Frank Blank

@Richard R: Brawley 4 and 5 string, EBS session 60 amp, cheap Aeon sustainer, scales to weigh basses with, cake, orange smarties, Westfield "Small Body" bass *FOR SALE* @petecarlton: Shuker Nuclear Device Jean-Jacques Burnel Signature Lite P-bass, Mayones Cali 4 Triskelion travel bass, Bugera Veryron BV 1001M Mosfet head, Ashdown Studio 210 combo, bits and pieces - and cake @Machines: Dingwall D-Roc 5, Dingwall NG-3, Warwick Gnome 280w + Ashdown RM210 (probably) @Andyjr1515: SWAAPATWTBWADS Bubinga Fretless, probably Pete's Swift lightweight piccolo build and maybe also his (not lightweight) EB-3 tribute @Frank Blank: Jabba short scale fretted and fretless, Ibanez SRC6, Grace Design Alix, QSC K12.2, Boss Waza-Air Bass. @NickA: couple of Wals and a Dolphin. You've all seen and played the mk1 fretless, and the dolphin, but I got a mk2 5er just before the prices went silly. Some PJB stuff too. Might bring the double bass .. how big is the room? @PTB: MTD 535, Limelight Pino replica, possibly a MusicMan, MarkBass combo, HX XL & extension leads 😎 Darren: Nice Ibanez and the Aria Sinsonido silent bass. Ashdown amp if there's space in the car. @floFC: curiosity, Kramer Aluminium Neck @Oldman: contemplating bringing my custom Fretless 5! I’ll bring my GR CAB and EVO 1 Head. @SimBass: Sandberg California II TM 5, Eminence Small bodied double bass, EBS Stanley Clarke Preamp pedal, GRBass One 800, Barefaced Super Compact, Barefaced One10 @Owen: 6 string 36" scale Overwater poss for sale. Shuker Uberhorn 5, Shuker/Firecreek hybrid 5, USA J 5 reliced and MTD Kingston 5. QSC 10", Warwick Hellborg pre, Fender TRB 1 pre and Sadowsky pre. Future Impact. @GremlinAndy: Something interesting, 39.5" Shuker, Zon Hyperbass. @Jabba_the_gut: 27” scale 5 string, a Status S3000 and a whatever else fits in the car… @Roland Rock: Wood&Tronics Ergon 5 string and Glockenklang Blue Rock head/BF Super Twin cab

I'll bung you and your gear on the list.

One of the best (and certainly the loudest) 34" acoustic basses I ever used was the Fender Kingman, still use one now occasionally. Also, if you can find one second hand, the Ibanez SRH500.

Welcome @Warren Knight

32"

Ponce.

Well, feeling much better today so I did another Covid test, clear as a bell, so although just a tiny bit sniffly I am no longer infectious. I will still wait until Wednesday before resuming normal activities and (after a final test) will therefore will be attending the Bash, phew.

I've been in an acoustic duo since 2004, we rehearse regularly, write songs continually. We don't play very often, the odd open mic night here and there, I suppose we are as happy writing songs as we are performing them. It's taken me years to find the right basses but @Jabba_the_gut builds exactly the right instruments for our kind of music and I am very lucky to have two of his basses with a third on the way. What was more difficult was finding the right amplification. I tried all sorts of things over the last forty years in various bands and never really found anything I liked, even before playing in my current duo I disliked the baked in sounds of bass amps, all I ever wanted was the inherent sound of the instrument but just louder, sounds simple, difficult task. Thanks to @Bridgehouse's Interesting FRFR thread I tried out a QSC K12.2 and to my delight discovered it did exactly what I wanted, made my bass louder with as little colouration as possible, great, that's the louder bit solved. Now, although I play in an acoustic duo, our songs are quite diverse and I do need a certain range of tones. This is another great thing about using an FRFR, I think it is very difficult to settle on a tone if you start with equipment that has a baked in sound, with the QSC you can really start from scratch. The Jabba basses, tbh, sound glorious just plugged straight into the QSC, and that sound, with just the variation from the single tone pot on the bass caters for perhaps 75% of our songs but, some need a really bright almost funk tone and some need an almost double bass feel. Now the Jabba basses (fretted and fretless) are both strung with LaBella nylon tapewounds and while that sounds quite tone limiting they can produce bright tones but need a little help. Now, needing a little more tone shaping but requiring that tone shaping to, again, not colour the sound other than the changes I am inputting via the controls turned out to be quite difficult. Retaining the fundamental acoustic vibe of the instruments whilst tweaking EQ turned out to be quite tough, I watched hours of videos and tried out a heap of preamps but I always came back to Grace Design. They are built specifically for acoustic instruments, more for guitar, violin etc. really but I couldn't find anything better so, eventually, I bought a Grace Design Alix. I've had the preamp and compressor for over a week now but the QSC was at another location, this morning I got it back and I had my first chance to put it all together. Man, it sounds good, so quiet noise wise and it has the perfect tonal range, well chuffed.

Ah, no, he's missing the second N.

My Basschat name is a portmanteau contraction of my real fist name, Horatio, and then the obvious subjunctive clause that ties in with Horatio, i.e. Nelson, not to be confused with the half-Nelson wrestling move although that connection is suggested in the seventh syllable of the second word of my forum name ng as that is the Icelandic Braille symbol for 0.5. People have commented on the (possibly subconscious) self-negation inherent in my username although if it is expressed in characters from the periodic table it is actually commensurate with the ancient Egyptian hieroglyph.. 𓀍 ...seated man holding the table lamp of authority and royal aerial which (obviously) conveys a sense of friendship combined with the faint whiff of ironic pathos. Frank Blank in a nutshell, there.

You are very lucky to live quite close to Peter at Guitar Technical Services, finest luthier/tech in the country imho.

6: Plays like butter Quite possibly, it might also present like classic hip dysplasia either way it means f*** all.

Welcome @WoffeeCanker

Welcome @Phil_P

To win The Masters?

Here comes the hotstepper (murderer) He's the lyrical gangster (murderer)

I put this on the majority of my for sale posts on BC, it means I just want it to be used/to go to a good home.

That was hilarious. Almost (but not quite) as funny as Bros: After the Screaming Stops, the Goss brothers coming across just slightly less petualant than Metallica.

Welcome @How1

It was listening to my older brothers Roxy Music albums as he played them in another room (Roxy by proxy?) that got me into them initially. When punk came along and I 'found my tribe' so to speak, I stupidly stopped listening to a lot of the prog music I listened to previously, punk was, in that sense, quite dictatorial about music of the past, but I continued listening to Roxy Music, they just seemed really wild to me and they fit in perfectly with punk in my book. My Dad used to turn off any music he hated, Bowie, Roxy, any punk, if my Dad hated it then great. Hmmmm, I know what you mean but you never know. I kind of think the same thing when I listen to Kimono My House by Sparks, that their like, particularly that album, won't ever happen again but I wonder if it's really just a personal thing along with an age thing? There will never be another Siren for me, nor another Kimono My House but there are bands making albums now that'll mean that much and be perceived as mature technical, skilled and sound superb to someone who is at exactly the right age to have formative musical experiences.

Very much so. I think the giveaway is in the OP's opening comment about listening to his Dad's albums and it's great to hear about someone discovering Roxy Music and digging them. They were hugely influential on our generation but I'm not so sure that many young people today have heard Roxy Music let alone contemplate their importance in that mid-late seventies musical evolution.

👆 this. As the main lyric writer in my band, that title is hugely influential, in the sense of there's a whole story in those six words, an entire scene set before you've heard a note. It's an excellent inspiration to try and write lyrics as good as that title! And then, the song itself, an absolute monster.

I was going to say this, they were huge at the time and a kind of bridge out of the prog of the time (like Yes, Genesis etc.) into punk. They were hugely influential to Punk. So many proto-musicians were inspired to form bands by seeing the Sex Pistols and other early punk bands but a lot of those early punk bands were heavily influenced by Roxy Music. In this influential sense they were very important too, I'm not sure the New Romantic nor the (I'm going to stretch my neck out here) very early Goth scene would have been quite the same. Without Roxy I doubt Adam and the Ants nor Siouxsie and the Banshees would exist for starters.

Actually that's the last track of Roxy's output I enjoyed, I'm in complete agreement there. They were (imho) great up until their pinnacle (Siren 1975) but I did like Trash from Manifesto but I think Angel Eyes and Dance Away from the same album give away his musical direction from that album on. I really, really like Bête Noire (1987), a Bryan Ferry solo album, not least because it has some great bass lines and I became briefly obsessed with You Can Dance, the opening track of Olympia (2010), but, yes, Trash really marked the end of their great creative period. 👆this.

Well, that's my image demolished, cheers 🥂 😉