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Finish pretty much done - it'll take maybe a week to fully harden before it can be micro-webbed, but I can finish the fret-levelling, hatch magnets and shielding / electrics installation while I'm doing that. Although I've had issues with the gloss version, the satin version of the Osmo Polyx is really straightforward to apply and gives a nice looking and tough finish.

Actually, how about a 'Sausage Fest' pedal - one knob, to control the bias. No footswitch of course...it's an 'always on' kind of effect.

Curiosity got the better of me. Weight as is at the mo (minus pickup, plastic cavity plate and jack socket and string tree) is 6lb 8oz so I’m expecting a tiny smidge over 7lb all up weight.. cor.

I once bought a ... ... ... ... ... ... delay pedal.

Well; you try getting the strings taut without one, it’s a right pain!

Not a bass I know, but a cool story so thought I'd share. The guitar is an EKO Ranger, made in Italy in the 1960s. While it's nothing really special in itself, it has great sentimental value to the owner as he has had the guitar since new, when it was given to him by his wife as a present. Disaster was just around the corner though as early on he tried to fit an output jack to the lower bout, unfortunately instead of fitting an endpin jack, he decided he was going to fit it on the lower bout... in the thin side wood. So when he came to drill for it, the side split and it generally made a mess. He repaired it, but the fix was....umm how shall we say - less than professional! So I was asked to put it right. Here's the mess, while it's certainly ugly looking now, it's about to get a lot worse. Some sanding revealed the repair, there's wood filler, screw holes and a piece of plywood around 3 times the thickness of the side! You can see by all the light coming under the straight edge here how far it's been pulled in and distorted. Without drastic measures (coming up!) nothing can be done to make this look right again. Obviously having a 1/4 piece of ply stuck to the side of the guitar is less than ideal also... Problem solved...an extra sound hole (joking of course). In case it's not obvious, here I have cut out the damaged, distorted, ugly wood and removed all traces of the repair. Here's the "repair" I dug out. As mentioned above, he used a very thick piece of ply, then drilled holes in the side of the guitar to insert screws to pull in the repair to the side. It was never going to work and there was still a decent sized void between the ply and the side, so he filled that with expanding polyurethane foam! Now onto my repair and filling the large gaping hole. The best material to fill it with (and any hole in wood) is wood of the same species, being a guitar builder I have no shortage of Mahogany and some of it is quite old, meaning it's very stable. It's also nice to replace material with wood of a similar vintage. But first I need to make a frame to support the new patch of Mahogany. I also make this frame out of strips of vintage Mahogany, making sure the strips are a good deal longer than the patch to give plenty of gluing surface. They also need to be bent to match the side of the guitar, this is done with steam (and patience!). In this picture you can see I have bent all the frame material and the patch itself (on the left). You'll have to ignore the dodgy pickguard on the guitar, I'm guessing that's another story! Here's the frame all glued into place. I used traditional hot hide glue, which is exceptionally strong and period correct. The strips are glued to the side of the guitar and also to the kerfing on the bottom edges. Now I glue in the patch, using a caul which I made up to match the profile of the side, this is made up of two pieces off a body blank screwed together to give the required width. This caul ensures even pressure during the glue up. A nice tight fitting patch all glued into place. It needs to be a tight fit as if there were any gaps you could get problems with the patch "telegraphing" it's outline through the new finish over time. Fortunately no gaps here, just a few lacquer chips round the edge which will need to be taken care of during finish prep. I mask off anywhere I don't want lacquer and spray a couple of coats of clear Nitro to get an idea of anywhere which may need more work/levelling. I repeat this process until I'm 100% happy before spraying the colour coats. Then I mix up some black Nitro to match the original finishes colour. Here the colour coats have been sprayed, the masking on the binding removed (the binding gets clear coated, but obviously not painted black!). This is the clear coat straight out of the gun so there's a very slight spray texture, but so minor it won't require too much wetsanding and it's reflecting a clear image (i.e me!) without too much distortion. I now need to leave this for a month before proceeding with 1000 grit and through the grades before buffing. The finished article! No trace of the repair and straight sides! Thanks for watching.

So after one of my One10 cabs started farting at practise, and with a gig last night I had a quick search for something to get me by until I get the One10 sorted. Found a Trace Elliot 1210 combo and 1x15 cab for a bargain price near me, bought it and gigged it straight away. Seriously impressed, wasn't sure how decent this gear was from mixed reviews online but it more than did the job last night ! Starting to think that there is something about heavier gear now...great haha.

Shut up, Meg!

Awesome, are you female? It wouldn't be great if a company released a 'Black Person Melter' pedal, where the description (parody or not) is 'wahey, lynching is fun, here's a pedal that sounds like that'? Presumably because it's an abhorrent idea and largely society is against it.......so why is the same thing not considered when we talk about gender? It's an extreme example, but hopefully you take my point. Your comments seem to be coming completely from a place of male privilege, even if you have personal experience of a different area of society. Yes you might have experienced marginalisation, but it's not the type we're talking about here. If anything, you should be fairly sympathetic to the issues at hand because you understand that most white people haven't had your experience due to operating from a position of relative privilege. There are obviously lots of exceptions within that, there are rich privileged black people and poor underprivileged white people, but I suspect those are minority cases on a global average. Si

Dude, no-one will because men haven't been historically marginalised by society......seriously, this is what I meant by "the forum being overwhelmingly made up of what I suspect is to be white men, it's worth us checking our understanding and approach before crying 'the worlds gone mad'".....this is now aimed at you! Si

At the risk of repeating myself, can't believe the generosity shown from this forum. Way exceeded anything i could have expected, so again, thank you very much to everyone.

I've never noticed an issue with the BBOt on my precision, it sustains forever. @Christine says "A lightweight bridge will vibrate more " but I don't see that as truth simply because its screwed to the body; surely it might make the body vibrate differently and it might have its own saddles vibrate sympathetically if they were loosely fitted, in a different way. Perhaps the qualities of the metal in a cheaper bridge of equal weight might make a difference, albeit a miinor one. I honestly think its minimal at best and the £130 bridges you see advertised are truly overkill when a wilkinson will do the job

Hmm...it sounds to me like there probably was something a little awry with the bass pot. The amp has a very bass-heavy tone, but I've never found the bass control to be that ineffective. (The bass-shift control was in the 'off' position, I assume?!) That said, I have come to like the old-fashioned tone stack. I appreciate that it's not everybody's cup of tea; you certainly can't "sculpt" a tone like you can with a lot of modern amps, but I already like the "baked-in" tone so it works for me. The biggest revelation for me - and you may have already tried this - was pushing the mid-range shift. Made the mids much clearer and more aggressive - more to my taste, anyway!

Real Electronics in Sheffield are the approved repair company for MarkBass. From comments by people who have used them they are pretty quick and reasonable. http://www.realelectronics.co.uk/Markbass-Amplifier-Repairs

My personal view is that the podcast isn’t for hearing the difference between them, it’s for discussing what people’s thoughts and experiences are Si

I decide I need a compressor so I buy one, use it and then decide I don’t need it so I get rid of it. Then a year or so later I decide I need a compressor so I buy use it and then decide I don’t need it so I get rid of it. Then a year or so later I decide I need a compressor so I buy one use it and then decide I don’t need it so I get rid of it. Then a year or so late I decide I need a compressor so I buy... (repeat ad infinitum)

1. Says the guy with a collection of Gus basses. 2. Yeah we know it's easy to put there, it's not as easy for the user to adjust though. 3. What's that got to do with the price of cheese?

We're back off holiday so I had a few hours in the workshop today. I routed the headstock for the truss rod access slot and then drilled the hole for the nut to fit into.The truss rods were fitted and a strip of masking tape put over then to stop glue getting in the slot and fouling the rods. I rolled the frets to about an 8" radius, cut the wire into lengths and started trimming the ends with a grinding wheel in a Dremel, fiddly but it worked OK. I fitted the frets using a press and nipped off the ends. That was about it other than to make a clamping caul to protect the fretboard when I do eventually glue it to the neck which should be later this week daily life permitting

Majority of mine have a traditional BBOT, and I can’t say I’ve ever had one move, or found it hard to adjust alignment or intonation. They are simple, and work perfectly in my opinion. Would something different audibly (for most players or audience members) change the sound? Unlikely.

[attachment=126106:DSCN4071.JPG][sharedmedia=core:attachments:95583] Here,s my review of a Vintage V4 I originally bought this for sitting on a stand at home just to pick up and noodle about on when the feeling took me. It sounds loud when unplugged with a good range of tones-good start Fit and finish is good,nothing to report on that front. Hardware -all good functional stuff that works.Wilkinson stuff so it works playability-easy to set up to my taste,nice weight,balances well Sounds-sounds like a P.Quite grunty if you like it and cleans up well,volume and tone are nice and work well.Good output from the pick up and tone This review sounds very bland and there seems to be no real comments on this bass.The truth is it does the job and nothing niggles me about it.I just pick it up and play it. Now to the good bit. I was in a hurry one day to get to a practice and just grabbed it and run. I plugged it in to my giggin rig and could not believe what I heard.It,s not me cause I,ve used this in 3 bands and the comment is what a great sounding bass-everyone loves it.. For the price they are a steal.I gig this one and is still going strong. I bought this second hand for a steal. I have modified it a bit-I fitted a maple neck off a Vintage musicman copy cause they didn,t do a maple neck version at the time and it,s a straight fit apart from 2 pilot holes for the neck bolts.That was for me and it goes lovely with the black to green sunburst with the white pearl scratchplate. Overall-great bass and very underated What would I swap it for-Vintage Tony Butler signature cause I,m a sucker for the black and maple look.[attachment=126106:DSCN4071.JPG]

Just wondering if people think bridges make a difference or not. I know a lot swear by changing Fender ones to other makes but personally I'm not convinced it really makes any difference. I've never had an issues with intonation or sustain on any of my basses, be it a 51 CIJ Precision with a basic Fender bridge, various Fender Jazz and Precision basses with basic bridges and more modern bridges, Stingray basses, Warwick Streamers and now my Mike Dirnt Precision with a Badass II. I've certainly never had any concerns or thought the sustain is a bit poor on any of my basses. Interested to hear if others think it makes a difference or not.

I'm not sure if this is meant to be music... or if the guy is seriously possessed and needs an exorcist. There's improvisation and improvisation. Sorry, I just don't get it... and yes, I'll judge you if you like this. On a side note, the guy on upright nailed an impression of me on one. On another side note, I'd love to be witness to him testing out mics in a music shop.

Ped.... this bad boy. .

No. All it does is to bypass the internal jumper. Some amps use a switching jack on the FX loop, which can over time get dirty or corroded. Using a jumper can shake loose dirt and/or remove corrosion, but so does just using cleaner on the jacks.

Good to hear such heart-warming news FuNkShUi Hope you're OK mate? Haven't seen you in a while.... Well done BC'ers - obviously, there are still people out there who care EDIT: "You've all done very well" said young Mr Grace

Chron Gen - Chronic Generation. Bit of nostalgia!

Mozart

Exactly what I thought about at first. "Cochise" bass tone is somewhat similar and Tim. C uses a Wah pedal together with his distortion pedal on that one. As for Billy's tone in this one, I'd definitely shoot for a Wah first. I just tried it on my setup (using a VT Bass DI as the Overdrive and a MXR Envelope Filter) and it definitely ROARS like Sheehan on this track - not quite the same obviously but it's there. What seems essential is to: a) either get a Wah pedal with a "Dry" feature so that it doesn't completely suck your low end (like the MXR one); b) split your signal so that you get the Overdriven Wah sound while retaining the massive low end.

just worked through this whole thread, impressive stuff

You need a morse taper drift.

Yeah. Definitely something extra happening. Reminds me of a more subtle version of Tim Commerford's bass sound on Cochise by Audioslave. Some kind of Phaser/Flanger might get you in the ball park...

Just got my CTM100 back from the tech with it's new pots fitted & wow what a difference,a massive improvement. I love my CTM even more now 😁

I never get tired of hearing Gojira!

Plus a kidney or two.

I have a Dave Hall VT1 Pro which is great.

Or perhaps it’s the better way and all us right handed players are at a disadvantage? After all, why does it have to be one way? And if you think about it, when playing normal right handed mode it’s the left hand that has a more complex job to do which is counter intuitive to me as a right hander. If you think of the precursors string instrument wise (assuming double bass played with bow) the right hand had a far finer set of movements to perfect. But short of buying one of each and exactly matching practice from the start to see which feels easier I am not sure how you would prove this one way or another.

I can't make up my mind with compression. I have been using a Spectracomp for a while and thought all was good. I didn't use it at the last band practice and now can't work out why I thought I needed it.. Typical!

Yeah that's about right.

They probably make some small difference to sound but not enough for me to rush out and change them. I've had a BBOT, USA deluxe bridge and Badass II on Fender basses and I can't say any sounded better than the other (without taking into account all the other variables). I wouldn't change a bridge unless it was faulty. Better off spending the money on some better pickups if you want to improve the sound.

Nice, just be thankful you weren't born in 1960!

Enough of the twiddly derrière nonsense... Lemmy - Stay Clean.

Just to give you all an update... This event has nearly sold out so if you would like to come I would recommend grabbing a ticket ASAP!

Where are you? Best bet is to ask the local string teachers who they use, or if there's a pro orchestra anywhere nearby check with them. I either send mine back to the genius who made it, or take it to a guy in Brighton. I wouldn't use anyone else, and certainly wouldn't send it to anyone I didn't know personally. There's so little difference in cost between a great rehair and an average one, find the best you can.

Now that´s a fine collection. Congrats! How do those early Bassman amps compare to the 59 and blackface?