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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!

And you're only going to keep hitting it ...

Hi I have worked with John East since I started building basses and we worked together on all the ACG filter pre-amps. I sell the EQ01 as does John which is just a continuation of our on going working relationship. The EQ01 is not old hat it has been upgraded as the pre-amps have been developed. I still use it on basses myself but I mainly use the DFM which is only available in my own instruments where the EQ01 is also available to buy. There are no issues with any pickups and the EQ01 that I am aware of so your Deloanos should be fine. The EQ01 will work with 9v or 18v. Cheers Alan

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).

Yes I know that feeling. For me playing drums isn't like riding a bike. I couldn't find a drummer and recorded a demo a couple of years ago expecting to go in and bang them out in one take, and ended up an embarassing pile of sweaty jelly in no time. Thanks for the input. I was thinking the premier one looked best too. Plus it comes with practice pads etc. I'll be needing those!

Of those kits, I think the Premier kit is most suitable, once set up and tuned it should be good enough for your needs. Played drums ( 35 years ago ) before I started learning bass and I ended up getting roped into into playing drums one night ( 20 years ago ) at a wedding and thought it would be ok as I didn’t know anyone. Sat down for the first song and there was whole table of people from my home town sitting waving to me. I couldn’t stop my right leg from shaking.

No contest, my new Maruszczyk Jake 5 custom shop.

Isn't this the one John developed for Alan Cringean (ACG Basses)? If so, then you can't go far wrong with it. I've had several of John's preamps over the years, and never a problem yet. As a Precision whore, I'm particularly fond of the P-Retro.

It's an interesting topic. You're welcome.

Yes, last song of the show.

Good Lord - you should have bought a stolen one, instead. From a fence.

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]

Yes defo chorus on her vocals.

I like it

+1 I had a 5-6 month wait for my Classic Stingray in 2010. I ordered it the day after they were announced and the dealer swapped one of the stock basses on order for mine (coral red) - which would not have figured in the first order by S and T otherwise (mostly black, white and burst). It was well worth the wait so hang in there!! I got a fabulous bad which I won't be selling. I think they are very busy as the guitar side has really taken off. I'm waiting to order one of the new Stingrays but haven't been able to yet.

It amazes me that I can get strings made more quickly than one of the local music shop takes to get some in. Your situation is just as amazing. Well done for being patient. Most people these days would be ranting by now. Looking forward to your NBD post.

Knock 'em Dead, Dave; knock 'em Dead.

We did a last minute fill-in at Percy's in Whitchurch, Shropshire last night - 1st gig there and only our 3rd gig overall supported by proper tight metallers Elyrean. The venue is excellent, full of odd curios - like a pair of stuffed tigers and a lit stained glass window behind the stage. And the stage is effectively out side, so was a bit chilly - I wore my leather jacket and wasn't sweaty by the end of it... However, we played well - couple of minor frunk-ups but not so as the audience noticed, and the venue liked us enough to offer a better paid Saturday night spot in the future. As it was we still got paid (for doing originals!) which made a 120 mile round trip in pouring rain, arriving home at 2am, well worth while.

This is another long term band I'm currently in. All acoustic instruments doing wide ranging covers in our own style. Great fun and a total change from the Mod band I'm in. We haven't gigged for about a month now but I'll start this thread with older pics and update with new ones in the future. This was from a gig at The Eden Project, ooh la de daa . Are you ready for your close up? This one is a regular gig at The Blue Anchor, Helston. Brilliant pub and if you're down that way well worth a visit. This is our singer and guitar/mandolinist grabbing a selfie at a private event. We may be acoustic but we get the crowd going And a couple from local pub gigs.

Fair one 're ms Riley. Actually their musical director made a reference to rocker 's guilty pleasures!

Nice one, think that`s a real good move, if you gel with an instrument that much then snapping it up when available just ticks all the right boxes.

Completely agree that fivers are mainly for having more notes under your hand. The extra notes are handy occasionally but it's the simplicity and ease of fingering that does it for me.

If you think you would like to play a 5 string in the future, then I'd say do it now, before you find a bass that you fall in love with and it has four strings and you feel you can't abandon it ever again. I have tried various 5 string basses. By that I mean owned. Two of them stood out. One of them... I still miss. But 1) I don't *need* a 5 string bass, and 2) I can't imagine ditching my Stingray (4-string) which is like an extension of me. I would like to get as comfortable with a 5 string bass as I do with my Stingray, and when I have to I can play a 5-string without major issues... but I feel awkward without the Stingray. If I had found that lovely 5-string bass (it was a Lakland 5502) before I had the Stingray, today I'd be playing a 5-string bass. So... you like 5 string basses and you're not yet pathologically attached to another instrument? then switch NOW. There's nothing that means you need to learn on a 4 before you move to a 5 or 6... learn on what you really want to play.

Well, I've gone for it! I've bought the Jazz I borrowed, and I'm rapidly falling in love with it, even though it's giving my fretting hand a different type of gyp. But the ability to just whizz across the fretboard rather than race up and down it is fantastic. And that lovely sustained tone... oh, it's gorgeous. The only downside is having to relearn all the starting points for the scales, but that's a small price to pay. Aye, it took a big chunk out of my bank balance but I thought that as I would graduate to a pro axe anyway it seemed sensible to go for broke rather than buy another cheap instrument. So, what two fives did you buy? And have you got a favourite?

Google for Scott Devine's video on why not to buy a five. It's actually a cheeky title, because the video is moreabout why fives are good but the hiccups you may have along the way and tips on how to make the transition. If I recall, and from my own experience, fives are heavier, the spacing can be narrower, and the extra string alters your fretboard patterns picture. The upside is being able to work across and not have to go up and down the fingerboard. While 'Jaco never needed more than four strings', a great many pros do play with a five. The best advice I've had and would give is commit 100%. Don't try and play both the 4 and a the 5, you'll never get there. Decide to play a five, find a nice five you like and then never touch the 4 again. FWIW YMMV

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)

Had a mare. Saturday was my birthday, and after several double rum and cokes I found myself in the local boozer listening to a covers band blasting Cocaine by Clapton. Inspired by the guitarists neat playing of what turned out to be the Clapton Custom Shop strat, I ordered a strat copy from Alan George on Facebook - the highest spec one he had. He gave me a tidy discount too due to my drunken ramblings and it being my birthday. So now I have a bank statement that's not very pretty (more due to buying booze than anything else) and a guitar that historically I can't get good sounds from. What I may do, seeing as I enjoyed the Clapton strat, is put in the noiseless pickups and midboost TBX stuff, see if I can coax any good noises that way.

you bought it in good faith. Justin left it in a car overnight. I think Justin should give you $450, why should YOU be the only loser here?

No inference on my part. Either one wears protection, or one's hearing is compromised. There are several forms of protection, suitable for many industries, including the music industry. What's suitable for a rock musician is liable to be suitable for an orchestra pit player, I'd have thought.

Stew, this is only because I'd run in that Midget so well for you ...

My hearing is in tatters after many years gigging, being road crew and sitting in on hugely over-loud rehearsals, all entirely my fault. He may well of been in the firing line but was he forced into it? Did he not realise it’s a loud piece, could he not have worn ear protectors?

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)...