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Ive been trying to resist. Failed. im in.

Well, better than Born Again anyway!

I think most do, and most have full time traditional jobs and families as well. I'm the odd ball. Blue

I'm not a fan of mismatching woods on the fretboard and headstock, unless the headstock matches the body. Give me a maple/maple neck or a painted headstock any day.

Looks like I've joined this party too late! Who are the band, I might have seen you? Hold the Line and Jump, I was worried it was my band but then I remembered I'm the bass player

+1

We don't need a Wurzels tribute down here, we have the real thing. My dad knew them very well 😂 I pulled the trigger and quit last night. The more sensible guitarist took it quite badly, but I expected that anyway. Got a singer, guitarist and drums lined up for the new project, which is basically 80s pop/rock for pub gigs. Bands down here seem to spread right across the decades, with the 80s being largely missed out other than a few def leppard or bon jovi numbers in each set, and I'm thinking something more focussed might have a good chance at getting going.

This thread is the sole reason for me withdrawing my Micro Thumpinator from sale...

Your research has missed some very important points. 1. No HPF will "cut off everything" below a certain frequency. What they do is progressively attenuate frequencies from the cut off point downwards according to the filter slope. Those frequencies will still be present but they are reduced in level more as you go further down from the cut off frequency. SFX have a frequency plot which shows the effect of the Thumpinator on their web site. 2. You have ignored everything else in the signal path including the human ear. While normal human hearing goes down to 20Hz, if you look at any frequency plots you will see that sensitivity drops off significantly from 160Hz downwards, so most of what you are hearing with your octaver on the open E string are the harmonics rather than the 20Hz fundamental - the brain is very good at filling in this missing frequency information for you. Also unless your rig includes PA style cabs specifically designed to reproduce signifiant levels of sub bass ( which case you should be using an active crossover and you won't need a HPF) your cabs will struggling to project these low frequencies at the same level as the higher ones. 3. Finally the design of the HPF itself is very important. IME a higher cut off frequency with a steeper slope (24dB/oct rather than 12dB/oct) is going to be far more effective at removing the potentially speaker damaging frequencies. Go too low with too gentle a slope and it won't be removing enough to be doing a worthwhile job of protecting your speakers. Also as has already been said many filter designs will as a by-product of the way they work add a slight peak to the signal at the cut off point - which is something you really want to avoid on one aimed at removing sub-audible frequencies. AFAIK only the Thumpinator is designed specifically to minimise this peak.

We have conquered NAMM! It's good to be back.

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The rest of the black hardware finally turned up I’ve just swapped over the tuners, strap buttons and string tree So now the bass is finished apart from a setup Sorry for some reason the picture has gone a bit grainy I’m happy with the finished look it’s no frills and simple!! (Bit like me!!) 1 down only 3 to go!!.........

The Headhunters, sans Herbie Hancock.

@D’AddarioUK D’Addario offer a string tension guide that allows you to select the correct gauge of string when tuning down to maintain the tension you enjoy. Check it out here: http://stringtensionpro.com/

Anything with a ridiculously oversized headstock with canoe accessories as tuners and totally clashes with the rest of the bass.

As Lee Pomeroy said somewhere, if you're a good bloke, play ok and get on with everyone, you get the call.

I dont question it. I'm stunning, and that's the end of it. Move along please

Maybe you should withdraw 'privileges' until she changes her mind. Oh wait, it doesn't seem to work that way round!

You’ll struggle to find any definitive temperatures/ humidity measurements for safe storage; but the general consensus for instruments and audio gear is... Cold: no problem Hot: not ideal Humid: very bad!

For the DIYers among us, Julian Pohler (Mr. Shalltechnik04 - the guy behind the Guma Drive, Guma Antique and Growling Krizzly kits) is bringing out a combined HPF/LPF + DI kit soon called "Vong" (no idea what Vong means). I've asked him to keep me posted on when it's to be released.

Eventually every design in existence will have been slagged off in this thread...

Yeah the Amplug is awful, poorly built and sounds like s*@t

Here's an LPB P (not mine, I have to say. I wish it was!)

Deposit is usually £200.

Why go for 2 different cabs? Try both out & get 2 of the ones that you like the best.

Typical comedy price from unsere Deutsche Freund. I do know what it is - or was - assuming anyone cares. It's a mid/late 60s Matsumoku build, anyone's guess what the brand was, although Aria's always a possibility. The offset dots & "Steel Adjustable Neck" plate are a 100% ID for that manufacturer. It's probably worth about £60.

best idea is to drop Paul a message through the Wal website and just ask for the specs so you're in no doubt. His answer to my question about how slim can he make it because the old ones were a bit tubbier than my Warwick wasn't quite "you tell me what you want and I'll build it" but more along the lines of "this is what we do as standard, how does that compare with the dimensions of the neck you're thinking of?"

funnily enough, I've had exactly this discussion with Paul himself this week Similar to the OP, I am determined to get a new Wal - had a couple in the past (dating from the '80s and '90s) love the sound, but they weren't to my specs (one was second hand, one was new but built to somebody else's specs so was ready to pick up if i wanted one straight away, which i did at the time) and I never felt that they were "my" basses, so have been planning to get one to my exact requirements. And one of the niggles was that the necks were a little chunky - still very playable, and had that gorgeous sound, but, well, not quite "my" bass. So I figured I'd go for a new one and get exactly what I want. Here's his reply (only helps if you're after a five string): Here are our standard 5-string dimensions: > >Neck width @ nut= 46.7mm and @ 24th fret = 71.5mm/2.82'' >Neck depth @ 2nd fret =21.9mm/0.86'' and @ 12th = 24.18/0.95'' >Bridge saddle center spacing = 17mm/0.67'' This is almost identical to my thru-neck Warwick (that is extremely slim and fast) - a mm or two out at most, so I'm very happy. Does make me wonder if it's my perception that the old Wals were chunkier because of how it felt at the top end, or if they were just made chunkier, either back in the day or for a particular order. One other point to raise, having just pulled the trigger and paid the deposit (yesterday). There's no way to disguise the fact that the price is a lot of money for a bass so I've been putting it off because I didn't have the cash lying around looking for a home. I'm fortunate enough to get a bonus each year, and in a good year that would cover the cost, but assumes that I don't spend it on anything, and my dreams of a new bass this year were dashed when my laptop and hoover packed up, to be added to the list of other stuff that I need to spend some of the bonus on. Then the penny dropped that it's going to take two years to build the bass, and I don't need to pay for all of it up front. So I asked for details. £1k up front, which is non-returnable (slightly more if you pay by PayPal to cover the extra admin costs). That gets you a specs sheet to confirm what you're after. Then nothing for six to nine months, when Paul gets round to starting on the neck, at which point he wants another £1k. And that's all you need to pay until it's ready. So for me I don't need to find £6-7k from this year's bonus, I only need to find £2k, which I can do, and means I place the order now rather than putting it off for another year (so that's a new Wal in two years time rather than three). Excess pay will be going into a savings account/Wal fund, and by the time next year's bonus gets added that should cover everything well ahead of time.

I'm in!

I'm sure Peter Hook was a big fan of that headstock...

For me, anything with too many angular/straight lines. I much prefer flowing curves. Oh and I have zero love for Rickenbacker aesthetics. Both the body and headstock are hideous IMO.

2nd album I ever bought. 1st was 'Hits 68' I then acquired Sabbath Bloody Sabbath with all the Satanic imagary on the cover. My Dad (a strict Baptist), was not impressed at all. I always liked the acoustic intro to Spiral Architect and sometimes play it when I'm noodling and ask people to guess the source....no one ever gets it right (except Sabbath fans obvs). No so big into metal these days, but might well give 4 and SBS a re-listen

It's free room acoustics analysis software. https://www.roomeqwizard.com but there's a really simple RTA section that's great for this kind of thing. Give me a few mins and I'll knock up a chart if you still want it.

Stability seems to be the reason for roasting a neck, which is fair enough, but does it have any bearing on 'tone'? *Opens can of worms, runs away*

What you really need is a bass-playing Pole. This may be more difficult to arrange after Brexit.

This is the curve of the ZOOM B3 GEQ 12dB cut at 50Hz, all other freqs at 0. White noise going in, obvs.

I really, really, reeeeeally dislike single-cut basses - I think they're utterly grotesque and should be destroyed with fire, but that's just my opinion (which is correct, I might add! ) I also dislike anything Beatle bass-shaped, all Rickenbackers, Thunderbirds, G&L's (simply because of the utterly ridiculous headstock) I'm sure there are others but I can't think of them right now...

Retribution consists of 1 x drum teacher with 30 years playing experience, 1 x guitar teacher with the same, 1 x bass player with about 33 years experience, 1 x guitarist with about 30 years experience and a relatively new vocalist who is also a GIT graduate and has around 20 years guitar experience and about 5 years as a vocalist. We must have thousands of gigs between us, but in this project we'll play 10-12 times a year. We all wanted a fun project that we could fit in around other commitments - bands/personal life/hobbies/work/whatever It could be a chance to play a small number of gigs in a different genre, with different personal, maybe closer to where you live. Saying any band doesn't deserve top notch candidates is a bit of a slap in the face to those of us who after years of gigging hard want to put our feet up now and again

That reminds me - I need to renew ours ASAP. There have been cider related incidents......

Very much this, I have never really believed that I am as good as people tell me I am, I guess my mate who inspired me to play was and always has been far and away technically way more acomplished than me, at 16 or 17 years of age he could play all the John Taylor basslines, most of Bernard Edwards basslines and everything in level 42's back catalogue...however he still tells me I am the better player because I can write and create basslines he only wishes he could dream up....that has always seemed really strange to me but I guess you can learn so many other peoples songs that it stiffles your own creativity?

I know exactly how good a player I am... How good am I? ...I'm alright.

I`ve asked myself this a few times, and put it into sections: Can I play/record the same song unaccompanied by any other instruments/vocals say 2 or 3 times, and be within a couple of seconds each time Has my bass playing ever been described as tight or solid Have any drummers ever expressed that they found it difficult to work with my bass-playing Have I ever held up the progress of any band that I`ve been in due to not being able to learn/play any songs/material If the answers to 1 & 2 are yes, and no to 3 & 4 then whilst I might not be Mr Flash it seems that I must be doing things right.

I don't like natural finishes or sunbursts, slab body basses, body-binding, headless, single cuts, non-cloverleaf machine-heads, anything with more than five strings, things that look like coffee tables. Basically this :

Buy another bass. Over the years I've spent £100s on my "project" bass in a vain attempt to get a fantastic bass on the cheap, but it's never been as good as the basses I've bought complete and it's residual value is ziltch. Not that it hasn't been fun. And there are some great second hand bargains, especially if you don't need something fashionable or collectable.

I've got 4 4003's and the only issue i have ever had with mine is with the Midnight Blue finish bleeding into the binding. It stank of paint when I opened the case and while the paint felt fine at the time, it obviously wasn't and I got sticky hands a lot from it. The discoloured binding wasn't the issue as much as the utter sh*t I got from John Hall for asking about it on forums, including his. The bleed was a known problem. The bass was a total keeper, though and the bleed is just a bit of mojo, I suppose. I have never had tail lift, bad frets, poor action or anything. The neck pickup is normally set weaker on a 4003 and I wish it wasn't but them's the breaks. I always play with both on and everything set to 10 on the Rics and they just sound great. I'm not a snivelling Ric fanboy. They have made some right dogs, but fortunately, I haven't ever played one.

I think so. An alternative would be 18 1v batteries, but it might make the basses too heavy.