Leaderboard

Hey all. I sent the photo onto Fender Consumer Relations who have responded swiftly and advised (in writing) that it has been a "mis-build" - a rare occurrence but the second time they've seen it on a 70's spec Jazz. GuitarGuitar Edinburgh have also been fab (as usual) and offered me a straight swap to a replacement - they currently have these in stock and have spot checked a couple to confirm correct spec. With this written confirmation from Fender, I'm comfortable keeping this f*ckup. In fact we're becoming quite inseparable. Here it is with all the bling removed (much as I love the look, it does get in the way)...

They’re great strings, I’ve used them for years. I’m really surprised you’ve got a dead one, but that’s more likely to be because the bass was strung months ago and has been sitting in a shipping container at sea between Indonesia and here, suffering all sorts of extremes of temperature and humidity. One of the main reasons I’ve stuck with the EXLs for over 15 years is their consistency - all that time I’ve never had a dud. In 40 years of playing I’ve been through most brands, and some major makes (naming no names) have truly appalling quality control.

I've played a two set gig with no drummer when he fell ill and the replacement was my right foot on the wooden stage floor. I reckon I could do a gig as a bass player on anything with at least one string. It wouldn't be perfect, but it would be better than cancelling. The less you've got, the simpler the music, but I reckon that at least 90% of the audience won't notice.

@Ashdown Engineering you might want to follow this thread

Thanks. Something went wrong with an update. We’re on it!

OK OK. I finish work in a couple of hours and will take a couple of piccies then

It’s ok I got a Sharpie 😆

Better start going through all my Pink Floyd albums too and binning anything with imposter David Gilmour playing.

I play bass guitar alongside (usually) six other guitarists known collectively as "The Glissando Guitar Orchestra". We all bow our instruments with metal objects using a lot of compression and delay, creating fabulously rich textured drones. It sounds like this:

I’d better throw away my copies of Yessongs, Going For The One and 90125 then... I never realised they didn’t count as they’re just by some tribute band.

I attended a 'Zappa plays Zappa' concert a few years ago, with Terry Bozzio as guest. Just as he was starting his 'routine', his bass drum batter head split. After a couple of minutes 'kerfuffle', he moved over to the 'house' kit whilst a drum tech changed the head, after which he came back down to his own kit. Apart from extensive use of a whole raft of china crashes around his kit, there was no difference whatever in his playing. I reckon the bloke could have finished his spot with cardboard boxes (or even a Squier bass..! ) if he had to. He's good, is that there Terry Bozzio; very good indeed.

@BigRedX - I designed and printed the feet myself. They fit onto the helix using the same screws as the rubber feet and then some wood screws into the board. The board is only just big enough for the LT and some space behind it for cables etc so not much good if you use external pedals. I know @dood had a board that was big enough for quite a few pedals and the LT - he may be able to point you in the right direction. the LT was sitting way too high as standard so I dropped the height of the main board in the case by removing the wood support underneath it so the LT will sit lower and have a bit more clearance inside the lid - works well for me and drops the height by about 45mm. Edit : I’ve still got some screen protectors available from the next production run for sale and I can print some fixing feet if anyone wants some

I can only imagine the level of depression if one of those broke during installation

The UV light on my Trace Elliott gives me a ridiculous amount of pleasure and more than makes up for it weighing the same as a small military vehicle.

Not a chance. Why..? ... I play drums.

It's just a change of key, so E would be Eb. I wouldn't down-tune I'd find it weird playing a B and hearing a Bb. I'd rather just transpose and know that I'm playing a Bb instead of a B, if you see what I mean .

Dear colleagues, I’m honored to officially announce that the great drummer Marco Minnemann has joined my new album and has started the recordings. It will be a very long prog rock ambient track You can read more at www.albertorigoni.net/evorevolution/ Check out this video teaser below 🙂 Thanks for your attention! PROG ON!!! Ciao! Al

So as you know, I'm in a Police tribute and I have collected basses like Sting used in The Police. I'm currently a bit bored with gigging and decided to use one of my Police basses with my normal pub band. We're called Live 'n' Kickin' and have been around just shy of 31 years. I normally play a Fender 'Flea' jazz in this band but last night decided to do the whole gig on my Fretless 'bitsa' What a great sound and work out for my playing. Songs that were a struggle, By the way by TRHCP as it starts with chords and the middle bit of Allright Now. But I had fun and nobody else really noticed. Now I need to think up something for the next gig.

Just had a run through each toneprint into headphones. The majority of them either altered the tone, boosted the volume, or over compressed, but I was really happy with the sound I got from the stock preset with the dial at about 8 o'clock. Increased clarity without a harsh treble boost, lightly plucked notes leap out, digging in aggressively doesn't over compress. I couldn't find a setting that was quite as transparent as my Cali Compact, perhaps with a bit of manual tweaking I could get there. But as a tone enhancing compressor it's certainly up there. Best bit is it was virtually silent at most settings, which I was not expecting!

@D'Addario UK's customer service is reliably consistent and very, very good just like the products they produce.

I got a chance over the weekend to demo several of the BG250 amps. I did not care for the 2x8 at all compared to the 1x12's of the Rumble 100 or the BG250-112. So if you're comparing the 208 to the Rumble I can see how you'd like the sound of the Rumble better. The 208 just seemed to lack bottom end. To my ears the Rumble is both bright and boomy and pleasant sounding. But I think it may be a bit underpowered. While you say the Toneprint is "gimmicky" I'll go further than that... virtually unusable and OVER-HYPED... by a lot. Toneprint only brings special effects to the amp and limited special effects at that- and NO TONE EDITOR FOR AMPS. So you can't do pre-set EQ's with Toneprint, which is something that the hype led me to believe. Having said that, The BG250 is a decent amp for the money. It appears to me that the Rumble 100 is a practice amp that you might be able to gig with while the BG250 is a small gig amp that you can practice with. I dunno... I am going to check out the GK 110 and 112 later in the week. Maybe later today.

I'm going to do it in that pale mint green that Fiat use on the 500s. Think it's called Smooth Mint. I'm going to cut the headstock to a Tele shape and colour that as well. Probably get a load of flack for it but I reckon it will look good. Might even stretch to a Mother of Pearl scratchplate.

I find it difficult to come down after a gig, however small (and most of mine are very small!). So yes, sleeping is usually difficult. I used to get this when I did a lot of amateur theatre - but that would be for a week at a time 2-3 times a year. So I would try to take the week off work and then sleep in late. Now with the music, it's just like a series of little 'highs'. And sometimes I can't concentrate too well the next day, as I keep thinking back to it. Anyway, I have found the solution - I'm retiring from work at the end of June! Hurrah!

I'd say the limitations between a Chinese motorbike and a Ducati are far greater than between a Squier bass and whatever coffee table bedroom bass you want to compare it to. Put Valentino Rossi on the Zongshen and me on the Ducati and Rossi would still beat me.

Or.... you have a genuine Fender custom one off. I prefer the glass half full point of view!

Then you've anwered correctly. I replied 'No', but was 'talking poop', of course.

What I find baffling here is Ashdown think £25.13 + shipping and VAT is worth more to them than their reputation. The £30 of goods-will from sending one FOC to the OP would be worth far more than they'd get from £30 of marketing budget

I decided to buy the driver for the extension from Ashdown. Contacted them on the 9th of March and today I got a reply - Hi8 Duncan, I have looked into this for you. Unfortunately we can only supply from stock a Celestion pulse 10 bass speaker this is a 200w unit. Since you are going to use it in the extension cabinet together with the combo it should be fine Price is 25.13 + shipping @ 5.30 and VAT . call me if you wish to order it I can appreciate that a 200w will do the job but after the initial cause of the problem, I suppose I expected a bit better from Ashdown. Surely they could at least supply a larger wattage driver for the original price considering the circumstances? I even mentioned if they had any covers knocking about could I get one 'preferably' free (I can't see why not after all the problem was their fault and I'm having to pay to rectify it) but as you can see by the reply, there's no mention. A bit of me wants to ditch all my Ashdown gear and go with a firm with a decent customer service. I've had a lot of new gear from them over the years but that's now definitely come to an end.

Does that include double bass or EUB, then..? I just found the 'talking poop' comment to be just a touch emphatic. I suppose that a bassoon player could play his/her lines on a Squier bass, and even a triangle percussionist could get a 'Ting..!' from one, somehow, but that wasn't really the spirit of the OP, I think. Never mind; it's only hypothetical anyway.

completely second this. Insurance companies are very well known for pointing at the small print when telling you why they are refusing to pay out, and very much not known for paying out when you did something different because that's what you assumed would be fine.

asking to downtune instruments, never so far, but asking to do songs in other keys it's pretty normal. Up to you whether you need/want to downtune or whether it works better in standard tuning.

We are a little strapped for choice down there eh... https://classicandcoolguitars.co.uk/basses-for-sale/ This guy is happy for visits when I spoke to him last, and you could do worse than getting a Limelight. I was seriously considering one for a while, but went cheap in the end. Otherwise... London Is yours the red one on MM by the way...? Edit - Sorry, and in response to your question...! If you are only using a neck pickup with medium Tone, it sounds like you want a Precision.

Play your set, play it hard and get off. Energy levels up to 10, ‘bantz’ down to 0. An ethos my new band live with. Can’t stand a local band who think they’ve got something funny or interesting to say. 10 hours till pub time, can’t wait!

I'm happy if your vote was no, but I'm not sure your man has been listening to the right basses. . . or the right players. Any inaudible, unclear, thin or dull bass sound is just a bad sound and has everything to do with poor EQ and/or playing and very little to do with the instrument.

Don't think you are going to be dissapointed

This HAS to be worth looking at: OK, you could be wanting a brand new axe, but this is a good deal. I know he says pick up from East London, but I can oblige with packing materials and a courier can be sorted. If it comes to it, I'll pick it up and pack it and send it if you were to sort the money out.

Yes, no problem. I enjoy using my Fenders, they aren't preventing us from keeping a roof over our head or depriving my children of food ( at nearly 30 years old, they can afford their own food!), but if things changed, I could play what I play on a Squier just as easily.

Another Wal

Interesting. In which case, any considering the comments above, the so-called classic Yes line-up of Anderson/Howe/Wakeman/Squire/White must also be no more than a classy tribute to the original band?

If you can play those tupe of bands then youre more than capable of joining a band. Youll never feel ready to join a band, but as soon as you do join one, your playing will improve 10 times quicker than having lessons. Youll naturally push yourself harder, have to play songs you wouldnt neccessarily pick and learn to gel with other band members and what they play - all stuff that you cant get from having a lesson - and far more valuable.

I have a Mighty Mite neck on a Jazz, and it's fine. Easy to adjust, stays straight and plays as you would expect for a Jazz.

Two little gigs this weekend, Sat and Sun night. Snow and ice on the roads. I was surprised they weren't cancelled and even more surprised that both of them were really well attended. Nothing stops Brummie music lovers from getting out it seems :-) Saturday gig - a little spot at a Country and Americana evening. This is with my number 2 band, who are a lovely bunch of chaps but anashamed hobbyists. Banjo player who is usually very reliable had been celebrating Paddy's Day all afternoon and was feeling quite mellow, shall we say. He was playing all the same songs as the rest of us, but not quite at the same time. Nevertheless it all seemed to go down quite well. A friend of mine in the audience said to me afterwards 'Well done for keeping that all together Shell. I don't know how you knew where they were going to go next, you must be telepathic!' I took that as a compliment, as he is an excellent musician himself. Sunday gig with my number 1 band. A much more professional outfit who do mainly 50's and 60's covers. The challenge this time was to rise to the top of my game, as they are all really good musicians. We do some quite fast and furious songs like 'The Letter', 'Claudette' and 'Rip it Up'. My fingers are a blur, haha! Then I can relax on the trippier bass lines like 'Days' and 'Itchy Coo Park'. Had a load of fun and it went really well. The thing with both these bands is that they were originally acoustic trios who asked me to just guest on a couple of numbers that would benefit from a bit of bass. Before long I was a permanent member of both bands and playing the full set. The moral of this story being, keep your eye out for any opportunity, you never know how these things will develop