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Paul S

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Everything posted by Paul S

  1. Paul S
    Not really, thanks. The purpose of my sale is to reduce numbers! Unless you have a 32" scale JB62M Fender Jazz bass in black?.....
  2. Paul S
    Washburn Force 40 - I think these are ok aren't they? [url="http://www.ebay.co.uk/itm/Washburn-Force-40-bass-guitar-/321612815116?pt=UK_Musical_Instruments_Guitars_CV&hash=item4ae19e1b0c"]http://www.ebay.co.u...=item4ae19e1b0c[/url] currently £40 Same seller Westone fretless Thunder 1A, start at £40 [url="http://www.ebay.co.uk/itm/Westone-Thunder-1-A-fretless-bass-guitar-/321612782237?pt=UK_Musical_Instruments_Guitars_CV&hash=item4ae19d9a9d"]http://www.ebay.co.uk/itm/Westone-Thunder-1-A-fretless-bass-guitar-/321612782237?pt=UK_Musical_Instruments_Guitars_CV&hash=item4ae19d9a9d[/url] this is the lightweight version 3. I have one of these and I think it is unbeatable value as a fretless goes - got rid of my Squier VM Jazz to keep it. Both collection only from Witney, could end up as bargains!
  3. Paul S
    I have tried quite a few as I found the BBOT a bit uncomfortable. BadAss, Hipshot A, Gotoh 201, generic Gotoh-a-like, Schaller 3D. The best quality with most adjustment options was the Hipshot A. It was also the heaviest and most expensive. I didn't like the BadAss much, didn't like the looks, didn't think it was good value for money. The Gotoh-a-like cost me £13 on ebay and probably did the job of the Gotoh but wasn't quite so well made. I'm fairly new to the Schaller 3D but so far I am pretty impressed. I'd say overall the best balance between cost and quality is the Gotoh. But recently I seem to have changed my hand's playing position and I don't find the BBOT quite so uncomfortable anymore so have changed back.
  4. Paul S
    Not exactly, not isolated. But I used this bass for recording the first 4 tracks on this playlist. A simple affair, just an 8 track recorder in a church hall! Straight out the back of my Genz Benz Streamliner. [url="https://soundcloud.com/spracks/sets/illegal-tender"]https://soundcloud.com/spracks/sets/illegal-tender[/url]
  5. Paul S
    [quote name='xilddx' timestamp='1418122261' post='2626990'] Because at that point you can play without sh*t getting in the way of your musical expression. [/quote] But does it? If you look at musicians such as most classical guitar players, for example Don Williams - they are pretty much focused on what their left hand is doing most of the time. From what I have seen I would say bass players not watching their fretting hand would be the exception, not the rule. It may be something you like to do, and I am not trying to devalue that, but I don't believe it is something we should all of necessity strive for. The implication that looking at what your fretting hand is doing is somehow 'cheating' or a 'beginner thing' I don't think is correct.
  6. Paul S
    [quote name='xilddx' timestamp='1418068123' post='2626546'] But this is my point, if you develop the muscle memory by using markers, you may be more quickly able to get to that point where you don't have to look at the board at all. [/quote] My question is why would you need to get to that point or, indeed, think it is something to strive for?
  7. Paul S
    I pay my house insurance every year. It has not yet burned down but that doesn't mean I won't be paying my premiums next year.
  8. Paul S
    Why, thank you kind sir!
  9. Paul S
    If it helps, keep them. I don't get this 'find your way around the frets with your eyes closed' business as half the pro players I see playing in bands watch closely what they are doing.
  10. Paul S
    I always carry a spare to gigs. When I know space it tight I take my Hohner B2A which takes up practically no space in the car or on stage, usually stashed behind the rig 'just in case'. Or sometimes just because I like it.
  11. Paul S
    This was my main gigging bass until I got my beloved 32" P, making this now redundant. I bought this here around 2 1/2 years ago and have made a few changes on and off since - played hokey cokey with a P retro and various pickups and bridges. It is now a straightforward Precision bass that has quality bits where it matters. Black MIJ Fender mid 90s body, Mighty Mite Jazz neck with 70s style Fender Precision decal, 62 re-issue Fender Original pickup, original wiring, shielded cavities, original BBOT bridge and tuners - no idea if they are Fender or not but they work just fine. It is lightweight at around 8.5lbs, sounds just like you'd expect. The body is scruffy, quite a few dings, scratches and 'funny' patches. Neck was almost new when it went on but had different tuners fitted at some point which has left holes behind. Scratchplate has a small hole in it where the LED from a P retro was once fitted. Overall it has the look of a 70s Precision in, to my eyes, the nicest colour combination for a Fender Precision. It is a good, reliable workhorse that sounds just exactly like an old Fender Precision should sound like - currently fitted with decent flats for a woody thump but rounds will give it some bite. Scruffy (did I mention that already?) or, if you prefer, a superbly genuine roadworn bass. I am asking £275 collected from SS7, meet halfway or delivered within 30 miles for fuel. £25 for next day courier to mainland UK. Further afield please ask me and I'll endeavour to find out. Payment via bank transfer or Paypal if you cover the fees. [attachment=178118:pbass1.jpg][attachment=178119:pbass2.jpg][attachment=178120:pbass3.jpg][attachment=178121:pbass4.jpg][attachment=178122:pbass5.jpg][attachment=178123:pbass6.jpg][attachment=178124:pbass7.jpg]
  12. Paul S
    Cheap! [url="http://www.gumtree.com/p/guitar-instrument/sgc-nanyo-bass-collection-bass-guitar/1091960044"]http://www.gumtree.com/p/guitar-instrument/sgc-nanyo-bass-collection-bass-guitar/1091960044[/url]
  13. Paul S
    Now on hold....
  14. Paul S
    A couple of years back now but I had one made by this guy [url="http://www.guitardecals.co.uk/"]http://www.guitardecals.co.uk/[/url] when I re-finished the headstock of a Precision Lyte. It wasn't a stock item, so I sent him a picture of the old headstock decal and he made it up with the correct fonts and with the original serial number. Came out just fine.
  15. Paul S
    Delighted to welcome Nick to the fold of Basschat and start a feedback thread. He bought my Genz Benz Streamliner in the most straightforward of transactions. I wouldn't hesitate in dealing with him again. Which is always a possibility, now he has discovered the classifieds section....
  16. Paul S
    Bought an Overwater bass from Mick this morning. Good comms throughout, nice friendly chap. The easiest transaction you could hope for, I'd have no hesitation dealing with him again. Cheers Mick, enjoy Corduroy!
  17. Paul S
    Still for sale!
  18. Paul S
    Old topic resurrection - I saw them last night at the Brooklyn Bowl (O2), what a great gig! Double header of Filthy Six and Corduroy. But Richard Searle playing a Gibson LP bass with a pick was as funky as you like. First time I have seen them, hopefully not the last.
  19. Paul S
    Of course. We all like what we like etc etc and nowhere is it quite so varied than in the entirely subjective qualities of 'tone'. But I was actually just having a playful dig at JTUK rather than adding anything sensible to the discussion.
  20. Paul S
    But sometimes a drummer can be just plain crap and never going to make it, which was the situation I found myself in a couple of times. One was a learner who read charts as he was going and didn't seem very promising. I heard him play a year later and he was worse. Another had been playing badly for 25 years and unlikely to improve at his stage.
  21. Paul S
    Ah, I see. Sorry. On this one, nothing has changed at all - it is stock as far as I can see, What I meant was that Nigel pimped his one, not this one.
  22. Paul S
    Yes I have and would always in future if it arose. Sometimes just the threat of leaving is enough - I don't like to put people in a position where they have to choose 'him or me' but, well, occasionally that's the way I have felt and thankfully it has always worked out. Like a lot of people on here I don't play for the money, the sex or drugs - it is for fun and the buzz of being part of a tight rhythm section is a big bit of that. 'If it isn't fun its time to run'
  23. Paul S
    [quote name='JTUK' timestamp='1417717498' post='2623446'] but no one can convince me that lightweight matches up or not that I have heard. [/quote] Have you ever considered Barefaced cabs, at all?......... Just my 2 bobs worth. Like chris_b I don't have the choice so old school is out of the question. I imagine if my back had remained in good nick I would still be using my old Trace Elliot rig as I *really* liked it - turn up anywhere, push in the pre-set, let the 18" cab flap my trousers around. But having been forced down the road of light gear I probably wouldn't turn back even if I could as there is something quite liberating about 'portability without sacrificing sound'.
  24. Paul S
    Creativity is the life force of any facet of art, without it aesthetics stagnate. The tricky bit is sorting the wheat from the chaff, at least as far as I am concerned - but therein lies the problem as any form of art is subjective. To my ears, the overwhelming majority of 'new' originals bands I have listened to might have created their material but it isn't worth listening to. Writing good material is, imo, extremely difficult. Maybe I am fussy, I don't know. An example - I saw Imelda May a couple of nights ago and, mainly, enjoyed the gig. But I felt she had 1 hour of good material padded out by nearly an hour of stuff that didn't quite hit the mark. And she is a popular artist, so maybe I am just fussy. I would personally rather play in a covers band where you can choose from a distillation of the best tunes of the last 50 years that have stood the test of time - great tunes to play that people are familiar with, or occasionally great tunes that people should be familiar with but aren't. To doggedly stick to churning out second rate material just because someone in the band wrote it I would find depressing. Of course if anyone is lucky enough to be involved in an originals band that wrote strong material then that's great. It just seems to me to be a rarity.
  25. Paul S
    Bump!
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