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I’m going to start filing grooves into all my frets to get my action lower 😂

There is a fair bit of misunderstanding about a zero fret in this thread. (& also a healthy amount of fact also) I'd encourage anybody who is interested, to research thoroughly on reputable sources. *Especially before filing slots it a zero fret to lower the action

I'm still very taken with my Lakland DJ5 Though, I think you were saying before you prefer a 34" scale?

Sad for anyone to have hearing damage, but for him to blame others seems way off to me. Cheap good quality hearing protection is easy to come by and works well. I use some that cuts the volume but retains the sound spectrum and I play in loud rock bands. I can see this opening a huge can of worms re the ambulance chasing lawyers. If he thought the rehearsals were too loud he could have said something, or walked. His choice.

From this it looks like you are right. "Carpenters’ version was punchier than the original, with a swinging harmony and shorter pauses. Richard used a click track to synchronise the vocals (masterfully arranged into four-part harmonies tripled into 12 overdubbed vocal parts) and achieve the right effect. It took 47 takes just to get the extended “wahs” the way he wanted on the closing chorus."

No need for guilt at the pleasure of brilliant arranging, brilliant singing and, if that wasn't enough, brilliant Joe Osborn on bass.

Happy to get the (pin) ball rolling for you Here's mine - Yamaha BB 1025, which I'm loving: And here's a nice little review from @CameronJ who took the trouble of letting me have his thoughts on his BB1025'X' (i.e. with pickguard) version a while back, before I bought mine. My experience has been great so far. How does it feel to play? Well neck profile, string spacing, action and the actual finish of the neck all come into play here and these are the first things that attracted me to the BB, before I even plugged in. I got to try one out almost by accident at the Yamaha Music Store in central London and comparing it to the other bass models on the wall (TRBs, Attitudes etc) this one immediately felt so good. Very easy to play. For me, the BB ticks all the boxes comfort-wise. The body is fairly big (especially in comparison to my Ibanez) but I don't find it uncomfortable at all. In some ways I actually find it more comfortable than my Ibanez because the body shape is more rounded at the edges. Now, the sound. I don't think YouTube demos can really do this bass justice. This is my first ever passive bass and I was surprised to discover that it has a hotter output than any of my active basses. There is definitely some magic in those blade pickups! Obviously tone is so subjective but this thing definitely recreates "the sound in my head". To give you an idea of what I mean, I was lusting after a precision before buying this and now my lust is pretty much satisfied. The P-pickup definitely hits the mark for me, but with seemingly more grunt. I've read elsewhere that in basses with a P/J pickup arrangement the Jazz pickup at the bridge is often regarded as poor on its own, only useful for blending with the P pickup for a more defined sound. That really isn't the case with this J pickup. Again, like the P, it has more balls than a typical single-coil in this position so is actually quite useful musically on its own. The thing to be aware of about the controls is that instead of a pickup blend knob you've got a pickup selector SWITCH. I've got basses with blend knobs and basses with selector switches but my first ever bass was a Yamaha with a switch so I guess it feels like home to me. Some people prefer to have the specificity of a sweepable knob but to be honest I really enjoy the ease of having 3 distinct sounds available to me so quickly. The tone knob is so useable across its entire range and that's all I need for additional tone shaping. I never thought I'd say that...I used to be an active-3-band-EQ kinda guy but this bass may well have turned me into a passive convert! These are my personal opinions so take them with a pinch of salt but I love this bass!

This is a difficult question to give a single definitive answer to, unfortunately! I'm sure that the likes of 51m0n and Skol can give you some far more informed advice than I can here but here's a few pointers/guidelines to help get your started. There are many variables that can have an impact here e.g. the instrument you play, the type and amount of compression you want (i.e. just a touch of dynamic control, some tonal shaping, say a punchy mid-range, the other instruments you're playing with etc.) Setting up compression can be very difficult especially if it's just the bass in isolation and not playing along with other instruments. This is where I suspect some people think it's not doing anything and then set up so they can noticeably hear the squash, but by that time you have killed all of your dynamic range. Try setting it up at a rehearsal when playing along with other people as it'll be easier to get it right without completely flattening the bass dynamics. The main thing to listen out for is a consistency or evenness of the bass throughout its range in the mix, so the low notes are not overpowering and the higher notes stand out and are clearly audible too. Your lowest notes will will be as even as the highest ones. The Threshold is the point at which the compressor starts to squash; anything exceeding the threshold will be compressed, anything that falls short of it will remain uncompressed. For me, I like to have this set so that the compressor kicks in on the lower notes to stop them overpowering the higher notes. The Ratio is the amount of squash that is applied to the signal once it passes the threshold. Too much and your bass gets too squashed, too little and you may find that things are still uneven. Getting the Threshold and Ratio right are the main things to focus on for now. Try experimenting with the extremes of the range of both the Threshold and Ratio so you get a feel what each of them does. Once you understand what's going on start backing them off until you find the point where they are enhancing the bass and making it more consistent in the mix but you still have dynamic range and subtlety. It's not an easy thing to explain what exactly to listen out for but once you have found what works for you, you'll start to be able to hear and feel it when setting it up for another bass, for example. Things like attack and release times and hard/soft knee setting are also important but I'd focus on the threshold and ratio for now. Hope this helps

To be fair, this bass actually looks better than the legitimate AVRI 74 sunburst. It's a nicer 'burst and the tort plate makes it look like an early 70's model. It will not have any negative effect on the resale value. I've got one of these basses and they are smashing instruments. The chunky neck feels good and is surprisingly easy to play, probably due to the very narrow nut width. The 74 pickups sound suitably nasty too. Hope you get a lot of enjoyment from your lovely new bass.

I think the mis build aspect doesn't detract from the future value at all. The communication from fender in writing is contemporary with the receipt for the bass, so is sufficient provenance. Keep the paperwork safe !!! wicked looking bass, btw.

Personally - I wouldn't be deterred on resale. There are people (like me) who would see it as an interesting, good thing (since that's backed up by Fender now). A prospective/new owner can also get the bass re-verified by Fender at any time. I love the look of it personally! A little envious, in fact and glad you're really liking the bass, in any case!

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!

Without wishing to sound patronising in any way, one has to admire the person placing this ad. I do hope they get sorted for a band. 'Are you seeking a vocalist for a newly formed function band or perhaps an already established one that’s seeking a new vocalist? If so, great! I’m a 37yo old transwoman and I would love to be considered! My strongest vocal skills are rock, pop and soul Interested? Don’t hesitate to get in touch'

With the wife in favour of a drum kit at home, It could spell trouble. At least with basses it feels 'forbidden'.

Here's an interesting thread about Sandberg Zero Frets. It includes some information from Sandberg http://www.harmonycentral.com/forum/forum/Bass/acapella-17/438254-

When I need a break from Bass I dabble with guitar and a bit of Sax. I have an Epi Dot Studio 335 in white and a Soprano Sax which recently needed a repair when the low C key dislodged itself. All fixed now (thankfully).

I also went to the Yamaha London store today to take a look and try two out bearing in mind I have a BB1024x at home. The first was the all Japanese BB P34 which looked great and sounded pretty good even through the Hartke. But I found the neck a bit too big for my liking so I put it down and tried the BB234 which again looks great and plays great but found the neck a little to big for me. Unsure what the difference in specs/radius are but my BB1024x trumps them all.

For me it's all about scale length. I'm not happy with a 34" low B, and yes, I do know that good ones do exist. It's just that I haven't really found one. Now 35" low B is a whole nuther thang, and it immediately means that Mike Lull, Lakland and MTD are all in the frame. My main squeeze? http://s1128.photobucket.com/user/h4ppyjack/library/Basses CURRENT/Mike Lull T5 2014 CURRENT

No contest, my new Maruszczyk Jake 5 custom shop.

The kind of detail I love! Well done.

Yes, last song of the show.

BB1025X BB1025X BB1025X BB1025X BB1025X

Ok... I gotta see what you have. The abridged story is, that I found myself at a GC and they had not yet put an Ibanez BTB675M up on their website. I fell in love with it before I even played it. The manager made me a killer offer and I knew that if I didn't take it it would be sold within 20 minutes. Only when I got it home did I realize how big the fingerboard is. 35" scale length. 19mm string spacing. 47mm nut. 9.5 pounds. I began thinking "Am I going to be able to play this beast?". It was challenging at first. 45 days to return it if I didn't like it. So after chatting with my sales buddy where I often buy gear (not local) he convinces me to try a Yamaha TBRX605FM. He shoots me a price that I can't turn down either. I have 30 days to decide on that one. It was gorgeous, but smaller with 34" scale length, 18mm spacing, 43mm nut. Only 8 pounds 1 ounce. A little easier to play out of the box. Different sounding than the Ibanez. I'd just sold a bunch of guitar gear so the two basses and an incoming bass amp were fully funded. So, I'm cycling back and forth between these two bases and in less than a month's time the Ibanez ceased to be daunting and huge feeling and is even easier to play for some things. It's got a meaty sound while the Yamaha has a brighter sound. The Yamaha was the "logical" choice, but I know that I'll never ever own a finer bass than the Ibanez and didn't have to go out-of-pocket for either. So why not? Without further adieu... here are some pics... [Let's see yours now]

I thought one of the points of having a zero fret is that the string height is already optimal, being the same sized fret material and radius as the rest of the frets. Filing grooves might end up with zero fret being lower than the first fret. If you're going to file grooves into a zero fret on purpose, why not just do away with the whole concept and go for a metal nut instead? I'm no expert and certainly no luthier, that's just what makes sense to me anyway!

A similar thing happened to me just over two years ago. Genuine sixties band, band member getting treatment for cancer - the singer this time - the others wondering if they'd have to find a singer as well as the other three roles they were looking to fill. Just to say before it is forgotten, the singer made a full recovery and is back singing. When you get to that age, you have the stamina to fight back. I was offered the role and accepted but then they went with someone else before my first practice! Later they contacted me again with the same offer. I am not one to wallow in self-pity and hold a grudge but my carer duties had grown significantly. This meant I could not deliver the commitment expected. I had to turn it down in fairness to the band. I just didn't want to become known as a flake if I had to cancel at the last minute for another domestic crisis. I wish I had thought of your job share idea then. It might have worked well. The core of band comprised of drummer, singer and guitarist. They were there playing the sixties hits as soon as they were released. They were in their late sixties and seventies too. It would have been a magnificent education for me. Ah well. I hope it works out like that for you at least.

I like it

They are the best for original stuff , people go to see what they will see , most of the pub venues want either a genre, rock covers mainly ( saddle, foxes etc) or a party mix of classics (kings head, church etc ) though thinking on , I think the golden eagle occasionally puts on some new stuff , might be worth a punt .

Sounds great , I was hoping to come down for this with Mike , but grandkids and dads taxi service got in the way , I'll look out for the next one

So I bought a Mark Bass set up comprising a head and two cabs. Then, a while later, GAS got the better of me and I couldn't say no to a couple of Barefaced cabs. As Patrick O' Brian would say I was with child to try them out and promptly did so on the evening of the day upon which I'd wrested possession of them from @Happy Jack in the car park at Newbury services. They gave an incredibly detailed account of the instruments I put through them, but I did spend much of the rehearsal fiddling with the controls of the Little Mark Tube to achieve a sound I liked. No problem I thought, new gear takes time to learn. Every set up has its foibles. Last night I gazed along the mountain of amps and cabs I've accumulated over the years, and in a fit of quite astonishing laziness decided I could only be arsed to take the smallest of the BF cabs and a couple of cables and one bass. Once the folly of not taking any amplification had fully dawned on me I trotted back into the house and on nothing more than a whim I grabbed my ageing Behringer BX4500H. This cheap and cheerful head has been with me for yonks usually coming along for the ride as a back up where it has served me honourably. In fact on more than one occasion it has stepped bravely to the fore when far more illustriously named amplifiers have croaked in mid gig. Imagine my utter astonishment when the diminutive Barefaced Midget in combination with this ugly ducking of the bass amp world proceeded to produce the most astoundingly beautiful bass sound with which I have ever been associated. My singer looked up wide eyed from her seat to comment how the bottom end of the sound had passed through her chest in such a way as to make her draw breath, the clarity and smoothness of the upper frequencies had my aged yet nimble fingers dancing up the fretboard and the mid tones boxed their way cleverly through the other instruments there present as they seamlessly and fluently held together the whole in a way I'd not previously experienced. And loud. Boy oh boy. The master pot was barely off the floor and yet I filled the room with a sonic feast both voluble and delicious. The tone knobs were set to neutral, just the shape control engaged and the bass boost button depressed. I was playing a Stingray, the infamously zingy, tingy, teeth on a metal fork quality of which I have tamed by the application of some flatwound strings. It was truly bass heaven. I look froward to trying other combinations of amp and cab before flooding our for sale section with unwanted goodies but honestly I shall be extremely surprised were any of them to match up to what I heard last night. Just goes to show, don't write off a 'cheap' brand from a position of prejudice, and don't assume amp 'A' will be amazing with cabs 'B' or 'C' without trying them first.

Harris's signature set seem to be just Roto RS77 Jazz Flats heavy gauge rebadged and resilked. To me those are not 'flat and dull' but 'solid and bright'.

I've moved onto to stuffing my ears with jelly fruit and custard, as i'm a trifle deaf

I've always liked Laney stuff for both guitar and bass, and recently went back to their gear for bass after a few years using Ashdown dual tube series. My main gig rig is now a Laney R500H and two R410 cabs, and I'm more than happy with it. Works well for me and gets the sound I'm after, I find there's so much volume and headroom to spare even playing with a very loud drummer It's barely breaking a sweat live, immense ability to fill a venue with bass and the tone is more my cuppa tea than the Ashdown too :-) I definitely like the new Richter series now!

I think the main benefit of a 5 string bass is not the extra lower notes, but the ability to move across the fretboard as opposed to up/down... A lot of things become a lot more comfortable to play on a 5 string, without changing positions so much. The lower notes are nice sometimes too

Some time ago, FDeck (of HPF fame) suggested that if you knew what kind of sound you wanted, and didn't need a lot of fundamental (e.g. for DB) you could do your back a favour and use smaller cabs. This was one of the triggers for this design. I used the HPF of a Fishman Platinum Pro, and the HPF of a graphic EQ to identify how much bass loss was too much, and concluded that provided that the response got down to 70 Hz, it did not sound bass-lite (to me). Having identified the cutoff frequency, the next problem was what to do with the frequencies below the cutoff, where the speaker would be unloaded. After a few more evenings playing with WinISD, I found that a 12dB/Octave filter at about 55Hz would reduce the cone excursion below the resonance and keep it within Xmax, even with an input signal equivalent to 120W on the output. This WinISD screenshot shows the frequency response of a 25.5L box, with (red) and without (green) the filter, and two larger boxes for comparison - maximum bass extension (blue) and optimised by WinISD (grey). This WinISD screenshot shows the cone movement for a 120 W signal. Everything without the filter overloads above 40Hz. Given that a bass note is a mix of fundamental and harmonics, this may not be a problem, and I have played bass through these cabs without the filter, but I feel safer having the filter in circuit. Finally, this WinISD screenshot shows the power handling of the various cabs. the two 25.5 L cabs have identical traces, but the other two both have considerably worse power handling in the 50-100Hz region, where most of the energy of the note is likely to be. This prompted me to stay with the smaller volume cab with an HPF. I hope this image contains all the information required to build a cab. If not, please let me know. David

Many thanks. You have it in 1. My comment wasn't an attack on anyone, least of all @Hellzero all I was saying is I would bet my Granny that neither Warwick nor Fodera actually make strings. I stand corrected about the makers being the same. But hey, this used to be a friendly chat forum. Now @Hellzero insists we have an environment of "facts only or shut up". Sorry for breathing.

Ive used the Harley Benton sets at £4.30 a pop, they're fine, I also have a set of DR Highbeams which are better but at £30 a set not that much better, If you're changing em every 3 months or so if gigging regularly then to me its a no brainer, the difference in a band setting is negligible (IMO)

Depends on who else is in the room, and how loud they are. If you're up against a live kit with a clumsy drummer and a guitarist with a Marshall stack, then no. If you play with musicians, then yes.

I kind of agree with this. You’ve done the right and noble thing by getting this chap his bass back; through no fault of your own you’re a high value bass down. Well done on doing the right thing though, even if you’re taking the hit.

I don't understand why he didn't use ear plugs. Had he not noticed that an orchestra was loud before this? I would have thought that your hearing was your own concern, and if you are at the level of playing with an orchestra maybe you should have taken it seriously. I am sure there were other people in that orchestra still.

Ear plugs? Of course it's someone else's fault because he didn't put them in.

Thanks all for your thoughts on this. I'm going with the glass half full view on it. I love it, plays like a dream and looks awesome. And I've got the cover note from Fender if I decide to sell in the future.

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)...