risingson
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Everything posted by risingson
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bump! Have had some interest so far, nothing concrete though it seems. Gonna try and keep the fire burning a day or two before Ebaying. -
UPDATED got a request for sound samples, so they're here for those interested. Excuse the sloppy playing, especially my slap skills which are rusty at best ! [url="http://kiwi6.com/file/830mt116al"]http://kiwi6.com/file/830mt116al[/url]
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[quote name='Beedster' post='1132081' date='Feb 18 2011, 12:16 PM']Hi mate, OK, I was slightly tongue in cheek above, but you only have to go to the ebay forum on here to see the slating that people get for saying "I was told by the original seller it's all original". I'm sure a lot of guys on here love the look of that bass, but you'll probably need to provide a bit more info, or at least a link to the original for sale thread here. Re 'most of the parts are Fender', I may have missed something, but neither the neck or the body are Fender, and you have not provided any info on the PUP, bridge, tuners etc. A little more info and I've no doubt the bass will sell in no time C[/quote] Ok, to clarify, I have no more information on the hardware, body and neck other than that I've given, I've been in touch with the chap I bought it off to find out more on this front and once I'll get an answer I'll clear it up. The original thread I bought this bass from has gone AWOL, I can only assume it to have been removed by a mod once 4 Candles (the seller) had sold the two basses in the thread late last May (if I remember correctly he was selling an Overwater Jazz in the same thread). A quick removal of the neck a few months back to make a truss adjustment reveals it to be Fender by Allparts (it's stamped in the heel, I'll take photos if necessary later on). It's Fender... sure, Fender by proxy, but Fender. The body isn't I don't think as there's nothing stamped in the neck joint to indicate this, but again I'm not certain. The pickup is Wizzard like I said, again when I did the electronics nothing on the pickup cover indicates what type of model, I can only assume that it's the Trad but could be a Thumper. Honestly not trying to pull the wool over anyone's eyes here, I'm selling it based on what I know about the bass, and I'm more than happy to answer questions on what I know about the bass. Thanks
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[quote name='Beedster' post='1132034' date='Feb 18 2011, 11:34 AM']... or a Fender....?[/quote] I'm simply placing the bass back into the marketplace in similar if not identical advertising conditions to how it was sold to me last May. As most of the parts are indeed Fender, I'll advertise accordingly. Cheers
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[quote name='orangepeelneil' post='1131835' date='Feb 18 2011, 08:44 AM'][size=3]Hi there, Nice bass, I've got a few questions:- 1) What's the history of this bass? is it something you aged yourself ? 2) I'm not familiar with this model, what is the origin of manufacture? and year? (if you know). 3) What is the nut width?- is it a 1.75" (44mm), like the 57 p basses Cheers Neil [/size][/quote] Hi Neil, I bought this bass off a fellow basschatter less than a year ago, before this I believe he'd bought it off of another guy who was the original owner, he put the bass together. The bass isn't strictly a reissue, but the previous owner referred to it as a '59 reissue and in fairness to him the looks of with the gold anodised pickguard suggest it would have been a bass from close to this timeframe, so I thought it best to advertise as such. The hardware and ashtrays and are all vintage but I couldn't give you a date unfortunately, I don't know when. The neck is a Fender neck by Allparts, again, unknown date but it's about 1.5" at the nut. However, it's very deep and has a deep 'V' feel at the 1st-4th frets or so before it rounds out. I love of the neck, it's what sold me on the bass. The body was sourced elsewhere, despite the feel and weight of the body being close to most vintage Fenders I've played. It's a good slab of wood, a little heavy but again it's what I liked about the bass originally as it reminded me of how the older Fender P's felt. The wear and tear of the bass on the body was done partially by it's previous owner, otherwise I think the bass shows the test of time. Unfortunately the history of the bass is as one pieced together by Fender parts by the original owner and I don't know the full ins and outs of the bass other than all of this. All I knew when I bought it was how much I loved it to play and how it sounded, I've had roundwounds and flatwounds on it now and it sounds just great
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Drop me a PM and we can have a chat about it all mate!
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Some lovely Precisions in this thread. Got a '59 reissue that's fantastic, but I'm letting it go to pay for some more stuff I need! Check it out here [url="http://basschat.co.uk/index.php?showtopic=123551"]http://basschat.co.uk/index.php?showtopic=123551[/url]
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Cheers Mike, knew I was doing something wrong!
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Cheers JTUK and Musicman20, appreciate your input. The Eden XLT's seem a low mid bias which depending on venue to venue can end up saturating the stage, and although I got some great sounds from it from the studio it's starting to become a pain to get in and out. I'm looking for a more focused on stage sound from the Aguilars, I'm thinking slightly higher midrange sounds that cut well. I'll probably look at getting one of the DB112's with a tweeter and one w/out.
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Sold.
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[quote name='scalpy' post='1130190' date='Feb 16 2011, 08:24 PM']I'm really enjoying mine. A while back Higgie described his as being just "there" and I know exactly what he means. There is a 3D quality to the sound and plenty of low end despite the size. I was using an old American Hartke 410 (which still sounds very good indeed) but the Aggies rattle ribs much more easily. I used to play with a very loud drummer indeed and never got the Hartke past 11 o clock on the dial. Whilst I haven't had the chance yet to meet up with him yet and rag the new ones I have AB'd the two rigs side by side and the 12s are really loud indeed. In terms of tone I'm finding I'm having some unusual issues with some of my old settings on the bass I use in that the tone disappears compared to the Hartkes, but this maybe due to the fact I changed heads at the same time as well, and it could be this causing the problem. However on my 2 favourite settings it's my old sound turbo'd and I find all the articulations I use speak through with real weight to them. You have to be careful that the sound doesn't get too thick at volume. I bought one with a tweeter with resale in mind but I really like it and have found myself using it all the time. I did lend my rig to a friend for a rehearsal and he went straight out and bought the exact same rig to go with his fretless Alembic. He now sounds like the world's biggest double bass! Hear mine in action at [url="http://www.youtube.com/watch?v=mkv5hudteY8"]http://www.youtube.com/watch?v=mkv5hudteY8[/url] if you want, there's no drummer to get in the way! Hope this helps. Harry[/quote] Thanks Harry, the tracks sounds great too, the bass sits really great in the mix!
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[quote name='warwickhunt' post='1130174' date='Feb 16 2011, 08:12 PM']Loads of views on them if you do a quick search but in summary; I love mine to bits. As single cabs they are good but when doubled up they are excellent. IMHO they are never going to give you loads of 'zing' but what they do they do well. As a pair they will hold their own a rock band situation playing pubs and clubs and I've yet to be defeated by guitarists even when using 4x12's (not that it is a competition). I've not had mine complaining, nor pushed to the limits but by the time they've reached their limits you really should be using FOH PA support. Cracking cabs but don't expect featherweight as they are still a nice chunk of weight... maybe that's why they do what they do so well! [/quote] The weight of them in comparison to the 410XLT I expect will be a breeze! What I need is for the cabs to the deliver punch and I'd prefer to not invest in the DB212 if I can because that would defeat the idea of being able to split the cabs off in the studio or at smaller gigs. I'll be interested to see how the new SL 112's fair as well but at the moment they're looking too pricey for what they are.
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I want to downsize my rig a little, currently running an Eden WT-800 + 410XLT but the weight of the rig is astronomical and I need something a bit more portable, so I'm going to look into buying the Tone Hammer 500 when it comes out and probably two 112 cabs, the idea being I can split the rig for smaller gigs and also studio use. I was wondering if anyone had used two DB112's (with tweeters) in conjunction with a similar setup and what results you've had live, are they loud enough, what the tones are like etc. Any help on the matter would be greatly appreciated, I of course intend to try them out before I buy but I just wanted some feedback from you lovely BC'ers if you've had any experience before I went and sold my entire rig off! Love to hear some feedback on this! Cheers
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[quote name='chris_b' post='1130066' date='Feb 16 2011, 07:00 PM']You can't buy talent but I think it's right that every musician will want to sound as good as they can, and that's what better or different gear can do for you.[/quote] I think it's fine for a bass player to want to feel as happy as possible on stage and I think that's what good gear can do for you, it's a big morale boost. But I see some players on some forums selling off basses, amps, cabs on an almost weekly basis in order for them to get the newest thing. It's their choice of course, and I wouldn't want to argue with them being allowed to buy whatever they want, but I do wonder what some people hope to achieve by doing this as in the end, they're still going to sound like the bass player in the band. I do think that some people put too much stock into searching for some elusive tone that will forever escape them until they realise that it's what they do musically that counts most of all.
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[quote name='Bilbo' post='1129320' date='Feb 16 2011, 10:19 AM']I think there is an argument that some players (not all by any means) are trying to 'buy' talent and, rather than working on legitimate, tried and tested methods of musical learning, try and adress their shortcomings by buying gear. I heard even Guy Pratt talking about a bass with a 'fast neck'. I don't care how fast the neck is, if a player has no musical knolwedge and lacks core competences like time etc, a 'fast neck' ain't going to solve the problem. I make no secret of the fact that most of the talk on here about gear is irrelevant nonsense - there is a thread on here about the best material to make a nut out of (walnut, obviously). What possible difference can that make to anything? I get that you get more sustain from this or that material but how many times a night do you hit a note that sustains long enough for that to matter? In fact, you are as likely to NOT want it to sustain. I think its all smoke and mirrors. I can't tell the difference in sound between a Jazz and a Precision or a Ken Smith or a Fodera. I [i]can[/i] tell the difference between a Dorian minor and a Phrygian minor. [i]That[/i] matters. But an ebony vs plastic nut? As important as the colour of your lead, methinks.[/quote] I completely agree with this post. I would add that even the difference between playing a Squier and a Fodera is also very small for me, as most of the audience aren't going to notice the £5000 price difference in the looks, playability and sound of the basses. What new gear does do is give a player a brief surge of wellbeing which is great, but gear should only ever augment you skills as a player and not the other way round.
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Advantages/Disadvantages of headless basses
risingson replied to jonunders's topic in General Discussion
I'm not a big fan of the looks of headless basses, but that's definitely something to split people's opinions anyway. I've played a few, had a chance to have a quick go on Steve Soar's Status (that's alliteration for you!!) and although it was a lefty and I play right handed, it sounded really great. -
Anyone tried one of these yet? Was looking (and have been for a time) at the AG500 but this looks more up my street.
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Twitter is alight tonight with the fury of a million and one Justin Beiber fans screaming for her blood. I'm glad she won it, she's got a lot of substance as opposed to none at all in the case of Beiber.
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I keep my picks in that pocket in my jeans that doesn't really fit any purpose (fact of the day: Levi Strauss apparently made these pockets for watches on chains). Sometimes keep them behind my pickguard also.
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I used to do this, very rarely I still do it but I much prefer playing with a pick now. Like someone mentioned, Chuck Rainey used to do it.
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You refine your gear searching for THE sound
risingson replied to WalMan's topic in General Discussion
Bass is bass, I'm a firm believer in thinking that most bass guitars sound more or less the same. That may sound a bit ridiculous but to a wider audience without a discerning ear, this is for the most part a universal truth. Yes a jazz bass is going to sound different to a P bass or a Stingray, and yes certain pickups/preamps will sound different than others etc. but who's going to notice? Not as many people as you'd like to think. I choose bass guitars on how they make me feel when I play them, closely followed by how well they're going to sound in live and studio applications. If you've got a great sounding bass then it's a huge morale boost and that's important as a performing musician, but for the most part and as controversial as this is, most basses sound fundamentally the same. -
[quote name='stingrayPete1977' post='1122152' date='Feb 9 2011, 11:55 PM']But these are sounds and techniques from the 70's. I don't see how one band I have never heard of would influence worldwide pop acts with slap bass from the 70's and 80's. I'm guessing your a Justice fan? I have to endure radio one everyday too most of it's awful maybe I'm getting old? [/quote] I appreciate that slap long predates all of these songs we're talking about, but the production methods and the way the slap part is quantised and spliced together via electronic means are the attributes of a much more recent development in music. There isn't a particularly 'live' feel to the bass in the Katy Perry tune, and it's something that was very synonymous with Justice's (and a few other people's) style of bass production. That's all I was saying really, and I don't believe it to be coincidence I liked Justice, but to be honest I take great interest in hearing a lot of top 40 artists 'borrowing' production methods that have evolved from other artists. In relation to the original question, slap bass isn't going to make a comeback just because it's been used in one Katy Perry tune. Like you say, slap has already happened, it's already been a big thing in the 70's and 80's L.A and N.Y.C recording studios largely thanks to a lot of session greats who used it to great effect on a lot of records, i.e. Marcus Miller, Louis Johnson, Freddie Washington, etc. the list is exhaustive. Bass needs to evolve by other means rather than repeating what's already happened. Radio one is awful for most of the time, but I listen because it's in my interest to know what's happening with popular music right now, and I like to keep abreast of what music might be popular, regardless if it's good or complete crap (usually it's the latter )!
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Love it Burritobass! I've got a bit of a thing for Hofners afer I used an friend's old '67 to do some recording... have used the chinese made ones and they sound very good. Just make sure you string it with flats
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[quote name='stingrayPete1977' post='1120656' date='Feb 8 2011, 09:25 PM']But I have never heard of Justice? Katy Perry happens to be an international act with millions of sales. For all the KP fans (perverts!) search for her on YouTube having her breasts covered in paper mâché and that's not a euphemism![/quote] Pete, whether you've heard of them or not is a different story (in fact if you don't follow that type of music it's likely you won't have), the producers of this world have heard their music and incorporated it into what they do. Justice actually did achieve small commercial success but were otherwise quite underground. The point being is that the music that begins underground eventually influences what's in the charts very heavily. You'll notice the same is true of dubstep right now, again you may or may not have heard of this type of music but 5 or 6 years ago the genre spawned from garage and drum and bass in South East London and was very exclusive and very British, and very underground indeed. Nowadays it's everywhere, Tinie Tempah, La Roux, Snoop Dog, Britney Spears and Rihanna have all incorporated it into their most recent work, despite the big producers of dubstep like Skream or Shackleton remaining well away from the limelight. I tune into radio one everyday and hear it in 40-50% of prime time output. So whilst you might not have heard of these artists, they are the ones that are currently shaping music production and sensibilities more than you could even possibly imagine. Popular music producers are lazy, they'll go with what's getting big and then profiteer from it until it's not popular anymore and then move on.
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[quote name='Huwberry' post='1121381' date='Feb 9 2011, 02:08 PM']One of my biggest inspirations, both as a bass player (even if I'll never be able to match his technique) and a musician/composer. If push came to shove, I'd say my favourite tune is this: [/quote] I can't describe how much I love that particular tune.