NancyJohnson

My hands are pretty big so honestly never really experienced issues with neck profiles or string spacing. That said, I didn't get on with the neck on the Rickenbacker 4003 I owned...no taper, fat, nasty.

A few of you who are friends of mine on Facebook, will have seen a post I made earlier on that site earlier. David Essex. I'll profess having the tracks Rock On, Hold Me Close, Stardust and Gonna Make You A Star on a Spotify playlist feels somewhat of a guilty pleasure (much like a couple of Girls Aloud tracks, cough); I had some decorating to do earlier so just decided to dial up his first few albums to accommodate me while I was working. They're spectacular albums really and have aged very well, in that they don't sound that old. If you're familiar with the tracks I've listed above, then you're honestly in for a treat. They're dubby, clever, smart even. I've listened to them three times today. Go on, have a go. Brilliant stuff.

Me too. Ridiculous thing is they were selling stupid cheap used. I saw examples at $1700.

It does seem to output a ton louder than the Geddy.

Lovely work there! Thank you!

Here you go. It's also for sale in the for sale section.

...not even your own!

In all likelihood, in a blind test you probably wouldn't have been able to tell the difference between that and a Harley Benton JB75 selling at 4% of the CS price.

I'm certain the BC was at street level. Wasn't there the Acoustic Centre upstairs. I remember my first time up there, Wapping High Street. Coming out of the Tube, you're just expecting this bustling street, but it was deserted; it wasn't really gentrified, from memory no real shops...a narrow road and if memory serves me correct, the street was cobbled?

It was always a bit of a pilgrimage whenever I was up in Landaan. Basswise, I bought a Hamer Scarab and a Warwick Streamer 5-string from there. Amps and cabs, a TE 4x5" bright box and a huge SWR 4x10 (Goliath?). Also went up for the Doug Wimbish clinic. Even the old lady enjoyed that.

Reverb is your friend. A couple on there...

60s Jazz basses aren't around any more either. But they are if you look hard enough.

Haven't we done this somewhere else?

I recently bought a pair of Aguilar SL112s. They're very smooth, very hi-fi; even full on, the tweeter just adds a bit of shizzle, very subtle. I haven't actually taken them out in anger yet (next Wednesday), but obviously I can run as in parallel or more likely run them daisychained to give me more headroom. A couple of years ago, I was lucky enough to win a Barefaced Big One at the SE Bass Bash. It a 15/6 and it's very aggressive by comparison to the Aguilars. I was a Hartke endorsee for a few years too, I'd say tonally the Barefaced is a country mile better than the Hydrive 115 that I owned. If I can offer up some advice, try and land a Big One. Yes, I know they're a 15/6 but they're in a package no dissimilar to a 2x12. They're amazing cabs. Where are you based? If you're local to me (Reading) you're welcome to come over and try it out. No loans, sorry.

Sorry to sound so obvious, but given the costs involved, wouldn't it be cheaper just to source a new bass? There's probably a very high chance that the existing oil and varnish/clearcoat is already deeply embedded into the grain and you're never going to be able to suck that out; any new colour wouldn't take the same as if the top was unfinished. It's never going to pop like the one on the bottom.

*I hadn't realised, but I just assumed that the embedded Spotify thing would just play everything start to finish. It's only 30 snippets (boo), but you can log onto Amazon, Spotify, Deezer, iTunes etc. and listen properly there. Thanks!

A combination or BDDI and dUg. Some of the tracks were recorded clean with a BOD plugin added in post; they sound fine, but if nothing it just reinforced my opinion that I'd prefer my desired tone metaphorically went to tape rather than having a producer decide what he wanted to make the bass sound like.

Spent a bit of the summer recording this and it's dropped onto digital streaming platforms today. A few of the tracks have also had radio play. It's punky, garagey, dubby, noisy stuff. Give it a spin.

I used a 12-string bass set and had a couple of sets of others. eBay.

I've always felt the need to be well rehearsed to be able to pull off a decent set, even if it's only 30-40 minutes, but given what the new project is doing over the old one, we really need to be more than well rehearsed; we're simply not just chugging along and playing together, we're effectively going to be looking at the backing content as being a digital fifth man and we need a drummer who's disciplined to be able to keep with the click. I do concur monitoring is essential, but as of yet, we haven't really investigated how we're going to do all this as we haven't gone outside the studio as of yet; right now we just need to bed in the musical elements in a live context. It may be the case of bringing in a fifth man, someone tech-savvy and non-musical, to just fire off the sampled stuff. I don't know. I'm wholly aware at how bad things can go using backing tracks. A couple of years back we played with a band who I can only describe in hindsight as having an horrific gig at the hands of the backing they were using. They were a five piece and every song they did involved the drummer picking up an iPod Mini, dialling in the track they were doing, hitting play, dropping the iPod and then trying to do a four count to start the song. They were definitely not on it. Keyboard and backing vocals were coming in early/late and to add to this, they had a guitarist who insisted on switching guitars virtually every song (which I reckon this was more a look at me, look at my gear vanity exercise more than anything else) and on the last song he clearly picked up the wrong one which was tuned down a half step, so we had guitars out of tune and backing coming in at the wrong time too.

Addressing these three points; 1) I think we'd certainly prefer for the added non-musical elements to form part of the live side (when we do it live). 2) Blame your soundman. 3) Possibly. I'd wager that a lot of the people watching are going to be new to the material, but if I'm playing My Life In A Dying Machine, almost certainly I want the sound of an iron lung's circulating pump supporting the rythym.