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Next month: "7 reasons you can't play metal on a strat" "How to convince yourself that watching YouTube tutorials all day is improving your playing" "$150 vs $5000 Les Paul: why only a true Gibson will do for your bedroom rig" "Dave Grohl explains why cocaine was the best thing to ever happen to him" "A look at the barre chord, and why you might as well ignore all other shapes" "Reliability is over rated - a run down of our favourite valve amps"

Really? Whilst I do agree that you have to write music for you, and not because you think audiences will like it, take away the audience completely and what do you have left, bedroom guitarists/bassists/drummers. The audience and fans are to me the major thing - what we all do means something to people who come to see us. A few weeks ago we were asked to play a gig for a guy who unfortunately had cancer - I say had as sadly he passed away recently. At the end of the gig he said to me "that made my night". I was really humbled and pretty choked by this, I felt honoured that we had been asked to do the gig. Never forget that whilst we get pleasure from what we do, it`s who you deliver it to that counts, and your music could really mean a lot to someone.

Hiho just had carbon fibre cages fitted to my neck and all's well now. No not my bass but me and hopefully I'll stay in tune better now.

Mine went well until I got a music stand out...

Up in the sticks (out past Todmorden). No bars, not even 3G!!

Zodiac BXP incoming 😎🎸 Should be with me this weekend, all being well. Whoop whoop

9:30-1:30 tonight at Traditions Pub. I'm going in with a good attitude. Blue

I've played a few overpriced disasters, inckuding an MM Bongo that played & sounded worse than the bog seat it resembled. The stand-out however was a Fender Custom Shop Jaco sig - a £3500 bass with a neck like a banana and an action you could stick your arm under, and strung with roundwounds as rough as rat-tail files. I'm sure a good setup & some more appropriate strings would've helped sort it, but it still would probably have sounded more like someone whacking a plastic bin with a 2x4 than a high-end Jazz!

And a classic Radiohead performance.

Morning! Yes we’re getting there. The newly painted scratchplate is looking great! Thanks for the steer on the ashtray - much appreciated 👍🏻

The concept of saving money in a sale on something I would not have thought of getting anyway, always tickles me. A quick way to becoming a millionaire, right?

Did a fundraiser for one of our colleague’s daughter who has been recently paralysed from the waist down. We played at work in an outdoor area about 60’x120’. Sound was a nightmare due to the walls and the marquee roof, struggled to avoid sounding like we had permanent reverb. Floor was wobbly slabs which didn’t help the sound either. Mostly colleagues, friends and family and were up for it from the off. The support band played 40 minutes then we did 2x1hour sets with them shouting for more at the end (sadly we were bouncing off the licence curfew). A brilliant night and raised a load of money as well.

Very happy with the carbon reinforced neck in my Shuker 5 string P bass. Very stable, no floppy B, and almost comical how well it stays in tune.

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Never seen the words 'stunning' and 'Bongo' in the same sentence before. However that does look rather pretty. The headstock shape does still remind me of Peppa Pig's head, though.

I'll just leave this here... https://ashdownmusic.com/collections/legacy/products/bta-400 ;-)

Bass Guitar Magazine has been raising funds for pro bassist and staff writer Ellen O'Reilly, who has been diagnosed with aggressive breast cancer and is undergoing all sorts of unpleasant chemotherapy, keeping her off work until she is better. LBGS exhibitor Strings&Things donated this bass with a view to getting it signed by as many stars as possible and then auctioning it for Ellen. This is the link, in case any of you would like to own the bass, and help. Many thanks from all at BGM! (Yes, I have Ped's permission to post this.) https://www.ebay.co.uk/itm/Totally-Unique-Sterling-By-Musicman-SUB-Series-Bass-Guitar-See-Description/222980908977

The Celinder J Vintage 5 that's in the For Sale forum at the moment.

always no sign of money when you need it

@Al Krow the Dunlop Flats I put on my VM5 are glorious! Just spent a few solid hours jamming and I’m loving em. Definitely worth getting a set.

All basses. Mostly. Spector get away with their black headstock as it's part of their identity. And technically they're non-matching, unless on a black bass... And if you think that's racist or something, go and live in bloody China! See if I care!

1) All get there on time and do your bit to get set up. 2) Get a good sound mix with no feedback issues. 3) Play well with everybody on song. 4) Audience have a good time. 5) Bar staff have a good time. 6) Skip the songs in the set I don't like. 7) Pack away and load out with no problems. 8) Get paid as agreed. 9) Get asked back.

Morning all, Quite some time back I managed to pick up a Harley Benton bass uke as "decoration only". It arrived and after a quick inspection, decided there was nothing wrong with it. So I set about playing it, it came installed with some horrendous rubber strings which I told myself I'd grow to like. They were bearable and I endured them. What I couldn't stand about this bass was how intonation went out the window on anything below the 5th fret on the E. Deciding that a luthier would cost more than I paid for the instrument (and some), I decided to use it as advertised...a decoration. It sat on top of a bookshelf in the living and that was that. During the week I sat down to come up with a price list for our band (we go out as anything from a 2-7 piece, electric or acoustic) and remember the uke. Thinking that if I sorted it, it would be perfect for pubs with tiny gardens, where an upright would be impractical (much like the gig we'd just been offered for this Sunday). First port of call was to look on here for a solution. First one I came across (and came very close to doing) was a complete de-fret. I'm used to playing an upright and the dodgy fret intonation wouldn't be an issue anymore. Let's not get too hasty, even if I de-fret it, I'm still going to be stuck with those awful strings. Straight on to Thomann and ordered a set of the Pyramid silver coated strings...along with a wee gigbag should I be able to get it working as it should. Old strings off and in the bin, followed by the arduous task of threading strings up through the body. Once I'd done this I'd learnt that there was a bag of washers in the string packet that had to go on, so off they came and the process repeated. Before I get too carried away, let's bring them up to tension and see if I like the feel/sound. feels like a regular bass string - brilliant, sounds like an acoustic bass guitar - can't complain, tension and playability are spot on and hang on...is that my E string working as it should?!? Intonation issues resolved. Hurrah! I've retuned it every 30 minutes to settle the strings but I'm chuffed to bits. Working bass uke that I actually want to play now, it also means that I can add mini garden gigs to our price list. Bass uke, singer/guitarist and a Roland busking amp each stacked on top of each other in the corner. IMG_0627.HEIC IMG_0628.HEIC

There's a new Player series coming up, made in Mexico, with a choice of maple or pau ferro fingerboard, and apparently not just black and sunburst either.

Hanoi Rocks. Lords of the New Church. Johnny Thunders. Dogs D'Amour. This was pretty much the soundtrack to my teens & although my tastes have broadened over the years, I still regularly play those bands now

That’s looking really nice I much prefer the White instead of the Black!! That cool naming after your daughter this time, Thats the reason why all mine say ‘Brash’ on the headstock because my little boy is called Bradley and my daughter is called Ashden (But I make my own logos with a laser printer and sellotape)

"I think the main objective is to move people, make people think in their heart. I personally am not interested in appealing to other musicians. To me, it's more inspiring to move someone who doesn't know anything about music, but has a feel. They can say, 'I don't know what you're doing, but I just feel that's something there.' That to me is an incredible compliment, as opposed to, 'Well, you've just run up and down the fingerboard. That's wonderful, very fast.' All that means is I've just practiced the hell out of the guitar and I'm not really saying anything. I'm going from A to B, but not seeing anything on the way." Ritchie's right on this though. Especially applies to bass playing, methinks.

According to the specs the Barefaced cab in question is capable of producing the fundamentals that you are referring too. But as @Skol303 and @Jus Lukin have already said, the sound that a speaker outputs is not linear across its quoted frequency range. In other words while there will be some of that 30Hz frequency in the sound, if you play an open B string through the BF cab, that part of the sound spectrum is much quieter than the higher harmonics and therefore we do not hear it so well. But it is still there. In order to hear the fundamentals clearly you have deliberately EQ it to sound that way. And for most of us that is not something that we want. Plus you'll almost certainly need a club sized PA to crack it up to any significant volume. And as @Muzz says, that has nothing to do with Barefaced. Or any other cab capable of handling 30-40Hz. NOTHING WHATSOEVER. A speaker will put out what you feed into it - within the limits of its own inherent abilities and voicing. Most guys prefer to attenuate these super lows as it reduces mud - which in turn increases clarity - of the lower notes. But if you feel that this will have a detrimental affect on your own sound then don't do it. OK, so here's a little test you can do at home with the gear you already own as a little practical experience may help to explain what this thread seemingly cannot. It's not particularly scientific or absolute but should hopefully give you an indication of why the fundamentals in question are not overly sonically useful; Take your Mark Bass combo and eq it as follows; Bass at maximum, low and high mids and treble at minimum. The mid scoop (VPF?) Should be at minimum too. You can also try running the vintage speaker emulator (VLE?) at maximum as that also reduces the higher end. With the bass eq centred at 40Hz and boosted as much as possible (usually around 12db) and everything else cut as much as possible you have a crude approximation of the fundamentals in question. Next set up a patch on your Zoom B3n using the parametric eq to boost at 30Hz with a narrow Q. Boost this to the same degree as the bass eq on the amp, around 12db. Plug this into the front end of the combo. Next plug in a 5 string bass through the Zoom. If it's passive roll the tone control right off. Better still use an active bass and completely cut the treble (and mids if you have them) on the on board pre-amp. Experiment with the bass eq by starting at the centre position and boosting (but not cutting it). Now play the lowest notes on the B string. How does it sound? Now try turning the combo up so the sound is of a comparable volume to that which you gig at. This will require running the master volume much higher to get these lower tones to the same perceivable volume, if indeed it is possible with that particular combo. Assuming that the combo, and indeed the contents of your colon, do not liquify in the process, ask yourself if the sound you are hearing will make you and your band sound better if you were to add it to your existing tone. If you think that it will then start looking into expanding your bass rig to include a sub or 2. But most importantly of all, report back here with your findings.

@Al KrowThis link is very simple in explaining what each frequency does, read and hold the info http://www.brightonsoundsystem.co.uk/pa-hire/frequency-in-music-and-human-hearing/ I really did not want to get into anatomy, but this is a reasonable short description of the complexities of the human ear and how it works as an organ. http://www.dspguide.com/ch22/1.htm Now in relation to what people have been saying about psychoacoustics and your brain hearing one thing and making up the rest, if we look at another sense of sight. firstly the image your eye sees is actually upside down and all that you see is not there, your brain processes, flips the image and fills in a lot of what you see for you. Simply put there are 3 colour rods in the eye located centrally red, yello, green - the brain merges these things much as you do painting to give a palette of all colours, in addition your periphery of the eye sees in black and white, yet your whole vision is in colour-the brain fills it in. Now back to hearing, keep in mind how everything is processed in the body, keep in mind the simple links above, and keep in mind some of the excellent responses on sound physics and acoustics etc. Especially the posts where the frequencies isolated you are fixated about are generated and what they sound like. Put it all together and see the big picture of how Sound sounds and how sound feels, and if you still can’t see the wood for the trees, then there is probably little point in continuing the discussion on this thread. We can get back to bass tone and tone shaping in general within the context of getting a good useable sound with presence either by EQ alone, or adding effects, which is primarily what the thread was about.

At this year's SW Bass Bash - @Jimrs2k2 let me try out his Status (Kingbass I think?) What an amazing thing it is, I'll definitely own a Status one day.

My two, 1984 Fullerton and a 2008 AVRI

Thought I'd chime back in with a photo of my solution: It's a bit "Class D" compared to some - it certainly doesn't have any heft! Took about half an hour to make with a left over bit of 6mm ply and a mini circular saw. The feet are self-adhesive. Weighs next to nothing, and the hole in the middle means I can carry it on top of one of my cabs. Total cost about £20. And if I'm feeling particularly juvenile I can tell people I have Sorbothane balls!

My Fender USA Jazz V has two rods either side of the truss rod, all I know is the later versions like mine (2013) have a much better B string than the older ones with five in a row tuners.

Carbon weave on the G-bass,carbon reinforce with the Cirrus and Millennium basses, think it's 10/90 mix on the Vigier. Fully carbon neck on the B-Quad. Bright/dark,punchy/lifeless ?? I don't think it makes a blind bit of difference soundwise.

I've got a Spector EuroLX4 (a carbon-reinforced neck), and the sound reminds me of King Wenceslas - deep and crisp and even. What's not to like?

a slight twist on the classic look.... some right bad photoshopping!

Hi Following on from @Phil Starr 's post, I'm one of the regular forum modder / builders he refers to and certainly my personal view is that for a 'standard' 2k finish there would be no perceptable sound difference (assuming the finisher put the pickups back at exactly the same heights as before). There would, however, be a change in the value - modding guitars and basses almost always result in a drop of value even when the mods are clearly improvements. I say that not to put you off doing it, but it needs to be a keeper to warrant making the change. Hope this helps.

Yeah.... that's what the JAM tribute say....

I've been trying to get a Spinal Tap tribute band together for years, but can't find a drummer.

That 'feeling' has been with me the whole way through this, trying to anticipate exactly what the angle was. He was definitely up to something, I suspect he's just a bit greedy and perhaps not the sharpest knife so telegraphed it to me well in advance (which was nice of him), whereas a good conman would be gone well before I'd even noticed. But yes, that unease that sometjing was wrong was there all of the time.

I get that. It's usually my knees.

'71 Telecaster: A very resonant lightweight example. Beefy neck, but it plays nicely with a low action. I have fender flats installed, which sound and feel great. Not too vintage:). Aerodyne special run: Bought just recently. These are nice allrounders. Light in weight and comfortable to play. This is from a limited run in old candy apple red. '82 Precision special And my Precision special that seems to be moving to a new owner one of these days. Its a great sounding, playing bass. A bit heavy though. These are very well built.

Here's an old gig pic. Anyone got any idea who's playing? The guy on double neck guitar? That's Pino Palladino!!!

Here's one I just thought of...

Sounds promising that they largely hold their price though....a rarity these days Si