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I love showy things, I love the colour and flip flop paint, but that surface on the warwick is horrible. There is a honda civic down our road that someone pained themselves with household emulsion that looks just like that. Hope it looked better in person!

If you sell a bass in this way then presumably you have: 1. Decided that it's a desirable thing to do (presumably because you feel it improves your chances of selling your bass in some way); 2. Decided to take advantage of the reputation and/or facilities your chosen agency offers; 3. Decided to accept their terms and conditions of sale; and, 4. Decided that the net price you will get from the sale is at least as much as you would get from selling it yourself (and without the inconvenience of having to advertise it, field dumb queries from the great unwashed or arrange delivery/courier/collection yourself). If you're unhappy with any of the above, then without wishing to be rude why are you doing it this way in the first place? Why not just sell it yourself and be done with it?

MiniMert and I quite enjoyed the Little Stubby. The overdriven tones are sublime and it goes quite loud, I’d say louder than the CTM30 but I’m basing this on fuzzy memory only. The feedback control is very cool, it literally feeds the signal back through the preamp valve (pre EQ) to thicken up the tone and add more “girth”. It also adds more volume too. The drive control seemed quite sensitive, below around 10 o’clock there seemed very little if any signal passing through, then it suddenly burst into life with warm thick valvey goodness. After about 12 o’clock you start dialling in more and more grit and overdrive - this thing is a monster for a hellish dirty tone. It’s not something I use a lot of but I can see myself trying it more, hehehe. Anyhoo, the pic is of MiniMert, sensibly defending his ears from the slapathon, giving my the all clear to buy it 🤓

So... For the impatient amongst you I have a little video! It's just what i've been working on composing today, so not incredibly real-world for most players and just on an iPhone. However, plug in some headphones and you get an idea of some of the warmth and the cleans it produces. I will do some proper/more in depth but talk-free demos, as per the rest of my channel, later this week! T

You bought this from them at the LBGS? It looks like a nice tidy wee unit. The inevitable sound clips request has officially been lodged. side note LBGS just makes me think Lesbian, Bisexual, Gay and Slappers (bass or otherwise) I have an hilarious image of the LGBT community showing up at the London bass guitar show being massively disappointed and confused!

Damn! Not Tina then ...

Undoubtedly to everyone's utmost surprise, I've got a pic of the whole bass. Edit: click on it to see it in full resolution.

Isn't the B1on just the best value for money thing any bassist could ever buy? After my Vox amplug suffered a prolapsed input due to me standing on my cable I recalled folk here saying the Zoom can do the same job and more. At £45 I thought why not take a punt. I'm stunned. It is a superb piece of kit. Perfect headphone amp, with aux input. Now with Audacity on my pc and this beauty connected to the sound card song learning has never been so easy. Oh and it has an excellent tuner too. Oh and the effects are really nice and easily customisable. And did I mention it only cost me 45 quid? Brand new? In the future people will describe any wonderful and innovative novelty as "The best thing since Zoom B1on" trust me.

Not a quest I've ever been on! If it ain't saturated, I ain't infatuated.

Roasted swamp ash body, stained flamed maple top, roasted flamed maple neck and fingerboard. All passive Nordstrand MM + J blades. I want them as lightweight as possible!

Angry Birds?

Yes - Spitfire.

I was planning to go on Saturday only but there were so many good masterclasses that I went back yesterday as well. Joe Hubbard and Yolanda Charles were both completely inspirational. Scotts performance/session in the SBL room yesterday was fantastic. I really enjoyed Chris Childs masterclass as well - a great insight into his role as a gigging & session musician. Overall, a really great show (although I found it a completely humbling experience because it highlights to me how little I know and how basic my own skills are!!)

So the biggest unanswered question.... were those the Warwick special discounted show prices...?

Probably the packaged weight. I bet those aren't the bass's actual dimensions either. I mean, I could be wrong but 5.5 inches deep?

Yep, just got home after having attended both days. Arrived quite late yesterday and missed all the workshops/seminars but got in a couple of hours worth of gear-drooling. Spent some time with Alan Cringean of ACG who was an absolute gent and had some glorious basses on display. I had the pleasure of playing a lovely red P-Retro 5 string which I fell a little bit in love with. Just before closing time I got chatting to Scott Devine who asked if I was coming to the pub afterwards. The answer, obviously, was yes. So off we all went (many of the show’s exhibitors, SBL faculty as well as ordinary folk like myself) to The Albion. On arrival it transpired that the pub were hosting a LBGS jam night, kicked off by Dave Marks who had to promptly leave for a gig after playing the opening number. Before long one of the guys I’d gotten chatting to earlier in the day started spreading a rumour that I wanted to sing. I soon had a small rabble of folk peer-pressuring me to get on stage! To be fair there was a distinct shortage of vocalists so after putting it off a bit I obliged. Got to close the evening with a bit of Never Too Much followed by a blagged rendition of Superstition. It was great fun and I got to meet some great musicians! When the pub kicked us out many of us trawled to the Hilton for another bevvy. Got chatting to Thomas Eich who was happy to talk shop, clearing up a few questions I had re: the Tecamp/Eich split. I didn’t stay long though as I wanted to get to the show a bit earlier today so as to sit in on a couple of workshops. So today I saw the Scott Devine workshop followed by Rich Brown who was incredible. Wanted to stay for Henrik Linder but got caught up in a wild goose chase looking for John East! In the end I never did find him, much to my dismay. Spent some time at the Aguilar stand, wincing at the prices of their pedals. Also, wincing at their ludicrous signal path: Filter Twin > Chorusaurus > Octamizer > Agro > TLC Compressor > Grape Phaser. I was gagging to tear their board apart and reorder the whole lot . To be honest I was mainly there to try the new Grape Phaser but it was borderline impossible to tell if it was any good or not because there was too much ambient noise and I felt like the TH500/SL112x2 setup wasn’t able to cut through it with any real clarity. It may have been wise for Aguilar to do what many of the other exhibitors were doing and provide a couple of Phil Jones headphone amps. Towards the end of today I had a chat with Nick Smith (haven’t seen him in about 10 years) with whom I lamented the absence of several British companies. The likes of Barefaced and Alpher Instruments, amongst others. Bit of a shame not to see them at LBGS to be honest. All in all though, a great weekend was had. I met some lovely people and saw some great playing. I was a first-timer and it wasn’t the mad slap fest I had anticipated, though of course there were moments of it. I’d happily go again next year.

If you want that dull thumpy flats thing just buy normal Roto rounds and play one gig, job done

The whole point of FRFR is that it is transparent and hence adds no colour. So in this case - it sounds like a valve amp through an 8x10. If you take the speaker emulation off and put the amp emulation through a real 8x10, it should sound the same as the real thing too. Likewise if you took the speaker emulation off and use the FRFR, it would sound thinner - because the colouring of the 8x10 isn't being added.

I don't know if this is what you are asking, but this one is the right size for my GP7 head, other than being much too long. http://cpc.farnell.com/pulse/rksl-2u/rack-sleeve-2u/dp/DP32669?CMP=TREML007-005 But its a perfect fit otherwise. I'm going to peel the felt stuff back a few inches and cut it down so its not quite as deep. But its easier than starting from scratch and its only £17 shipped.

Hiho Foundations are excellent. I have 2 ,an 84 sunburnt and ab 83 bodied one with a 92 neck in black.Absolutely fantastic to play very well built and the sound .Well us in the know know

I went a couple of years ago, and yesterday. The difference, primarily due to Scott Devine's influence, was astonishing. First time I took in a couple of a couple of big time stars doing their thing. The rest of it was just a cacophony of plank spankers trying to impress - who? This time Scott's workshops alone were amazing. I only had Sunday afternoon, thanks to British Rail. But in that time I got to hear and see and question Scott and his band, Rich Brown and Henrik Linder. I also saw Phil Mann, Mark Smith and Steve Lawson. And I know Bobby Vega, Yolanda Charles and Garry Willis were there too. Most of those were only there because of SD. That's amazing - and IMHO gives the thing a focus you could achieve in no other way.

Yup, the last Mighty Mite neck I had was simply lush. Incidentally, while you're in fettling mode, Sheldon Dingwall was giving a talk yesterday at the LBGS about different tonewoods, why & how they change the sound of your bass, and how luthiers can tweak them. He pointed out that one advantage of bolt-on necks is that you can make an appreciable difference to the tone by backing off the neck screws by maybe an eight turn, certainly no more than a quarter. If the bass sounds "too tight", then this backing off can free up the tone by changing both the way the bass resonates and the rate of decay. Edit: I definitely typed "eighth turn", y'know. Does this forum have autocorrect?

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He came on our stand for a play but when I tried to take a selfie all I got was my face and his shoulder - should have done it while he was still sitting down Scrumpymike

It sounds rather good through one of these 😉

No problem, it's solved now, i've got one on it's way to my local store and they got me a very nice discount.

A big +1 from me. I’ve got some serious learning to do.

Yeah, well that's what happens when i try typing on an ipad when ive just downed half a bottle of rum. Thanks for reading all the way through the thread just to point that out though.

The SBL room was in the corner next to Darkglass/Bass Direct. To be fair, if it hadn’t been for my reliance on the event leaflet with its schedule and map, I may not have found it either. I met Etta on Saturday, along with Vicky O’Neon who was a legend and a bit of a beast on drums! Hadn’t heard of Etta before the weekend but to be fair I’m not really the kind of person to keep up with the latest names in the industry...

Well... I went for a Chowny Pitchcraft and a shedload of inspiration, and I came away with both. 😊 Top marks to Chowny... with a failing battery on the contactless machine I though I might be going home disappointed, but no. 'You're on the forum aren't you?... Take it and I'll invoice you!' That's above and beyond in terms of customer service... I'll be back! It was just a blur of performance, coffee, masterclass... repeat until the Argentinian Steakhouse across the road opens! Snow Owl was brilliant, Mo Foster's band were great, Vega was soooo funky, and bloody lovely to boot. Guy Pratt was proper funny, I'd have loved him to play a little more though. The big take away for me was from Yolanda Charles. Her subdivisions thing from her masterclass will keep me frustrated for a month. I didn't touch a bass all weekend, the one I would have left with was £6,800😨... but I couldn't stop playing last night!

The 4 or 5 orders I've had from Thomann have been delivered in 3-4 days. The orders have ranged from knobs and a switch to a 5 string bass

In terms of bang for your buck, I kinda feel that Ibby put many brands (including other personal 'favourites') in the shade. Eg if I want to get a neck through with individual bridge pieces on a Yammy, this is currently the preserve of the very top of their range the (albeit gorgeous!) BBNE2. And that does not come cheap!

Nice feel! Welcome...

https://ibb.co/dArMk7 https://ibb.co/ivagk7 My 675.

Ha! a) no b) love him c) not yet i posted across the 3 relevant topics so that peeps who were following each could get a slice, yep there will be cross over! But, you have virtually nailed it, by searching YOUR tone and blending it to your band, covers or originals, it will make for a better show andnlistening experience and the audience benefit as not only will they like what they hear, but what they see which is the point of love music, someone into the groove. Amd this you have answered your own question

Unlined fretlesses just look the coolest of any guitars and you can still make them sound as funky as f**k What's not to like?.

If you can play a fretted bass why wouldn't you want to try fretless? Theoretically at least, just about every member of this forum has the fundamental skills needed to play a fretless, it would be stranger if most of us didn't fancy giving it a go at some point.

What can I say, Self built bass, self built cabs and a heavy rack-----------Loud and proud

Slut red in fishnets

Tell 'em it's angled to aid dispersion etc and they'll snap 'em up, lol

Having bought one and used one and carried one upstairs to practice rooms and gigs i can honestly say they are worth much more than they used to cost anyway and a price hike wouldnt put me off buying another.

I have 5 pickguards for my P-bass and I just switch them about. It really helps reduce GAS / future potential impulse purchases.