BrunoBass

Congratulations. After thirty plus years of wanting one I finally got one recently.

That’s exactly what I do. Whilst I sometimes use the front pickup when recording mellow stuff, with my gigging band I use the back pickup only and tweak the tone. A touch of overdrive and I have the rock tone I’ve craved for years.

Yes, in fact I posted a photo of my bass to their Facebook page and Mark responded saying it was their first ever model.

Not sure... the Boomslang isn’t made anymore, RMI look like they’re more into the high end boutique stuff these days, not really anything I’m interested in to be honest. The one I picked up was originally on at £275 but it went down to £190. I saw one on an Australian used bass site for Aus$800 (about £420) so there’s some variance in asking price. It’s a very high quality bass, if it had a ‘name’ on the headstock they’d probably command much higher prices.

I think you’re hearing a ‘f***’ that isn’t actually there, the sample goes ‘what the ____ was that...’ The naughty word in question is muted. The stems from the recording are available here https://skiomusic.com/contest/unbelievable-remix-contest i saw EMF a number of times, and yes consistently excellent. Best time I saw them was at Reading Uni in early ‘91 - they’d just broken big and there was a buzz about them. ‘Schubert Dip’ was the album I learned to play bass to.

Thanks - not yet but hoping to have soon.

I have the Xvive - I'm not that impressed, they haven't died on me but they drop out a lot, to the point where I won't use them anymore.

Whilst trawling the internet for a nice used Precision my eye was caught by this stunner and I knew instantly I had to have it. The seller was half an hour away from me so I picked it up a few days ago. Do I need another J type bass? Not really, but you know how it is... I knew nothing of RMI basses and a bit of Googling hasn't thrown up much information, other than the fact that these are designed in the UK by Mark Ramsay and built in South Korea (possible the Samick factory). The build quality is excellent. I did find online a vague spec though, which informs me that the hardware is all Wilkinson, so no complaints there. Electrics wise the active circuitry is engaged by the pull/push master volume, plus there's a pickup pan, and three band EQ. There is also a kill switch. The body is basswood, neck is maple with a 38mm J type nut width and shallow C profile, with an Ebanol fingerboard. The best thing about this bass though is the pickups, which are amazing. They are G&B Tonemasters which I believe sometimes appear in Cort and Ibanez basses too, and they're so good I want to buy another set to put into my bitsa Jazz. They've got big output, great clarity across all frequencies and strong continuity across all the strings. They're almost too powerful but with a bit of EQ adjustment they can be bought under control. They give me the modern Jazz Bass tone I've always craved, and there's also (to my ears at least) a Stingray type springiness. For a modern sounding J this bass is ideal, and works very well in my rock covers band. Looks awesome too, 190 quid well spent.

If you mean covering one’s derrière in the event of possible time off work, potential loss of earnings, and subsequent accounting for my whereabouts to my boss, then yes you probably could say it’s a sign of the times. Twice.

It went very well thank you. Having avoided doing anything for 48 hours and allowing it to dry up somewhat I managed to open it up again lifting a PA speaker up on to it’s stand. From that point on it bled for a while, not heavily, but enough to get it all over my white bass. Great for the punk credentials but not very good for trying to hold a pick. A few songs in though it’d stopped and I forgot all about discomfort. We ended up playing a blinder.

Get it wired with a master volume and a pan pot. I had the same issue and rewiring like that solved it.

This ^ I set the amp for finger style and then just knock the volume and tone controls back a touch when using a pick - easy and quick in a live environment. Our set is probably 70/30 favouring fingerstyle, although last nights gig was 100% pick due to me slicing my index finger open earlier in the week.

Me too. We had a gig earlier this year in a small pub where we had to set up in an area the staff had cleared for us. We’re only a three piece but it was still a squash. There was a couple on an adjacent table that were in the way to be honest, we had to put an amp right next to their table, thinking they’d realise what was happening and move to one of the other free tables. But no, they stayed put. We then had to put the PA stand in front of the table, it got to the stage that we were actually building up around them but they still didn’t move. We needed to access a wall socket that was behind their table which we had crawl under to reach, no offer to move when we apologetically explained that we needed to get to it. The landlord could see what was happening and we thought he might suggest to the couple that might consider moving to another table, but no. Even when we sound checked they remained there, trying to have a conversation and continued trying after we’d started the set, eventually moving table about three songs in. There are some very odd people around, it’s just territorial ‘I’m not f***ing moving grumble grumble’ obtusity. Luckily they’re the minority, most people can see what you’re doing and are happy to cooperate.

We have a number of songs that I don’t like playing, but the crowd reaction makes it worth it. Mind you, I wouldn’t choose to listen to 80% of the material we play anyway.

Just got in from tonight’s gig at The Bell in Bicester, we play there a couple of times a year and it’s always a cracker, tonight was no exception. We started late, about 9.30 to avoid a clash with a music festival in town. I think we hoovered up everyone leaving as the place was rammed. Fantastic crowd, really up for it, we played really well, great energy between us at the moment. I played my new Squire PJ again which sounded great. I’m home now - hot, sweaty, achey and still buzzing.

I suppose it’s more critical for you Blue as it’s your income. I can afford to be bandless for a while.

I had a run through the set earlier. Fingerstyle is out unfortunately. I can now hold a pick between thumb and index finger so it’s going to be all pick tonight (usually 70/30 favouring fingers). Fingers crossed (excuse the pun)...

Thanks for that! I really appreciate you taking the time and effort to give me such an informative response. Lots to get into there! 👍🏻

So the worst of the cuts (index / main plucking finger) is healing quite well. I’ve let the air at it and haven’t done anything with it since Thursday’s rehearsal. It’s still a bit sore but if I can keep it out of trouble until tonight I’m hopeful it shouldn’t be a problem. (Our wisecracking drummer suggested we play something by Badfinger. That was quite good for him...)

Agreed. Time wasters and dreamers on the whole, people trying to sell graphic design services, and the occasional person genuinely looking for musicians.

Very nice. Thank you. I’m very interested in pedal steel but the cost of buying one is prohibitive for me. Lap Steel is more realistic price wise. I know a lap doesn’t have the pedals and levers that are a big part of the pedal steel sound but I’m wondering how close you can get without them? I understand you can’t do the bends without them but do some laps have a mechanism similar to Fender’s B-Bender that allow bending of one string within a chord? I only ever seem to see six string laps and I’m wondering if 8 or 10 string laps exist? I’m guessing E9 tuning over 10 strings is pretty crucial for country or roots music? If that’s the case can a fair replication of E9 be achieved with six strings? Pedal steel seems such a niche instrument in the UK it’s difficult to find information or anywhere you can try one. Thanks again.

Pity I couldnt make it, an eighteen month old with the sick bug put paid to any plans last night... looks like it was a good one!

A few recent live shots...

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Does anyone know anything about pedal steel and lap steel? I have questions! I've always loved the sound of pedal steel; in the right hands it can break your heart.