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Dinner time yesterday I'm smoking a fag and deleting emails,it's kinda cold and the day's dragging something terrible Among the junk,one says "You're a Winner". " Aye right" says I an goes to bin it,then I spot it's from Wunjo. Didn't think they were in the habit of sending junk emails so I open it. Bloody hell !! Forgot I'd entered last weeks competition,now I've won the thing Even better was Wunjo don't hang around, 12.45pm was the email telling me my good fortune and asking my address. 3pm today it was delivered What can I say except Thanks Very Much

This may be a little premature but im super excited by this. Ola strandberg posted this on fb with the phrase something is cooking #bodenbass. my main bass is a sublime xylem custom so its rare for a new bass to excite me but ill be preordering one of these asap. I treated myself to a boden os6 guitar last year and its so far ahead of the competition in terms of playabity and erganomics. The endurneck really does make such a difference, strange at first but so comfortable. There was a prototype boden bass made a few years ago (video on youtube)and i have messaged several times enquiring about possible production but always met with the answer 'not any time soon' Hopefully there wont be too long a wait.

What he plays is always perfect for the song. Nothing flash. If all it requires is root notes, then that's all he plays. I rate him very highly.

Just added The Boho Dance from The Hissing of Summer Lawns by Joni Mitchell. The bass is played by Max Bennett. I've loved the bass line on this track for years before I even played the bass guitar. I must try to learn it!

Sorry for the delay, had a lot on my plate. IT'S COMPLETE! I had to choose between a solid finish (myself) or splashing out on getting the "Green Machine" pearl candy with the stripe. So I bit the bullet and got Rob at Knight Guitars to do the paint for me. The photos don't show the beautiful depth and shimmer of the pearl candy, I couldn't get the light right, but it flipflops through differing shades of deep green through to lime. The bass is assembled, plays beautifully and sounds nice and throaty with plenty of zing due to the Jazz positioning and high output Seymours hidden under the custom covers. Here is the finished article, hope you like it.

AND FWIW HIS PEAVEY SIGNATURE BASS (THE pALLADEUM) IS THE ONLY pEAVEY BASS i HAVE EVER ACTUALLY LIKED PLAYING & WAS STUPID ENOUGH NOT TO BUY ONE WHEN THEY WERE EASILY AVAILABLE. Apologies for caps but I hit capslock and not going to retype

There, that's fixed. Makes a difference to some people - me included. Although FOR ME it is actually string spacing, rather than the actual width of the neck. I struggle to play a 4 string bass with a neck that is 43mm wide at the nut but happily play a 5 string bass with a 45mm neck.

He needs to get that bass refinished, it's in a right state.

Hi everybody - 'scrumpymike' here, aka Sales & Marketing Manager for Gillett Guitars! As those who attended the first South-West Bass Bash I organised in May already know, Michael Gillett kindly sponsored the event - which is how I got to know him. (For those who weren't there, Gillett design and build the distinctive 'Contour' range of electro-acoustic basses in the UK and are based in the South West near me.) The basses were generally well received at the bash and a few of us (me included) were so blown away that we decided to get one. Since joining GG three weeks ago, I’ve shared my passion for this forum with Michael G and explained why I think we should be actively supporting what is the best online community of bass players in Europe and keeping members up to date with what we’re doing. He’s up for that so we’ve taken a Basschat banner ad, this sponsored Gillet Guitars topic, and are giving members first shot at some ex-demo Contour Slimline basses at a big-discount as a Christmas promo (post with full details to follow). A while back I posted a couple of ‘scrumpymike’ topics about my own Contour bass, which were enthusiastic to the point of being evangelical. Now I’m on the payroll, I’ll be confining my future Gillett content to this sponsored thread — and I’ll try to make it a bit less subjective and more objective / informative. We’re the only company batch-producing luthier-quality bass guitars in the UK so please give us your support if you can. And I don’t just mean your money (though that would be nice). There’s a massive amount of knowledge and experience on this forum and your comments and suggestions will be gratefully and thoughtfully received. So, watch out for the next post with details of the ex-demo offer. In the meantime, here's our website link: http://www.gillettguitars.co.uk/

Next Sunday 10th December, 4pm-10pm. Raising money for the homeless charity. https://www.facebook.com/todostogether/?hc_ref=ARQQxHE8bivVCYMDMBNr66DJwGbKqsVKRHZefwLmH4aRPDZzn3dpRiEkFycS7FDHGRw Four or five different bands put together for the occasion, made up of musicians from a number of local bands. We did the same thing back in the summer and raised a couple of thousand pounds for Great Ormond Street Children's Hospital.

Great to see Gillett Guitars being represented officially on BassChat. About 6, maybe 7 years ago Michael himself posted on BassChat to discuss the new product line and I just had to reach out to him to talk more. We've stayed in touch as much as possible and I feel honoured that I was able to be instrumental in aiding the design of the original range. Certainly very touched when Michael reached out to me as he did with other bassists who are highly regarded to discuss his basses and what players were looking for in an instrument. In case you missed it on TV, Michael has been on Dragon's Den with his instruments as well which I think was superb! I have a lot of time for Michael, I think he's a really nice guy and I want to see him and his basses progress.

Sold John my big box qtron..... He has been, throughout, and despite a glitch on my part, really friendly, reliable and patient, and an absolute pleasure to do business with. His reputation precedes him, but, just in case anyone is still wondering, absolutely recommended !!

I heard once that the sign of a good song is when it can be stripped right back to just an acoustic guitar or a piano and vocals yet still be both recognisable and memorable, if purely removing some of the driven tone on the bass live makes the gig not worth doing I'd be worried about the songs.

That was a Contour Standard pre-production bass with just the Schatten bridge transducer. The Standard now has that plus the Bareknuckle jazz pup; the S just has the jazz. Prices are: S 4 — £2200; Standard 4 — £2400; Standard 5 — £2650 The ex-demo S basses on offer here are £1700. All prices include the hard case that sank the Titanic.

Cheers for posting, STP have always been one of my fave’s. All 4 original members are just so good, and Robert has been a big influence, yet when I hear them play without Scott I find it harder to enjoy, his hooks and melodies were outstsnding.

Just to add a " Well done chaps " Some nice features ! Keep up the good work Many Thanks Gary

I use a flash cartridge (like a normal Gameboy game cart. but with a usb or microSd slot) to run a software called LSDJ. lSDJ is like a DAW, letting you programme notes for the GBs soundcard to play. It has just 4 channels, 2 pulse channels (square wave), a wave channel (custom waveform/drums) and a noise channel (just filtered white noise). I then use a little box called LSDJ-MC2 to send midi into the GB via one of those cables used to trade Pokémon. With this you can sync LSDJ to midiclock, or make any of the 4 channels play notes send over midi. If you have a way to change the notes your bass plays (b2m or an industrial radio bass etc.) you can the make the GB play notes with your bass. TL;DR: get a Flash Cartridge, run LSDJ on it, get an LSDJ-MC2 and you can make a Gameboy a synth.

Alice Cooper. Great basslines from the Dennis Dunaway era, a fantastic show and he seems like a really decent guy to be around.

Added some more. It's just a pleasure to listen to those songs and to build a great bass song bible.

Ozric Tentacles would be lovely. Just switch off and play!

The trouble with this conversation is that there are many different talented people around and their talent takes many forms, so you are often left comparing apples with oranges! So how do you compare a prodigy like Mozart with a highly schooled, incredibly gifted, all-encompassing journeyman like Bach – yet alone individuals from the modern age / popular music?? For me, I reckon that John Lennon was a zeitgeist of an extraordinary era with a talent that could have come out in many ways, just that it happened to be in popular music. Whereas McCartney merely happened to be a decent songwriter who came to notice working with him. A similar thing to Lennon could arguably be said about Bowie a few years later. But again, you have guitar players like Eddie Van Halen and Stevie Ray Vaughan, whose playing left a lasting impression on everyone who saw them long before they were famous (SRV’s drummer, Chris Layton, once said that no one ever damned him with faint praise and said that he was a ‘good’ guitar player – everyone who saw him thought that he was extraordinary). There are also guys like Prince who can do just about everything incredibly well. We are only look at people who are relatively famous and I have just mentioned a few guys who operated in genres that I am familiar with (I’m not even going to start looking at jazz or modern classical music). There have always been lots of incredibly talented people with very different types of talent, but I don’t think that you can begin to compare them unless they pretty similar in the first place, and even then…

If you lasted half hour you'd be a Legend yourself

Zappa.

Another member of the BC Mouradian-ish Owners club. Nice bass...expect lots of "what's that then" questions from Fender owners.

Eh?? Whatever sound you provide to the FOH should be "your sound", the sound that you want out in the room. It's not about providing a sound that is convenient to the sound guy! If the sound guy has a particularly difficult room then that's for him to resolve with his PA config and more powerful EQ. The "room" won't dictate and the sound guy won't have "hands tied behind his back" unless he's not up to the job. If that's the case then pre or post won't matter at all.

@krispn mentioned the following pedal was on his radar: Damnation Audio MBD-1. OMG! Worth checking this clip out. In terms of the dirt spectrum: warm valve-->overdrive-->distortion-->fuzz, it seems to deliver overdrive all the way through to fuzz. It is not particularly 'fizzy' in terms of top end and also seems to retain low end really well with the option of clean blend. It doesn't have a tiny footprint, however, so I'd need to chuck a couple of other pedals off my mini board to make way for it. But I'm seriously tempted. Anyone got one / tried one of these?

Nice, congrats John

@Al Krow Well the Harmonist showed up. I've got admit I was a bit wary after your own experiences with tracking and latency, but I'm so far having no issues. I'll take it to practice later today, but definitely so-far-so good. The baked in Octaver (-1) sound is absolutely fine for my purposes and the wobble that various people have commended on (youtube) is only on the Shifter mode, so you can get a stable octave down in the Harmoniser mode. In any case, my toneprint on the SNU has vibrato added by choice and I actually like the wobble option. In effect I have a basic octaver + something a bit like my toneprint, which is a score for me. I think the -1 is maybe tighter and dryer than the SNU - I haven't really compared them fairly, but the SNU sounds a bit 'bigger' if you get my drift. Probably down to the EQing of the octave (which of course is fixed on the PS-6). Neither mode has given me any tracking issues when used as an octaver, although I've had a few glitches with some of the other harmonies when sliding a semitone. In fact I've had better luck with the tracking on this than with the Sub N Up (and I know this is weird, because everyone really rates the SNU's tracking). It will even track fine with a distortion pedal in front of it and another octaver. No glitching. This is mostly just octaves though, so more demanding shifts might glitch out. Conversely, the SNU seems to glitch out low on the A string, as soon as my strings get a bit dead. I agree that some of the harmonies are a bit quiet on lower notes but I'm not noticing any big latency problems. However - and this is the big caveat - I don't play in a band with a kit drummer - so no kick / snare drum and no cymbals. This dramatically changes the demands placed on my sound. I jammed with a couple of guys last week - basic trio format - and I was suddenly a aware of lot more aware of the latency on the SNU. It's possible that there are issues with either pedal that I'm simply not picking up because of the band context. Anyway, as it stands, I'm not panning on dumping the SNU but if one pedal had to leave my board that would be it. Side note, I'm loving the sound of the harmoniser mode into a Phase 90 and a little tape delay. The short version is that (as always) YMMV!

honestly the difference in width is negligible. for years I thought I preferred Jazz necks, then I bought two Ps and honestly I can't tell the difference, the profile is far more important than nut width.

agree. In the 80s and 90s we were loose as the Stones, well, almost. Now we are tight as, me and the drummer have not made a mistake in our first three shows, apart from the occasional dropped stick. On the other hand,saw a mate's cover band, and in every song the lead guitarist fluffed the solo , ones that we all know. It was god aweful. I love my bands

He' a great bass player. It takes great ears (and great confidence) to play with so much space. Plus, he has the chips to play really busily if he wants to - after all, he first started out in the jazz rock outfit Last Exit. Anyhow, here' a live clip of a wonderful performance of "Wrapped Around Your Finger" during the Police's reunion your. Absolutely gorgeous.

His choice of notes, tone and timing are sublime. He's a wonderful and restrained bass player. Frank.

Dunno yet, it'll need to be cranked right up to tell I suppose, it's just an amp at the end of the day nobody will be more suprised than me if it makes me sound like anyone other than me ?. It is UK hand built if that means anything, that was a factor, I'd rather have something made here in the UK and there is always going to be a premium to be paid for that.

I don't foresee any shortcomings, my Matamp is ridiculous through it and that's only 200w. Man watts though I suppose.

Seller replied very quickly and arranged a fair discount and as Sibob suggested didnt look but usually does and apologised - very good customer service . Also offered full refund but I want to keep the bass so took discount - thanks everyone for all replies. It's a good forum here!

You have to explain, rationally, how better quality sound, both for the musicians playing and the audience listening, is “killing rock & roll”. This makes no sense to me whatsoever.

Most of the Rock bands and Metal bands wear in ears, I don't think we can blame ebs for that.

The point is, the tone between a modeller and the real amp has become indistinguishable... especially at gig volumes. Bass through headphones sucks? Are you serious...? It all depends upon the quality of the headphones/IEMs that you are using. Lets have a look at some of the facts here... modern IEMs can go down to 10hz (that's actually lower than you can hear) - and will certainly go lower than the PA systems that are being used when you have gone to watch live bands. The speakers in IEMs are literally a couple of cm away from your ear drum and at that distance are capable of putting out far higher SPL at your ear drum than you could ever imagine compared to the the PA stack. If you want to hear bass, there is no better way. Eleven Rack. Get it sold. Awful stuff. You say that you have sold the Line 6 stuff... was there a Helix in there? Valve amps. Sound better? Historically, absolutely. Now? No difference. I like valve stuff as much as the next guy... but you are kidding yourself if you think that modern technology can't churn out the same tones. Remember, there was as many crap valve amps made as good... and lets not talk about the reliability issues associated with valve amps. And carting them around. And having them sound different in every venue... etc... Here's the thing... when you go to a gig, you aren't actually hearing the raw amp... or speaker... what you are hearing has gone through a mic, through a preamp, through a desk... with infinitely more processing than you could ever hope to have an equivalent of on a traditional amp - before going through the PA amp (probably class D - you know, those things with zero heft) before going out to the front of house. The modeller simply removes the variables - the amp, speaker, environment and mic and gives your the same tone, night in night out without compromise. If you want hard hitting - my PA, I guarantee, will put out more than any bass rig on BC. If you must have the feeling of air, then get a fan... or get a kinetic feedback board, or a subpac... or a woojer... If you want to go deaf, continue as you are and when you got that tinnitus that won't let you sleep at night, ask yourself how much of a happy place your brain is in now. I don't know sh**? Yup. Completely clueless, me.

Music is only a combination of sounds though. It will happen, it's just a matter of time. Frequency analysis research is going through the roof in recent years and the processing power is coming along nicely to make it achievable and affordable. All things being equal, if you can't hear a difference do you go for the old school valve amp that requires a cabinet, servicing and micing up and can only do one trick or the emulator that sounds EXACTLY the same. I know we're not there yet but it will come

I've nothing against critical comments about products - in fact it doesn't happen enough - but if you're going to slag a product off like that you really need to explain yourself.

They are funny though...

Probably need to experience what it's like to sell for a change

It’s not that I’m “fond” of it. It’s that my literal career depends on it. YouTube’s algorithm heavily promotes clicks, and the more times people click on a video, the more it gets recommended to you. Consider my position, please. I want to create in-depth video essays, or good-faith critiques of other musicians to help them improve, or comment response videos answering questions from my viewers. This is what I want to do for a job, for a living, because I think I’m pretty good at it, and I have the opportunity to do so. How should I title my videos? Should I appeal to your own personal sensibility of what titles should be? Remember, YouTube will bury it if I do. So, if I dont clickbait it, you won’t see it, and then nobody else will see it either. I constantly have to play a game of how much I should clickbait, and what that clickbait looks like. It’s not something that I enjoy at all, so I hope you judge my stuff by the quality of what I offer in the video itself rather than how it’s packaged for you. Because there is little that I can do about that.

Just had recent dealings with John. A 100% pleasure all round and very easy to deal with. His music is very cool too...check it out! Thumbs up from me, deal in confidence as they say