubt they'll get the full asking price. There's always the real 'sale price' and then the 'hanging on the wall price'! [/quote] Didn't know it was commission based! It's certainly an attractive bass, I'd have to save a bit more before I could even offer anything! Proxy car insurance being due aha!

[quote name='Mark_88MPH' timestamp='1398963772' post='2439531'] That's funny, it does play really well, thanks for not buying it! I don't think I spotted that, there was a 70s p that looked to have a single coil, but to be honest I was in tunnel vision just looking for a G3 that I didn't pay much attention to others, especially when I found the G3! Hopefully it won't take you too long to save up for the 66 [/quote] I expect it's gonna be a while yet! Glad you enjoy your new G3, I knew someone would snap it up soon, glad it was yourself after the issues you've had on eBay! [quote name='Chiliwailer' timestamp='1398976108' post='2439713'] That '66 used to be mine. I sold it here on Basschat last year for £3500, now it's up for £5995 in Denmark Street! Don't get me wrong, I was happy and realistic with the £3500 so I had a sweet smile when I walked in and was happy to see it again. Killer bass mate, I'm glad you got one in the end! [/quote] Wow, that's a mark up and a bit! They must've paid more than you sold it for to want that much for it!

[quote name='Mark_88MPH' timestamp='1398703818' post='2436768'] Thank you everyone and thanks for the link as well Well FINALLY I have some great news, took a trip to Denmark Street and after going in 3-4 shops I went into NoTomGuitars and what do I see sitting in a corner? That's right, a 1979 G3 Played it and got it. As Larry Graham once said POW I Gotcha! Also comes with original hard case and 3 years warranty and free setups in that time. [url="http://s1172.photobucket.com/user/S9_S12_Bass/media/G3/C9DEB3C4-0ACC-49F8-8AF7-23C3DBD7599D_zps4wikweyb.jpg.html"][/url] [url="http://s1172.photobucket.com/user/S9_S12_Bass/media/G3/B7E7AD92-DBA3-4486-9520-B4DFFC1AED13_zpseblevw8n.jpg.html"][/url] [url="http://s1172.photobucket.com/user/S9_S12_Bass/media/G3/E526629D-B79B-4769-B4F7-96F3F513DCA0_zpsqvazuwjz.jpg.html"][/url] [url="http://s1172.photobucket.com/user/S9_S12_Bass/media/G3/31963351-4342-4AC6-83BA-6D93646D22B0_zpsf9kyagrq.jpg.html"][/url] [url="http://s1172.photobucket.com/user/S9_S12_Bass/media/G3/185D1FE7-42B1-449E-91CF-6A6093F5DBE6_zpszczyh2ga.jpg.html"][/url] [url="http://s1172.photobucket.com/user/S9_S12_Bass/media/G3/A9714A94-3B82-4988-A72A-24A48C6823A7_zps2e8cwsjy.jpg.html"][/url] Funnily enough, eBay just messaged me saying we have been sent your item, please tell us your correct address and we will send it back to you, I replied saying that I have already taken action and explained what I've done so I don't want the item and return it to the seller. I made it very clear that I do not want it, I said it 3 times This G3 is simply amazing, it sounds and plays just as I hoped! [/quote] Funnily enough, I played that EXACT one when I was up there 2 weeks ago! Played lovely, however the 66 P Bass was the one I fell in love with, just gotta save up some money to be able to afford it!

It depends on WHY you want a website. What would you have on there? Are all of your relevant details available elsewhere online? Do you sell merchandise etc.? I'm in the process of building my own personal website dedicated to my bass playing, teaching, promotions work, management work and my engineering work. So basically my website will serve as an online CV and promotions tool. It's gonna cost me a grand total of £100 for 2 years domain rights and hosting. I'm gonna be using HostPapa for my host as it offers me EVERYTHING I need, I can build a website using code or templates or even wordpress. So there's flexibility there. I can also link in my social media profiles so people can find me in every possible way.

[quote name='Roland Rock' timestamp='1398628521' post='2436014'] Well, I'm biased, but this: [/quote] I'm guessing that's the Barefaced 69er? May I enquire as to how it sounds and how easy it is to get about? I'm looking in to getting myself one soon!

Any valve head sat atop two 810s! Aesthetically the look of the CTM series from Ashdown is probably right up there currently! See Merton's CTM100 for reference!

[quote name='DotsFar' timestamp='1398722429' post='2437048'] Warwick builds both passive and active guitars with wood look. Are any of those close in sound to the Fender Jazz ? Your thoughts about starting on a fretted matches my own doubts, but I asked the teacher and he saw no reason not to start on a fretless. As he saw it, it was important to play what I thought would be fun, since it would probably make me practice more. So therefore I'm looking fretless, but with many advices against it I'm starting to doubt again. But how can I make good sounding vibrato on a fretted bas, and sliding tones wil go 'bump, bump bump' ? [/quote] Stick to the Fender Jazz it's more what you're after tone-wise. It's also an incredibly versatile bass, if in a year or two you change your mind to wanting to play something more generic rock based then you have the right tones. As for fretless over fretted, again I'll re-iterate my points on your budget, with which you can afford both, it's something I'd recommend looking in to. As for getting the Rob Allen tone, you'd certainly need some good flat wound strings, their tone will improve as time goes on and the more they are used. But please understand that tone comes from EVERYTHING that is in your rig. Your tone can change daily depending on something as simple as mood and health. Add to that the bass, cables, pedals, EQ, amp, cab and environment you're in!

[quote name='DotsFar' timestamp='1398703710' post='2436766'] Hello, I need you help. I am a beginner and I am looking for my first bass. I am looking for a fretless, and I would like it to be in wood, preferably dark wood. Price limit around 800 pound. I like the sound of Jaco Pastorius, the harmonies of several simultaneous tones, vibrato and overtones. I also like this Rob Allen (price out of scope I know), and what Peter plays on it, it has it all (harmonies, vibrato etc): [url="https://www.youtube.com/watch?v=ycN9x_5MqHQ"]https://www.youtube....h?v=ycN9x_5MqHQ[/url] Questions: 1. I need fret markings as I am learning, but like it better without. Is it possible to make temporary fret markings ? 2. Can the sound of the Rob Allen and Jaco's sound be combined in one bass or do I need 2 ? Perhaps with Nylon strings on a Fender Jazz ? 3. If looking for a bass with Jaco sound, obviously the Fender Jazz Mex would match, but since I would like it to be natural wood, do you have any suggestions as to basses which has the sound ? Hope to get lots of advice. Best regards DotsFar [/quote] With the price you quote, you could buy both fretted and fretless, especially second hand. The woods on the Mexican fenders are the same as those on the American series. The difference is they are built in Mexico and America. By getting both, you can begin to get familiar with the fret board on the fretted and where things are etc. while developing your own style and technique. Finding yourself as a bass player is much more important than the instrument you play. I don't want to discourage the fretless dreams you have as that goes against everything I stand for as a musician and a bass teacher, but by starting on a fretted bass or at the very least, owning a fretted bass, you will improve more as a fretless player. Your instinct will develop and that's something those guys you look up to had, they had a great music instinct as to where on the neck they were. Best of luck and welcome to BassChat! Please keep us up to date with how you are going and join in with the multitude of discussions that happen daily on here!

[quote name='TheRockinRoadie' timestamp='1398502066' post='2434677'] Hi All, Happy New Amp day to me (well, technically Wednesday)! I took a trip up to Birmingham on Wednesday to pick up a shiny Ashdown CTM-100 all valve head. I thought i would make a thread as i know theyre rare beats on here. I must say I'm really impressed with it so far. I was a bit worried that the 100W power stage wouldn't be loud enough for my three piece band, but coupled with my Genz-Benz 2x10 cab, it doesn't have any problems at. The sheer force it uses to push the air doesn't even compare to my ABM & MAG heads (300W each), even though it isn't as loud. I love the valve growl from both the preamp and the power stage, which pushes nicely. I little more clean headroom on the output stage would be nice, but I'm not picky as it sounds awesome. As Mark Gooday says in the CTM300 video, it doesn't do radical EQ changes, but if you're like me and want a vintage valve amp tone, then there's more than enough flexibility to cut through the mix at gigs. The 'Deep' switch gives a really thuddy low end tone, but scoops the mids just that little bit much to cut through live. The 'Bright' switch makes the top end really bright, and is very 'zangy'. Mellow seems to pop a lot of mids (and therefore drive) back in when on the Deep switch is also pushed in, but i don't notice it so much without - maybe I'll notice the difference playing live. So far I've only used it with my Lakland 44-02, with the pre-amp set flat, so still have the Jazz and Washburn to try. i'm looking forward to plugging in my Precision most! I'm really looking forward to my next gig on May 10th, to see what it sounds like through the PA. Thanks for looking [/quote] I've got the big brother to the amp, the CTM300 and christ does it move some air and punch you in the midriff when through a 410 or 610! The tone is just unlike anything I've ever used yet, it's crisp and sweet with plenty of cut but it has that boom and thunder from the bottom end also, and that's just set flat with my Precision! I like boosting a bit of the mids to about 1, pushing the bass to 2.5 and cutting the treble to 11 or leaving it flat! Just gives a rounded cutting tone. Push the front end and it burbles and growls and makes me smile with joy, the back end when pushed is just obscene! Ashdown have got their whole valve series perfect in my opinion!

Steve Harris and John Entwistle?

I've got a 2011 MIM P in Oly white with a black P/G it's beautiful! The maple neck and board just give it a lovely zing! Though I am dying of GAS for a 60s P bass! Preferably all original with a rosewood neck and 3 tone sun burst! There's nothing like a P, except my 4003! I have to all day long change basses to get true satisfaction!

Portfolio career. It's the only way you can survive as a musician who's not rock star famous. Or retail. Work in ASDA/Tesco's or a high street shop and that's about the best you can do. Bar work and restaurant work limit you. That was my experience of it anyway!

[quote name='jakenewmanbass' timestamp='1398418627' post='2433851'] I was teaching at LCCM yesterday, one of the students brought in a Rickenbacker.... It both looked and sounded Gorgeous!!!! Am I allowed to say that? I almost wish I wasn't.... [/quote] You are more than allowed to say that! It's the first step on the road to ownership Mine sounds and plays amazingly! Love it!

Funnily enough, that's the song I've been working on today! It's certainly fun!

Well it's official, after speaking with the guitarist about the direction of the band, it's become clear that our working relationship just isn't going to work. The singer had doubts over me working within the band, despite being the best bass player they've all come across, nice compliment but then I guess my character has been offended at the same time! Oh well onwards and upwards!

Jamerson would have been proud of your effort! 20 years is incredible! I change mine almost quarterly, give or take a month!

Just been blasting some Frank through my headphones this afternoon and once again I'm blown away by his whole band, such an incredible group of musicians who are all EXTREMELY talented and gifted at what they do. The bass lines are phenomenal and just fit perfectly. England Keep My Bones and Tape Deck Heart are two incredible albums and if you have't got them or listened to them, I urge you to do so!

[quote name='BigRedX' timestamp='1398332924' post='2432919'] IMO a lot of this is down to the fact that too many of these gigs are organised with no thought for the different musical styles of the bands playing. I have a fairly wide range in musical taste and enjoy going to see live music but I won't sit through a whole set by and band whose music does nothing for me, and most people are far less tolerant. That's why genre themed evenings are far better for everyone concerned. If the fans of one band are likely to enjoy the music of the other bands on the bill then they will be likely to stay longer and drink more. Everyone wins. So why don't more promoters do it? [/quote] I honestly have NO idea why promoters don't think like that, or even why venues don't think like that. Bands often do, yet we still do the same old gigs with the same old issues of; Folk band on first, rock band, heavy metal band. It just doesn't work well like that! I've been at gigs where my band which were punk were on with the a pop duo?! [quote name='JTUK' timestamp='1398334185' post='2432950'] Some good points.... having a consistant them thru the bill is obvious to bands and if it isn't obvious to the promoter then they are in the wrong job. Maybe the promoter is just trying to turn over a buck... and providing they fulfil their obligations...and get ANY ppl in the venue, then they may survive more than a few dates. It is total short termism tho', but then do they or can they care..?? As, in all things you need a working relationship that works for both sides but by the same token these things can't be run on a shoestring. But when they are run on little money, it seems the bands that are the fall-guys. I still think this is because some bands almost invite that situation, but that is a broken record here. If all parties came to the conclusion that a combined effort is a better effort, and if venues didn't have the back-stop option of free bands, then they would have to come up with a better model. Nobody REALLY wants to pay out if they don't have to..?? But venues really should be more forward thinking as they are the ones with the rent and rates commitment which needs to be paid come what may. This is where event organisers have a better hand than they think... as in they can get people to the venue...but this is constantly constantly undermined by acts perfroming free. You aren't really giving the venue/promoter much of a incentive to pay you if you willingly do it for free. I know this is pretty simplistic..and the promise of a gig etc etc waters down the resolve etc etc ...but if councils didn't continually grant licenses for places that were caught out like this, that might help as well..???? And..... by the same token, the acts themselves need to take a look at themselves. Are they worth seeing..?? Oh...and don't get me started on open mic nights...!! These are all versions of a theme for filling up someones off-nights. Seen many open mics on a fri or sat..?? [/quote] Exactly, it should be part of having a license. You pay bands a fair rate. Whether that's £50 or £500. It's got to be on a parallel with what you can take for the night. Bands need to accept a responsibility to themselves as well. How and where does the money come from for you to buy new gear when/if you need it? Where does the petrol money come from when you're gigging? How do you fund your strings and things? Where do you get the money from for studio time, rehearsals, merch and CDs? If you want this sort of stuff, you need to fund it somehow and the easiest and best way is for the band to get paid. Some free gigs are ok and good. But too many and you become a whore for the town. I think also, too many promoters and venues get lazy with finding bands and often use their mates or the band that pulled an ok crowd last time, they don't listen or think about what else is out there. I've been "blacklisted" once by a promoter for saying that I didn't want my band playing with the wrong types of bands.

I think people just don't value what other bands do, especially if they are their supporting another band that has their best mate in, even more so when someone in the other bands has a reputation as a bit of a dick. Which we all seem to have from other people. Bands also often disappear during sets or once they've played they go home as do all their fans. It's just not conducive to having a good music scene. The price of drinks in venues can also be ridiculous and people don't want to pay much for drinks when you can get a cheaper drink down the road at the local Wetherspoons.

Are any of the contributors to this thread, willing/able to share their websites either on here or via PM so I can look at the designs etc?

[quote name='discreet' timestamp='1398265912' post='2432242'] Get a basic profile up on Starnow and answer some ads for bass player wanted. You can narrow down what you're looking for by filtering for area, etc. [/quote] Cheers will check it out!

It is worth bearing in mind that everything costs. An event I put on cost me £30 for tickets, posters were £64 and website costs came in at £52, that's without taking the venue hire in to account. Most venues don't seem to use in-house/resident promoters anymore. I guess that's free-market capitalism at work there, I digress. But the WedgeWood Rooms in Portsmouth, which is a 550 capacity bar type venue, costs an average of £750 basic rate, that's without door staff as they come as an extra normally. Now the Wedge is a decent venue, it's your typical small-medium venue and at one point all of Portsmouth's best gigs were being held there, as time's gone on, the amount of bands visiting the Wedge has decreased. I guess just purely down to cost! Other places in Portsmouth range from free hire to over £1000. There is an issue with the local level music scene across the country, though there are obvious better places and obvious worse ones. But the lack of support from people is an issue. I have to admit I don't go out of my way to see local bands play, which is terrible, but often the gigs fall on a week night and I either have band practices of my own or have assignment work for my degree to be doing. The lack of trust, belief and passion is often the killing factors when linked with monetary issues. Having a list on here, of good venues, good promoters, good bands would help so many people. Getting a nationwide network of promoters, venues and bands could benefit everyone...

[quote name='waynepunkdude' timestamp='1398267106' post='2432273'] Getting paid to play and have the promoter promote. [/quote] Wayne, in my experience as a promoter and as a musician, is that the bands get asked by their fan base and can get tickets to them/from them easier. All of my friends who have been fans of some of my bands have ALWAYS brought their ticket via me. As a promoter I've found there aren't many "random" people who want to come see a gig, people need to have an invested like/interest in the bands or the music. Trust me when I say, I've promoted in all ways possible, but the lay of local live music is that the majority of people who go are friends of the bands. It's rare you get a person with no prior interest in the bands coming to gigs down this way of the world.