dlloyd

Price adjusted to reflect the fact the pickup has left the building and is on its way to Glasgow...

[quote name='steviedee' post='842089' date='May 19 2010, 02:16 PM']I have one already they come off very easily, I just bought a shadow brand new and haven't fitted it, but like the bassmax, let me know what you want for it. Why are you packing in the upright are you just not getting to play it?[/quote] I don't get the opportunity to play it, despite all the good intentions I had. I had a couple of folk projects on the go when I bought the bass, plus I was interested in having a go at getting some jazz gigs. The folk stuff has petered out (the guitarist I was working with moved to the highlands) and there's not really any decent jazz around here (plus I'm rubbish at it).

[quote name='steviedee' post='842025' date='May 19 2010, 01:35 PM']Hi remember when you got that bass it looked really nice, would you sell the bassmax separately?[/quote] I'm not sure how simple it would be to remove it (never thought about it)... Here's Bob Gollihur's page on the Bass Max [url="http://www.gollihurmusic.com/product/1265-BASS_MAX.html"]http://www.gollihurmusic.com/product/1265-BASS_MAX.html[/url] Apparently it's just wedged in there and is designed to be easily removable. If it comes off easily enough, I'll be happy to oblige.

[b]Edit: Sold (traded actually), subject the usual bits and pieces.[/b] I've decided to pass my double bass onto someone who might use it a little more than me. I bought it a couple of years ago from another forum member, Tallboy, and while it is a great sounding bass and very easy to play, I'm not currently doing anything that really warrants owning it. I'd rather free up the space it's taking up! It's a [b]Stentor Conservatoire[/b], which is a fairly decent, [b]fully carved [/b]bass with [b]ebony fingerboard[/b]. It is strung with Pirastro Jazzer strings and has been professionally setup for playing fingerstyle. [s]It has a [b]K&K Bassmax pickup[/b] fitted, which I confess I've never tried as I've only ever played it acoustically![/s] (Pickup has been sold seperately) It comes with a padded gig bag, which is a little tatty, but has no rips etc. There are photos of it in its original sale thread, here... [url="http://basschat.co.uk/index.php?showtopic=13989&hl="]http://basschat.co.uk/index.php?showtopic=13989&hl=[/url] Once I find my camera, I can take more if anyone's interested in seeing the bass in a different room (it still looks the same as it did when I bought it). RRP price on these appears to be around £1,500, but you can pick them up for about £1,100. Strings and a setup could add an extra couple of hundred on top. [s]I think the K&K pickup is around £100.[/s] I'm asking for [s]£750, no offers[/s]. Price is now £700 as the pickup has been sold seperately. Trades and P/X might be entertained... a fretted four string electric would be nice as I haven't got one at the moment... Something like a Precision maybe. Collection would be ideal, and I'm based in Dundee, but I'm willing to deliver, for the cost of petrol, as far as Edinburgh, Glasgow or Aberdeen. I've sent a number of basses, guitars and amps by courier in the past, but I don't think I could entrust them with this one!

Laser beams instead of strings.

[quote name='Merton' post='840764' date='May 18 2010, 12:45 PM']Nice history, though the original V-Type head, combo and preamp date back to 1995... I think the 1998 relaunch was the V6 and V300H/V600H, then the V8/V4 were the 2000 additions.[/quote] Yeah, it was something I put together based on newsgroup postings a few years ago. There's some really interesting and slightly controversial stuff out there. The Kaman takeover in 1992 seems to have been the turning point... [quote name='Bill Kaman']We were their US distributor for four years, starting in 1988. Fred Friedlein, the owner, always wanted to run a nice little music company, and he had that, but then it got big and he wanted out. So we bought him out in 1992 and began to expand their product range to include acoustic amps, guitar amps, PA systems and the like.[/quote] Apparently the expansion was too fast. They had a few issues with transformer reliability in some of the Series 6 mosfet amps, some of the valve guitar amps had a tendency to burst into flames, etc. The introduction of budget ranges didn't help the overall image of the company much either.

[quote name='derrenleepoole' post='840511' date='May 18 2010, 08:45 AM']Which ever way you choose to go with this, £350-400 is a good price to pay initially for a first bass. Better to spend this amount than say 2K and discover you don't like DB anyway and would rather stick with elecy basses.[/quote] I was in the same position as the OP a couple of years ago and was dissuaded from buying one of these £400 basses. I saved up and spent about double on a second hand Stentor Conservatoire that was advertised on this forum. Since I bought it, I've had a go on one of the £400 ebay basses. I don't think I would have lasted this long if my bass played and sounded like that. Not completely unplayable, but it was a struggle. Once you've factored in strings and a setup, you're looking at an extra £200 or so. For not much more, I picked up a fully carved bass that came with a proper setup, decent strings and a pickup, hand delivered by Jakesbass. If I decide I don't like double bass any more, I should manage to recoup the price.

[quote name='Count Bassie' post='840441' date='May 18 2010, 02:06 AM']Bassman, do you know around what year the MK III-V amps were built?[/quote] Series VI came out around 1990. The timeline goes like this (there's some gaps to be filled, and probably some mistakes)... Late 1970s First Trace Elliot amps produced for the Bass Centre in Essex, UK 1980s to 1992 Golden age of Trace Elliot (for want of a better term) c 1990 Series VI amps introduced 1992 Takeover by Kaman 1997 Mark Gooday leaves and forms Ashdown Engineering. Their amps are designed by Clive Button who designed much of Trace Elliot's line. Apr 1997 Kaman decides to stop manufacturing in the UK and puts Trace Elliot up for sale. [quote]On Tuesday April 15, Kaman Corporation concluded that it is no longer in the Corporation’s interest to continue the manufacturing operations of Trace Elliot Amplifiers in the UK. It is expected that the phasedown of that facility will occur over the next several months. In anticipation of this move, adequate inventories of key products have been moved to the U.S.A. to ensure a reasonably steady supply of product to our loyal dealer base. Kaman Music has been and continues to be in discussions with several parties interested in acquiring the Trace Elliot assets and brand name. While there are no pending offers at this time, we are all confident that a new owner for Trace Elliot will emerge, who will carry this world-renowned name in bass and acoustic amplifiers into the next century. We hope that you, as a supporter of Trace Elliot product, continue to sell and promote the product during this transition period. Please contact your Kaman Music District Sales Manager for details on product availability and pricing.[/quote] Mark Gooday: [quote]It is quite complex. I sold Trace Elliot, with my partner Fred, to an American company. I had a five-year contract with them and that was coming to an end in `97. The Americans and I did not see eye to eye in the slightest on the direction of the company, we were at loggerheads as to what we were both doing. They were closing down a lot of their music sections and intending to sell Trace Elliot and I was in the midst of trying to buy it back. This didn't work out particularly well and it got a little bit politically difficult between us to the point where they thought it was better that I went and I thought it was better that I did. Then I wasn't allowed to do anything in the music industry for six months, which gave me time to decide what I wanted to do. Trace made some fantastic achievements over the years, ones I'm very proud of and I miss the company today. So towards the end of 1997 the first Ashdown products were shipped to the Japanese Trade Show and were reasonably successful straight away. Ashdown's first amp was the 500-watt Klystron Bass Magnifier, a curious name, I thought. The reason it was called that was because of the Flash Gordon movie. There's a part in it where they say, "Turn up the Klystron Magnifier" and they're turning up this huge machine, which is exactly the image I wanted.[/quote] Kaman is seeking to streamline its inventory, less than one fifth of which are music companies. Set to be dropped are Trace Elliot, which suffers in the US from the strength of the UK pound and Legend drums. 3rd Jun 1997 Trace Elliot UK refutes the news of its demise, stating they are in negotiations with Kaman to buy back company [quote]Over the past couple of months there has been plenty of gossip on both the net and the street regarding Trace Elliot and our current situation. We would like to set the record straight as some of the gossip is not only innacurate but also damaging to us and our loyal customers around the world. Trace Elliot is up for sale, the price most certainly is not $1 as per a recent posting. Currently the three directors of Trace Elliot in the UK are in negotiations to buy the company back from Kaman. We are hoping that all will be resolved within the next 4 weeks or so. Since Kaman Music Corp's purchase of Trace Elliot in 1992, we have consistently increased our business every year. 1996 was a record year and 1997 is also looking good. Obviously with the inevitable change over of distributon that will occur in the USA, sales from TE to USA are likely to down on last year. However, we are confident that this will not be a problem when the company is sold and a new distributor has been appointed in the USA.[/quote] 27th Jun 1997 Trace Elliot becomes a stand alone company when the directors of Trace Elliot UK finalise a deal to buy the company from Kaman. Trace Elliot continue to manufacture in the UK Jan 1998 Introduction of 7-band SMC series and V-Type Oct 1998 Takeover by Gibson [quote]Gibson acquires Trace-Elliot, U.K.amplifier, bass, and string maker Gibson Musical Instruments, under the direction of Chairman and CEO Henry Juszkiewicz, has added legendary amplifier company Trace Elliott to it's family of music instrument manufacturing companies. The acquisition was completed on October 2nd. Gibson is now the sole-owner of the 100-employee U.K.-based company. Trace Elliott is known as a world leader in amplifier and electronics technology. Some of the top musicians in the world make Trace Elliot their amplifier of choice including Dave Matthews, John Entwistle, Tony Levin, and Don Henley. "We're very excited about this acquisition because it's a natural compliment to our worldwide guitar operations, and Trace Elliot, being the leading name in bass and acoustic amps, provides an excellent platform for Gibson to move back into the amplifier business," says Henry Juszkiewicz. The Trace Elliott acquisition, along with the recent purchase of Opcode Software, marks a series of recent moves by Gibson, including a company-strengthening reorganization of their Nashville-based operations, to insure that the 104-year-old legendary company will remain the industry leader well into the new millenium.[/quote] Mar 1999 Introduction of 12-band series (GP12X preamp) July 2000 General redesign of Trace amps: Introduction of new 7-band series (promising real world prices); Introduction of new 12-band series; Introduction of V8 Amp; redesign of the Commando combos 2000 to 2001 Manufacture of some amps moved to asia. Dec 2001 Gibson stops production of Trace Elliot amps, rebadging some as Gibson amps

[quote name='Merton' post='839459' date='May 17 2010, 07:32 AM']Carpet came in end of the Kaman era, along with mdf construction, around 1995 iirc. Gibson took over in 2000 and led to poorer quality electrical components, black vinyl covering and a Trace-saturated market. I think [/quote] As I understand it from conversations I've had with Trace employees from back then, the quality issues actually hit a couple of years before the Gibson acquisition. The pre/post- Gibson thing is a bit of a red herring.

[quote name='dave_bass5' post='835222' date='May 12 2010, 12:36 PM']IIR her armpits got more press than the band did back then. [attachment=49548:30297087...998cdefb.jpg] This was the best i could find in a quick search.[/quote] I had a look but got distracted...

14 kHz is fine, big drop in volume for 15 kHz, then nothing but clicks at the beginning and end of the recording. 36, by the way.

I used to notice it (weak G) on Ashdown amps, but less so on Ampeg or Trace amps.

Labi Siffre, "I got the..." Listen from 2.30 [url="http://www.youtube.com/watch?v=TbVl6nCmQ9o"]http://www.youtube.com/watch?v=TbVl6nCmQ9o[/url] These CDs are great for this... [url="http://www.amazon.co.uk/Sampled-Vol-1-Original-Disco-Tracks/dp/B0000506E8/ref=sr_1_1?ie=UTF8&s=music&qid=1273482348&sr=8-1"]http://www.amazon.co.uk/Sampled-Vol-1-Orig...2348&sr=8-1[/url]

[quote name='billphreets' post='680565' date='Dec 10 2009, 07:35 PM']hi basschatters anyone got the sheet music for jamersons classic please ??? NOT TAB[/quote] You've [i]got[/i] to get Standing in the Shadows of Motown.

[quote name='Happy Jack' post='609406' date='Sep 26 2009, 05:29 PM']I think a lot depends on whether it's a Live Album only, or also a Video/DVD. What makes The Last Waltz so painful is that you can see what's being played on stage, while hearing something very obviously different through the speakers. If I'd only ever heard the album, I'd think it was great![/quote] Rick Danko's playing confused the hell out of me for ages! Apparently, it's been 'addressed' in a recent remaster... they switch to the original bass part when Rick's in camera shot. Interesting article on the concert here... [url="http://jmdl.com/library/view.cfm?id=1217"]http://jmdl.com/library/view.cfm?id=1217[/url]

[quote name='Linus27' post='600905' date='Sep 16 2009, 11:50 PM']OK, I have found a version of the song done acoustically. You can't hear the bass so well but you can hear the acoustic guitar in the verse. At the moment, in the verse where I am doing the walking part, I am playing the following notes G, B, D, F#, E, B, G, E, B, D, E, F#, G, A, B, D, E, D, B, A, G, E, D, E. Its what I am playing over the B7 chord in the verse which is the problem. Also, the third verse which is the instrumental verse I am playing a much busier walking bass line which may have the odd wrong note in Please feel free to point out wrong notes. [attachment=32983:The_Flea...coustic_.mp3] Sorry for the quality but its the best I can find and thanks for any help [/quote] Chords in the verse are G, Em, B7, Em, C, Am, D, (B7) Yeah, you should probably avoid the D on the B7. At the moment you're playing B D E F#... to be honest, that E is pretty weak too. B D# A F# would work better (IMO)

[quote name='Linus27' post='600232' date='Sep 16 2009, 02:14 PM']Just spoken to the guitarist again and he says its a B7 and has apologised for the confusion. So should I then be playing B, D#, E, F#, G, A, B, D# ????[/quote] It looks like the tune is in E minor, in which case you'd be fine with those notes. You'll probably find that D# won't work in any of the other chords, and will want to use a D natural. (the third of the dominant chord in a minor key often gets raised to provide a better resolution to the tonic... in this case Bm7 will be substituted with a B7 to strengthen the progression to Em)

[quote name='Linus27' post='600082' date='Sep 16 2009, 12:33 PM']The chords that preceed are Em I think and again Em after if that helps. Maybe I can post or send a rough copy of the song to make it all a bit clearer. 1st, 3rd and 5th ([b]B[/b], D, F) sound right and a good starting point.[/quote] There's a pretty important distinction between B and Bb. If you post the chords (making sure you get the flats/sharps right) you'll have a better chance at getting some sensible suggestions.

[quote name='Linus27' post='599940' date='Sep 16 2009, 10:11 AM']I am doing a walking bass line over a Bb7 chord. At the moment I am playing B, D, E, F#, G, A, B, D as a scale going up the fretboard starting on the B on the A string and ending on the D on the G string. Are these notes correct or am I playing a wrong note somewhere?? Thanks for your help.[/quote] It depends where you're coming from and where you're going to. Are you just playing over a static Bb7 chord? or is it resolving to somewhere else? What's everyone else doing? What sort of music is it? The chord tones, particularly the 1, 3 and 5 (Bb, D, F) are going to serve you best in terms of outlining the harmony. You might want to try to play those on the strong beats (in 4/4 on the 1st and 3rd beats of the bar). On the weak beats you're going to want to play a note that lead you towards the next strong note. That depends on what you just played and what you're going to play...

[quote name='chris_b' post='599576' date='Sep 15 2009, 08:35 PM']Probably F## or Gbb depending on the key.[/quote] F## (usually written Fx) [i]is[/i] G. Gbb is F. (More correctly, F# is 'enharmonically equivalent' to G, etc.)

[quote name='Mecklenburg' post='595418' date='Sep 11 2009, 09:39 AM']anyone able to help on my query?[/quote] Rob's away for now. Not sure if he'll be back. In the key of C major, the vii chord is Bm7b5. B Locrian is associated with this chord. Play C Locrian over a chord progression in C major and you'll sound like a loon.

Carl Perkins Maybe overplayed, but still good... Bill Haley