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chris_b

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Everything posted by chris_b

  1. chris_b
    If you feel like you're "somewhere else" with these, then non filter plugs will be even worse. I've been using my Pro17's since Christmas. They replaced my ACS ER15's of about 10 years. I wouldn't use anything else. Any plugs will change what we hear (that's their job) but in doing so they're protecting hearing even in the noisiest bands. I can still hear from the loudest guitar solo to the slightest stage whisper so it's all good. I see a lot of the older guys coming to gigs these days and taking their hearing aids out. But they still aren't putting plugs in when they play! They're not playing Roulette with their hearing, it's Russian Roulette and with 6 bullets!
  2. chris_b
    Izal is best for fretless.
  3. chris_b
    I recently replaced my 5 year old GHS flats with TI flats on my P bass. This seems to have been a good move because the guys in the band commented favourably on the next gig, and without any prompting from me. The J basses have either DR Lo-Rider or Dunlop Super Brights.
  4. chris_b
    As a long time Lakland player I think everyone should try one of these before they decide on a new bass. http://basschat.co.uk/topic/297268-lakland-44-02-cherry-sunburst-bartolini/page__fromsearch__1
  5. chris_b
    Perfection is anything Keb Mo has recorded. Great songs using the world's best bass players playing the best lines for the last 20 years. Hard to beat this though. . . . The Night They Drove Old Dixie Down by The Band [url="http://www.youtube.com/watch?v=w69ZVHpjYAk"]http://www.youtube.com/watch?v=w69ZVHpjYAk[/url]
  6. chris_b
    I'd use someone in the UK. Who does Shuker, ACG, Sei, Wal and Overwater use? I believe Martin Simms is in Kent and has a very good reputation.
  7. chris_b
    Insisting on new is a big expense. It means you're restricting your choices to cheaper basses. You can buy better basses in new condition in the BC Classifieds. There are also some great used basses on the Bass Direct web site http://www.bassdirect.co.uk/bass_guitar_specialists/Second_hand_Ex_demo_Bass_Guitars.html
  8. chris_b
    Does it have a rosewood fretboard?
  9. chris_b
    [quote name='Number6' timestamp='1491992006' post='3276972'] I gigged my Squier Friday night and i'm not affraid to say it.....so there! [/quote] Good job I was sitting down for that!!
  10. chris_b
    [quote name='Nicko' timestamp='1491914152' post='3276403'] I find the choice of songs that can be played well as a 3 piece covers band frustrating. [/quote] I think you're confusing cover bands with tribute bands, or you need to develop a better imagination. Songs are usually written on one instrument. The rest is just window dressing.
  11. chris_b
    [quote name='inthedoghouse' timestamp='1491989512' post='3276940'] I gigged for a while with a pro band in the 80s using a nice Squier and nobody said a word or gave me a funny look [/quote] This is almost totally a subject that interests the non-pro world. The only things that interest a pro band. . . . how well you get on with the band and how well you play.
  12. chris_b
    As someone already said, Gibson are already not shipping rosewood abroad. They have already been hit with CITES related court cases and fines. Sadowsky (at their low volumes) won't either. Anyone with a bulk export business will have to stop unless they have a magic wand or just make an instant switch to Morado or Maple etc fret boards. That will include all the Asian companies. Custom builders, including Fender's Custom shop, will probably continue to use up their stock of rosewood because they can inform the individual customer of the restrictions and will presumably only sell within their countries borders. When you make in bulk and send thousands of instruments abroad then that is what CITIES is preventing, because each instrument has to have provenance and paperwork from a government department and apparently the US Civil Service is even slower and less efficient than ours. I would imagine money talks in the East so they might get bulk stamped paperwork. It will be interesting to see what happens when someone attempts to re-export those basses. Currently individual musicians can still take their instruments across borders, but they probably need a receipt dated before the start of this year. It looks like provenance and "passports" will ultimately be required there as well. Looks like it's working but the music business is only a bystander caught up in a bigger problem. It's the furniture industry and kick backs to dodgy governments that is destroying the forests.
  13. chris_b
    IMO, if you can feel good about a deception then that really isn't much of a good thing at all. If a bass is good enough for me to buy and play I'd be proudly displaying it's real identity.
  14. chris_b
    Err. . . . not sure how you've come to that conclusion. This is not Fender's fault or a decision they have instigated. No one will be shipping rosewood across borders any more. Sadowsky have already said the same thing. I guess all these guys would be happy to use the large stocks of rosewood they probably have sitting at their works sites, but due to CITES they can't. Any basses being checked at borders and found to have rosewood will be impounded and not returned. If they can afford to wait several months for the paperwork to be issued for each instrument all well and good, but delays of this magnitude will cost companies millions. I imagine alternative are being sought at great speed because these companies need to resume their overseas sales.
  15. chris_b
    You grow as a bass player with every song you play. You grow the most on the songs you have to focus on the most.
  16. chris_b
    [quote name='Dropzone' timestamp='1491912235' post='3276367'] I may be crazy and try some flats. I have no idea what it will do, the world could explode!!! [/quote] Let me know before you do that so I can hold on to something.
  17. chris_b
    I put flats on my Mike Lull PJ5 and didn't have to change anything other than slightly altering the bridge. But then I'd probably do that on going to a different type of string anyway. Try it and do what you have to do. If in the unlikely event you can't make it work then get someone in who can.
  18. chris_b
    Endings are a doddle. . . . just . . . [size=2]fade . . . [/size] [size=1]out . . . . [/size]
  19. chris_b
    Rhythm guitarists? I thought they died out with the Shadows. Guitar, bass and drums is a great line up. No clutter and enough space for everyone to shine. On the other hand, too many bass players seem to think that because something is now "missing" they have to fill the spaces left by the absent guitarist. That isn't true. Leave the spaces. The more gaps the better. The fewer notes you play the better each one has to be. Be brave and cut out everything other than the most important notes. You don't have to change anything in your playing style. You and the band will sound terrible if you instantly hit the pedals or start doubling up the bass lines every time the guitarist stops playing chords. In the trio I play in the guitarist can stop playing at any time. We just carry on. It's called light and shade. If you think that this is an opportunity to create your own "wall of sound" then sadly you're missing the point and the band sound will suffer as a result.
  20. chris_b
    I thought the CITES announcement acknowledged there were many types of rosewood that weren't in danger, but the differences between them and the types that are in danger is so slight that the decision was made to ban all rosewoods so they could protect the stuff that is endangered. What is needed is a system of provenance that can be policed and then the rules might be amended. If enough Governments get involved then that might happen. It's unlikely to be retrospective and if manufacturers find alternatives the use of rosewood in musical instruments is likely to have come to an end. The main aim of these regulations isn't the instrument business but the furniture business, which is using tons of illegally logged woods from forests all around the world.
  21. chris_b
    ** Temporarily withdrawn ** My Sadowsky Metro RV5 Jazz is now for sale. It was built in 2005, a 3 tone sunburst with tort pick guard. This bass has lived a large part of its life in the West End and there has been some player wear. I've just had the Bass Gallery give this bass a set up and fret stone and it now plays beautifully. The pre amp (incorporating the VTC) creates that huge Sadowsky tone. The frets are in top shape and the neck is straight and very stable. Currently strung with DR Nickel Lo-Riders 45-125. Specs are as follows: - 34” neck - Alder body and maple neck with Morado fretboard - Sadowsky hum cancelling J pickups (60’s location) - Sadowsky 2-band pre amp, VTC and true bypass passive switch - 21 frets - 19mm spacing @ bridge - nut width 1.875" - Radius 12" - Dunlop straplock buttons - weight is 9lb 6oz (4.26kg) - Includes original Sadowsky soft case Controls are: - Master volume - Pan pot (pickup blend) - Treble roll-off (VTC) pull for passive option, ie pre-amp true bypass - Boost only tone controls - Stacked bass and treble (bass at the bottom) All my gear lives in my smoke free back room and this bass has always travelled to gigs in my car. I bought it from Basschat in March 2017 because I'd always wanted a Sadowsky Jazz after playing several at the Bass Gallery. Apart from a handful of gigs it's only been played at home. I'm rationalising my basses and selling to recoup funds after too many bass purchases. If anyone wants to try this bass PM me and we can work something out. I can post (at buyers expense) but would prefer not to and can deliver within 30 miles of Kingston upon Thames, or further if I'm going that way. No trades thank you, this is sale only.
  22. chris_b
    . . . . and now sold. My Mike Lull M5V Jazz is now for sale. It was built in Dec 2007, a 3 tone sunburst with tort pick guard and is in good condition and has been carefully looked after but there is some minor player wear. The sound of this bass, with its 18v pre amp is huge and the range of tones is the best on any bass I've owned. The frets are in top shape and the neck is straight and very stable. The B string can be run through body for an extra fat and solid bottom, but it can be top loaded as well. Currently strung with DR Lo-Riders 45-125. Specs are as follows: - 35” neck - Alder body and Maple neck with Brazilian Rosewood fretboard - Seymour Duncan Custom Shop pickups - Aguilar OBP-3 SK/PP preamp, currently running at 18v (can do 9v as well) - 21 frets - 19mm spacing @ bridge - nut width 1 7/8” - weight is 8lb 11oz (3.96kg) - Includes the original Mike Lull soft case Controls are: - Volume (pull for passive option) - Pan pot - Middle (pull for frequency shift (400/800 Hz)) - Stacked bass and treble (bass at the bottom) All my gear lives in my smoke free back room and this bass has always travelled to gigs in my car. I bought it from Thomas P (I'm hoping he doesn't mind me using his photos) because I'd always wanted Lull Jazz to go with my Lull PJ5. Apart from a handful of gigs it's only been played at home. I'm selling to recoup funds after another bass purchase. If anyone wants to try this bass PM me and we can work something out. I can post (at buyers expense) but would prefer not to and can deliver within 30 miles of Kingston upon Thames, or further if I'm going that way. Will not ship outside of the EU due to CITES rules concerning the Rosewood fret board. The only trade I'm interested in is an NYC Sadowsky to replace the Metro I just bought, otherwise no trades, this is sale only. [b] Attached Thumbnails[/b][list] [*][url="http://basschat.co.uk/uploads/monthly_10_2016/post-41379-0-22252500-1476533599.jpg"][/url] [*][url="http://basschat.co.uk/uploads/monthly_10_2016/post-41379-0-23838500-1476533607.jpg"][/url] [*][url="http://basschat.co.uk/uploads/monthly_10_2016/post-41379-0-42113000-1476533615.jpg"][/url] [*][url="http://basschat.co.uk/uploads/monthly_10_2016/post-41379-0-76419700-1476533622.jpg"][/url] [*][url="http://basschat.co.uk/uploads/monthly_10_2016/post-41379-0-08085900-1476533631.jpg"][/url] [*][url="http://basschat.co.uk/uploads/monthly_10_2016/post-41379-0-67264300-1476533640.jpg"][/url] [/list]
  23. chris_b
    [quote name='AnAnInginAneAnA' timestamp='1491832027' post='3275698'] [b]Maybe I don't like the Jazz Bass sound?: [/b]I've borrowed J Basses briefly before (and enjoyed them, which lead to me getting this one) [b]What amp am i playing through?: [/b]I've been mostly playing DI'd into GuitarRig5 and Amplitube3 at home (I live in a sh*tty little paper walled flat) and listening through a big set of headphones. [/quote] Jazz basses really can sound great (I have 2 stonkers), but the better ones sound. . . well. . better. Cheaper pickups will have fewer windings (less copper lowers the cost) which will reduce the bass frequencies, so until you've heard a good Jazz I wouldn't write off the J sound. You can easily change the sound of your bass but maybe a better bass, an American Standard, would be a good choice. A good amp will fill a lot of the gaps in a "not so good" bass but a good amp will make a good bass sound even better.
  24. chris_b
    This is a great opportunity. Don't talk yourself into defeat. [b]I know you can do this[/b]. You just have to be prepared to the hilt. Get the list of songs, play them until the bass can do it without you and then you'll be fine. Worry about the gig later. When recording digitally the engineer can "repair" your track until you sound like Nathan East. You can record several tracks and mix and match and bounce the best bits on to a third track. Do you have a P bass? Flats? Foam? Make the band know they made the right choice when they picked you. [b]This is going to be good[/b].
  25. chris_b
    I don't see a problem here other than your confidence is sagging a little. The songs you're recording are also in the set? You don't need rehearsals, you need practise time.So learn those 5 till you can play them in your sleep, then focus on the rest. You can do this. You've got nearly 2 weeks. For 5 songs? Play those 5 as many times a day as you need. When you're done with them run through the rest of the set.
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