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Beedster

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Everything posted by Beedster

  1. Beedster
    [quote name='Shonks' timestamp='1429772179' post='2754669'] cool easy transaction....bloody nice bloke..! [/quote] Still owes me a set of bass strings though
  2. Beedster
    [quote name='Chiliwailer' timestamp='1429726750' post='2754360'] Clearly a man of style and taste Nice one Chris, she's such a special bass [/quote] I walk in your shadow Dan Pino is lovely, 55 is lovely, but 55 just suits me better. I'll kick myself over the Pino (that's a Pino and a Jaco I've let go now), but a bass has to be right for the player C
  3. Beedster
    Taking Sean's advice which resonated well with that I was getting from my heart. The '55 is staying put, Pino now sold.
  4. Beedster
    [quote name='40hz' timestamp='1429626521' post='2753379'] I had a Trb4II and I can't see why you'd want to change the electrics on this! The standard electrics set up is really high quality, a real studio bass IMO. [/quote] Exactly, one of the few basses that can only be made worse with modification
  5. Beedster
    I'll take it, can you PM payment details Thanks Chris
  6. Beedster
    [quote name='White Cloud' timestamp='1429636624' post='2753520'] Your ears define your subjective reality...they cannot be wrong! [/quote] Well there's one scientific fact you've got wrong
  7. Beedster
    [url="http://s80.photobucket.com/user/Beedster/media/when-a-plan-comes-together_zps11tih2if.jpg.html"][/url]
  8. Beedster
    Increasingly starting to think that this should stay and the Pino should go, but I'm not sure I can live with that decision down the line so to speak. Perhaps I just need to find a way of keeping both by selling most of my other basses?
  9. Beedster
    I'd have loved that if it wasn't for living in Kent and working in Wales! Hope all's well Nik C
  10. Beedster
    [quote name='discreet' timestamp='1429522121' post='2752138'] I think so... type of pickups, electronics and pickup placement. And strings. If you really want to change the sound of an existing bass, just fit different strings. I think a lot of perceived problems with 'tone' are down to string choice. [/quote] OK, I agree in theory (hence this thread), but if this is the case, and as suggested by many players above and quite a few pros (for example Barrie's post above), why do quite a few people indicate that they choose maple boards for brightness (and never in my experience the opposite)? Do maple boards look brighter or feel brighter, does the fact that varnished finish feels a little colder and more clinical than oiled finish add to the mix? Is is perhaps the varnish, would players who express a preference for the brightness of maple boards find a varnished rosewood board equally bright? I'm not so much asking which wood is brighter and why, but why so many players feel that maple is brighter and why?
  11. Beedster
    Lovely lovely amp capable of all the things that the Tech 21 RPM and RBIs are capable of! Too many amps and cabs lying around the place unused at present and a few things to spend the money on so £250 gets this to your place. Pics to follow when I can find my USB cable C
  12. Beedster
    [quote name='Chiliwailer' timestamp='1429474795' post='2751781'] Black - check Maple - check Ash body - check YEAR OF BIRTH - check Growl and thump - check If only I wasn't skint [/quote] Dan, you and I seem to share similar tastes in basses mate (only my YOB instruments are a whole lot dearer!) C
  13. Beedster
    Thanks for the comments folks Karl, many thanks and hope you're enjoying reacquainting yourself mate. Let me know how it's going with the neck? Dan, if I win the lottery I'll give it back to you mate (and thanks for providing neck specs)! Greg, pots and kettles mate Gary, I'm getting there with the Pino. The problem I've had is that the '55 feels like a real '55, the Pino feels like a relic (the relicinfg on the '55 doesn't only look authentic, it really feels authentic, I have no idea why Fender have done it so well on this bass and so poorly on a few other CS models). The '55 is very special and will be hard to let go, but common sense - as opposed to emotion - says the Pino stays and this goes Sean, this neck is very different to the La Cab but still not small. It is however faster than the La Cab neck by a significant degree Bass Pedal Geek, I'm lucky enough to have this and an original 3tsb 70's Telebass and trust me, the '55 is a whole lot better, although if you want to really let an audience know you're there, nothing beats a Telebass with the tone rolled back through 300w of Ampeg tubes and a 2x15! Cheers Chris
  14. Beedster
    Double post, please ignore
  15. Beedster
    This is without doubt one of the best basses I've owned. The tone is sweet, the instrument is resonant and responsive (helped by its extreme light weight), and the playability is perfect. It is also the only bass I've ever seen on which the relicing looks 100% authentic. I bought this after selling my expensive DB a few months back and ordering a new Fender Custom Shop Pino Palladino Precision. After putting down the deposit on the Pino I had the balance sitting around and decided to buy this in the meantime. The previous owner, Dan (Chiliwailer) knows his basses and his description of this was spot on (see original listing at [url="http://basschat.co.uk/topic/255174-sold-fender-custom-shop-1955-precision-ltd-ed-relic-2013/page__fromsearch__1"]http://basschat.co.u...__fromsearch__1[/url]). I was not disappointed! However, the Pino arrive faster than expected, and whilst I have gone around in circles about whether I should keep both, even I don't need two Custom Shop Precisions. Collection from Canterbury, London or Aberystwyth, courier fully insured at buyer's expense. I've used Dan's original photos below. [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060380%202_zpszouxxcby.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060966_zpshdsmfbco.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060965_zps7uplyavn.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060963_zps4rpt6gpw.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060958_zps1lwsua9b.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060385%20-%20Copy_zpsz0e8nv5p.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060384_zpsczfcp1pq.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060386_zpswmcby1z4.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060394_zps4mmgcued.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060388_zpssj2q1mla.jpg.html"][/url] [url="http://s1381.photobucket.com/user/chiliwailer/media/CS%2055/P1060395_zps9xou8kr8.jpg.html"][/url]
  16. Beedster
    A sweepable mid is to my mind the most useful active control you can have on a bass and is well worth experimenting/persisting with. It's not as 'toneful' as treble and bass controls when practicing/soloed perhaps, but in a band and live situation careful use can be the difference between being heard and sounding good, being heard and sounding bad, or simply not being heard at all (despite a powerful amp at an otherwise appropriate volume setting), all of these too a far greater degree than do most bass and treble controls. How do you get used to it? Trial and error with your ears and those of your band mates, sound guys and audiences.
  17. Beedster
    [quote name='Dad3353' timestamp='1429288542' post='2750125'] (Sorry, folks, just a little sorting out between YFS and myself; normal service will be resumed as soon as [s]he caves in[/s] possible...). This has gone beyond a flippin' joke. Here's what my browser shows me... As you can see (I hope..!), your post is 1237. You've lost one somewhere. Have a look down the back of the settee, or behind the fridge; that's where they often slip away. If not, I'd suggest that you're infested with Borrowers. Which tablets have you taken..? Not those pink ones again, I hope..? [/quote] No, according to my browser your post is 1237..........
  18. Beedster
    [quote name='Drax' timestamp='1429268083' post='2749814'] This is going up a gear now. So what defines 'brightness' for a test - is frequencies / resonance ? [/quote] That's to be decided but with spectral analysis of the recorded sound there will be some means of contrasting what a musician perceives as differences in tone between two instruments with any actual differences in tone, and these in the context of what the musician believes they are hearing (vintage/modern, cheap/expensive etc). As Dan suggests above, the challenge is going to be adhering as far as possible to the core tenet of experimentation and holding all variables except that of interest stable (i.e., if we wanted to test maple versus rosewood boards we would have to make sure that both necks had the same mass, both fitted the same body equally well at the same height above the body/PUPs etc). Nothing in these types of studies is perfect! But don't get confused here, the study I'm talking about doesn't really seek to identify the objective acoustic reality of any tonal difference, but the interaction of what we expect to hear with what we perceive we hear. The acoustic measures would be to ensure that we don't make the mistake of assuming that two different instruments sound different when played by the same player, or that the same instrument sounds the same in the hands of either two different players, or in the hands of the same player on two different occasions (e.g., one in which they believe it's a genuine pre-CBS, and one in which they believe it's a Squier). It won't be perfect of course, but it will provide some validity.
  19. Beedster
    [quote name='Drax' timestamp='1429267511' post='2749803'] We need to run the official test so we can move the debate on to to strings, finger size, wind direction, etc. [/quote] Don't forget colour
  20. Beedster
    [quote name='dood' timestamp='1429266841' post='2749794'] I'd agree with this and the comment about Maple appear to accentuate 'clank'. The good kind of clank that is. [/quote] There's something I hear - I wouldn't call it clank, and I wouldn't call it grit - but it's a liveliness and energy in the tone, especially when moving across frets and especially on a Precision - that I just love, and which I seem to hear more on a maple board than rosewood when I'm playing. When I hear that tone on a recording, I can see a maple boarded Precision in my mind's eye, seriously! I'm in an email chat with an expert in psychoacoustics between posts here, ideas for a controlled study of these questions are taking shape.
  21. Beedster
    [quote name='Chiliwailer' timestamp='1429265222' post='2749774'] I'd have to agree with that mate, as FinnDave says, they all sound the same in the dark! It's harder to tell when the constants change, like pickups, body, strings etc. Though to some players, the neck wood does make a difference to the way they get on with the bass or guitar, I've had that experienced many a time myself. [/quote] Yep, I think preference in feeling leads to projection of tone amongst some of us. I much prefer the feel of a maple board, just feels cleaner and more precise, so I wonder if I'm also hearing a more clean precise tone? BTW the study I'm planning on running would be in an anechoic chamber with no light at all. When the door closes on you it's a pretty weird feeling!
  22. Beedster
    [quote name='Chiliwailer' timestamp='1429263880' post='2749753'] Hang on..,,,you thinking of moving on either the Pino or 55?????? Gasp... [/quote] Possibly Dan, the '55 is THAT good, and I'm really not sure I need it and the Pino (don;t get me wrong, they're both equally good, it's just that I was expecting the Pino to be outstanding so it didn't surprise me, the '55 did). To be honest, I bought the '55 as a stopgap ahead of the Pino arriving thinking I would probably sell it once the Pino came. As is often the way, the Pino came a lot sooner than I thought it would, in fact FCS delivered spot on the original delivery date as opposed to 6 months later that I had anticipated. However, selling the Pino would leave me with only maple boarded basses (well expect an old Jazz, but Jazzes aren't [i]proper [/i]basses are they ), hence in part this thread, the other part being my constant battle with my brain over whether I can actually hear a difference in tone between certain basses or whether I am actually projecting it! Or whether any of it really matters anyway
  23. Beedster
    [quote name='CamdenRob' timestamp='1429260811' post='2749702'] I think some sort of test of this is on the cards for the hearts bash. [/quote] This was kinda my thinking in a way (although I am currently trying to decide which of two Precisions to move on and one factor is board material, specifically do I really need to have at least one bass with a rosewood board in my arsenal). So, we have an anechoic chamber at work. We also have some expertise in acoustics and sound measurement. My research area is the placebo effect, and one of the reasons I am interested is that a lot of my work centres on the idea that what we expect is what we get (a paper myself and my research team published a while back was titled 'Beliefs versus reality or beliefs as reality' which sums it up quite well I think). I'm therefore not so much interested in what is the acoustic reality, but how a player's expectation of tone leads to that player's perception of tone (although of course we have to measure the actual acoustic reality as a control). So, I may set this up as a final year student project, we could use an anechoic chamber to measuring actual frequency response of instruments against perceived frequency response, and specifically interpret the latter as a function of the musicians' expected frequency response (not just tone of board materials, we could look at vintage/expensive versus modern/cheap etc). Now, where would I find a few bassists
  24. Beedster
    I know I'm revisiting a question that has been asked here a few times back in the day so apologies for that, I thought I resurrect it as it has been bugging me a lot recently. I remember reading quite a few threads in which individual bassists suggest that maple boards sound brighter than rosewood boards, but in which this theory was rejected by clearly quite knowledgable individuals on numerous bases, for example that the string vibrates against the fret and not the board etc. So for many years I've assumed that there is no de facto difference in tone between the two woods on a fretted bass and this seems to be reflected in what I've heard from a few luthiers and techs. So if this is the case, why is it that all other things being equal, maple boards always sound brighter to my ears, am I projecting it?
  25. Beedster
    [quote name='discreet' timestamp='1429206206' post='2749277'] Yes, back in the day when having live drumming was seen as old-hat. Our electronic replacement lost its memory and we had no way of sorting it out. Personally embarrassing for me as I'd gone to great lengths to ensure a good crowd. 'Real' drummers have their faults and will also forget things to a certain extent, but generally not so badly as to be unable to play at all! Put me right off using programmed beats or backing tracks or click tracks or any of that mularkey to this day. I say if you can't play it live then don't do it! [/quote] Sounds like that drum machine was at the wrong gig?
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