noelk27
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Everything posted by noelk27
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Like Tony Kanal. He mostly used a BB1600 and/or BB5000. He now uses a BB2024X and/or BB2025X. -
[quote name='ped' timestamp='1330886358' post='1564392']Perhaps the shift from printed media to online content was more difficult than expected in this respect.[/quote] It's not difficult. Been there. Done that. And my experience was 2002, with today's advantages it's a breeze. [quote name='Maxcat' timestamp='1330902457' post='1564721']We've been delaying the release of issue 03 while we implement some pretty big changes to the way in which iBass works. ...[/quote] In the publishing industry, as in other industries, you run in parallel when implementing new practices/procedures, so I'm not finding the explanation all that credible. When you're contracted to deliver a product to subscribers that's the overriding consideration, and takes precedence over enhancements being made to a product.
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[quote name='Sean' timestamp='1330891328' post='1564504']What's the difference? Is it like Jazz vs Precision nut width?[/quote] Exactly. Narrow is slimmer and shallower. [quote name='kingswampthing' timestamp='1330895101' post='1564574']To be honest I don't know - how can I find out?[/quote] Narrow version measures 39.6mm at the nut.
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G&L Tribute L2000 Fretless (2006, Cherryburst) - £350
noelk27 replied to noelk27's topic in Basses For Sale
Just do what CLF did when creating the original L5000. Bump ... -
Built 16/01/85. Standard or narrow neck version?
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[quote name='ThomBassmonkey' timestamp='1330716231' post='1562188']I was always lead to believe that Fender 5s were Fender 4s with a wider neck and an extra string and thus weren't really designed with the extra string in mind maknig them very hit and miss.[/quote] Isn't that true of the vast majority of five-string designs out there?
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Sure, when inspiration strikes, it strikes. When it does, it helps to have a pen and paper with you (or the modern equivalents, such as a cellphone or other device that you can make oral notes). But, in the times when inspirations has taken a vacation, then there are a number of ways to get some flow going. Reading more can put some ideas in your head. Looking more, at what's going on around you, at the quirky or unusual, at the mundane and ordinary, can also start a trickle. There's the montage technique, of cutting up newspapers and magazines, putting the cuttings in a bowl, and pulling out fragments one by one and trying to link things together. There's the phonetics approach, so just making sounds along with the song you're writing, and then seeing what words match, and linking those words into themes. But, what I try to do, is find a minimum of 15 minutes in the day just to write any thoughts down (even if that's starting by writing "my mind is blank", "i don't know what to say") and finding one opportunity each week to review what you've penned that week. If you're lucky, you can end up with one or two lines, which can trigger an idea. You might just find you have to spend the time writing cr*p, simply to clean out your head, and get back into practice.
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Tokai had the "Hard Puncher", Yamaha had the "Pulser", and Aria had the "Primary". This looks like a PB500. These featured either a three- or four-piece sen ash body, with either a one- or two-piece maple neck, measuring between 40.0mm and 40.5mm at the nut. Whatever the vendor says, the pickups are not DiMarzio, but DiMarzio clones. This one is a '78, made, as everyone can see, at the Matsumoku factory. Can't agree with his assertion that these are rare. Made in huge quantities. Common as in Asia.
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Took delivery of a Washburn Falcon from Peter. And very nice it is too. Straightforward and reliable BCer, who updated at all the relevant stages. Cheers, Peter. N
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You just bought it, Andy?
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Delivering a bass in a large flightcase - cost and wrapping?
noelk27 replied to Clarky's topic in General Discussion
Paisley Freight http://www.paisleyfreight.com/ -
Just taken delivery of Ian's BB2000. Four days, from first message to delivery. Perhaps not a record, but a clear indication of how straightforward, and reliable, Ian is to deal with. Cheers, Ian. N PS And a mention for Paisley Freight. Proving to be one of the more reliable companies engaged in the courier business.
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Bridge is right. Perhaps resited to improve intonation.
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Well, there are at least three Hofner basses that fit the bill, all of which are short scale, two of which are compact, the other of which is thin: 500/1 aka Beatles bass; Club; and Verythin. Certainly vintage in terms of styling and sound. Epiphone make a cheaper 500/1 alike, if you've got a limited budget. As for the Mustang, personally, I don't think the modern version of this, made in Japan, is particularly heavy, but have tended to find that the vintage Musicmasters tend to be a touch lighter than the vintage Mustangs.
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Is it "small" you want, or is it "short scale"? If you're prioritising small body and lightweight as opposed to short scale, get a Hofner 500/1. That also ticks the "vintage" box.
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You also have the Musicmaster and Bullet, both Fender, as alternatives to the Mustang. Edit: B30 (Bullet)
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From the Studiomaster website: "[b]The one and only VLM... 1981 - 1982[/b] By the early 80s Studiomaster had a firmly established market in the growing pro audio world that rivalled many larger companies in quality and innovation. Still relatively new, the company was not saddled as just a mixer company which allowed freedom in perusing other product areas. Demand for guitars continued to grow and attention was turned to guitar amplifiers. Apart from the few old established brands there was little in the way of quality combos that sounded good and were affordable. Once the decision was taken to build a Studiomaster guitar combo it was agreed it had to be something special and the result certainly was. There was to be no compromise in features or sound and over the next 9 months developed several prototypes. ... The amplifier chassis was finished with a unique chrome front panel housed in a polished dark wood cabinet. Finally, the name - Valve Leadmaster or VLM for short. When launched it was an immediate success, due not only to its stunning looks but its sound. The tone and gain range could produce warm, clean sounds or powerful distortion at the touch of a switch. A number of VLMs were custom built for special customers featuring an engraved silver identity plate. Unfortunately, due to limited production capacity and ever more demand for mixers and amplifiers it was decided to drop the VLM after only two and a half years. Today, when second hand examples come up for sale, they often change hands for three of four times their original price. The steel amplifier chassis measured 482mm x 76mm (19 x 3 inches) with all the valves in board so a future compact 60W amplifier head version could be made. A Papst D.C. low noise fan was fitted to the rear panel to reduce heat build up around the output stage. The power supply used a toroidal A.C. transformer for its small size and quiet electrical and mechanical operation, important as the VLM was used in many recording sessions. The signal path and amplifier was to be valve (tube) as transistor amps just don't come close to getting a good sound. ECC83/12AX7 triodes were used in the preamp and tone control stages although the power output valves were not the usual EL34s found in British amp designs. A pair of 6L6 beam tetrodes were used for their classic tone and punchy mid characteristic and availability in the USA, the primary target market. The output was 60 Watts driving the specially selected Fane 200L (200W) Studio range speaker. A number of 12" speakers were tried (including premium brands) during the VLMs development but the Fane came top for tone and loudness. The 5 band graphic equaliser could be switched into the signal path expanding tonal possibilities. Four transistors were used in the design of the graphic which was powered from a 90V supply so fairly high volumes could be achieved before the inevitable transistor clipping sound became a problem. The on board spring reverb was a 16" Type 4 Accutronics (model AB2A1B) unit selected for its superior sound over much cheaper copies. A new and very useful feature was the effects loop as outboard guitar effects processors were becoming popular at this time. An xlr direct output socket and 4 or 8 ohm output impendence selector switch, for extension cabinets, further enhanced the VLMs flexibility." Full working order. Recently serviced. £800
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Is anyone a member of the Matsomuko Guitar forums ?
noelk27 replied to 2pods's topic in General Discussion
The original case was shaped with a flat top? -
[quote name='musophilr' timestamp='1329820154' post='1547723'][D]on't you think that this: "guitarists ... who would be asked to double as bassists" gives the game away? He was replacing the DB with alternative technology; the instrument is intended to do what the DB was doing beforehand. You're supposed to approach it from the mindset of a bassman, not that of a guitarist who happens to be operating an instrument in the lower register.[/quote] Well, no. Again, you're approaching this from the perspective of what the instrument has become, not from the perspective of what the instrument was intended to be. If CLF had wanted to create an electric version of the double bass he'd have had a much easier time of it. Such instruments already existed. What he wanted to do was create parallel technology, a lower register instrument for guitarists who might be asked to fill another role, exactly what you say the mindset of the instrument is not, "You're supposed to approach it from the mindset of a bassman, not that of a guitarist who happens to be operating an instrument in the lower register". In some ways you have to appreciate the guitarists in question, country and western players, and understand the role of the rhythm guitarist in country and western settings. If you examine this music in the context of the period in time, you gain a better understanding of the role these guitarists played. These guitarists were also the beta testers for CLF, so their approach to music and playing is directly of bearing on how the solid body electric guitar developed. Taking account of what CLF said in interview, and the context of the time period and intended end user, then you appreciate that what CLF was creating was a new member of the guitar family, with its primary intended users being guitarists, in order, essentially, for those guitarists to more easily increase their earning potential. You only have to take account of the comments of the Musicians Union of that time, and the subsequent scales of fees published, to gain an appreciation of the level of resistance from double bass players to the Fender electric bass guitar, its role and its players. That, and there's also the argument that the electric bass guitar created by CLF is more closely related to the bass viol aka viol da gamba (itself a fretted instrument, and a member of the same family as the vihuela, the predecessor of the guitar) than to the double bass aka bass violin aka contrabass.
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[quote name='Conan' timestamp='1329829145' post='1547966']If the seller can't explain the strange pixellation issue on the headstock, I wouldn't go anywhere near it.[/quote] One person. One opinion. And he admits he's not a forensic photography expert. Seriously, what's odd about a seller disguising a serial number?
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[quote name='dlloyd' timestamp='1329823691' post='1547834']My concern with this example is mainly that the serial number appears to have been removed... was this done because it was stolen at some point?[/quote] Removed, or just obscured? I'd say the seller has obscured the serial, to protect the identity of what he owns from potential fraudsters. As for the bass, at circa £650, I think that's a reasonable buy. It looks in good order, and these usually sell for more than what's being asked. The bodies and necks, pickups and electrics were all reliable, it was just the plastics and the mix and match attitude at Fender that caused any issues. It's why you'll see some with the 3D style tuners, some with a metal control plate, some with five screw bridges, none of which make these bad basses.
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[quote name='musophilr' timestamp='1329780437' post='1547419']Do I? I thought he intended to make an instrument that was easier to carry about than a double bass, easier to amplify, and easier to play in tune (hence its frets, and its name, the Precision). He succeeded on all counts. Some end users were converted DB players and still others came to the instrument from other routes including guitars. Either way they ended up as electric bass players.[/quote] Well, yes, you do misunderstand. Because, in an interview in the 80s, CLF explained the genesis of the idea for the electric bass guitar, and the inspiration. That he credits to musician friends of his, guitarists, playing country and western, et al, who would be asked to double as bassists, but who struggled with the physicality of playing an upright bass. It was from there that he formulated the concept of the electric bass guitar, by adapting the form and function of the solid body electric guitars he had already created, and that many of these guitarists had already adopted, and therein the interview he directly states that it was his intention to take the four lowest strings on the guitar and orient these with the same tuning intervals and note positions, so as to be familiar to, and instantly recognisable for, guitarists. What he wanted to do was provide his friends with a way of earning extra money from the gigs they could get, with the other points you highlight being byproducts of that key motivation. So, when you say "It annoys me when people claim that a bass is a guitar with thicker (and usually fewer) strings", that, in CLF's mind, when he was developing the idea, was exactly what the electric bass guitar was, and when you go on to say "The visual similarity to the electric guitar is just that and no more" you show that you fundamental misunderstand what it was CLF intended to create.
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Both EZ Drummer and BFD Eco can be run standalone. As entry level packages go, both are very flexible in terms of installation and use/programming.
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Is anyone a member of the Matsomuko Guitar forums ?
noelk27 replied to 2pods's topic in General Discussion
An Aria question that's not really in my sphere of competence. You're best bets are going to be cases designed for the likes of a Gibson Les Paul or EB bass. The original Aria hard case was an optional extra, and the one supplied with the CSB was the same as supplied with the TSB. The original model numbers were CE6200B and CE6800B, for the shaped, flat top hard case. None of the Aria rectangular cases were specifically designed to fit the CSB, but the original PEB cases is a good fit. -
[quote name='musophilr' timestamp='1329779305' post='1547393']The visual similarity to the electric guitar is just that and no more. The instrument is a bass, it isn't a guitar (regardless of what Leo might have originally called it).[/quote] Saying that, you totally ignore CLF's, and GF's, reasons for designing an electric "bass guitar", and the end user the product was intended for. The fact that they kicked off a revolution, and the adopters have gone on to redefine the role of the electric "bass guitar" player ad infinitum is another debate for another day. Personally, I think every bass player should learn to play drums and guitar, or at least develop a working knowledge of what players can physically do with those instruments, to be the best bass player they can possibly be.