Leaderboard

Clearly given the shape of the case, the guitar is a Mustang.

Received this from Tom at COG this morning, and it was too good not to share.

Yeah come on, own it!

HB PB-50 - v3.0 Becomes v4.0... *AUDIO CLIP* You'll be pleased to know that this will be the final reincarnation of this HB PB-50 Precision Bass. Yes... I know I said that last time - but Shoreline Gold, though a very nice finish, isn't really my thing. My thing is basses that are white. Or cream. Or aged Oly White. Or yellow, basically... you know what I mean. I was particularly taken with the new Player Series 'Buttercream' P bass - hence this refinish and reworking - saving myself £649. This one has a custom handmade Herrick dual-coil pickup in it - and very nice it is too... warm, taut and punchy, with the mid-range push typical of a 57-type split-pickup, but in a 51-type four-pole format. It's a beast... check out the audio clip. https://www.herrickpickups.com/ The previous version 3.0 bass is here. Now read on. Body refin in TV Yellow nitro Pickguard in Acrylic White Fender American Deluxe Bridge, Top-Loading or Through-Body Herrick Dual-Coil Telebass '51' pickup overwound to 11k ohms CTS solid-shaft pots, Chiclet cap .047uF, Switchcraft Jack in cats-eye side plate Fender Chrome '51' Pickup Cover Fender Tug Bar Fender dome-top knurled control knobs with grub screws Wilkinson WJBL 200 tuners La Bella 760FS Steel Flatwounds 45-65-85-105, Through-Body Stringing Is this really the final version..? I hope so, because I just don't have the time (or disposable bass tokens) for any more finishing shenanigans... I thank you!

@BrunoBass With the 1st templates I did,You didn't even need to line them up 😄 Plan was the run round it with a router and flush trimmer cutter. Once it dawned on me nobody was using a router the next batch I sent out were just cut vinyl 😂

I used an electric jigsaw and sanded by hand. I was quite pleased with the result. I got a Mike Dirnt template off the internet. Little tip, I found it easier to place the template on the back of the headstock as it’s flatter and the template sits better. Also i could line up the printed machine head holes through the drilled holes of the headstock.

The Warman MM style pups are monsters, I`ve had several including 2 in my Westone Quantum and I`ve just put a 5 string version in a deco HB 5 string ray copy and it`s transformed it.

Soak it up Christine - if you were nearer to me instead of cowboy country, i'd be asking you if i could watch you work ! These babies will be some of the nicest builds in this forum

I am sure that there is no aspect of this video that any of us will recognise.

https://reverb.com/shop/fxpedalrental

He said that they average about 8 pounds! 🙂

I love my Ric. I'm actually in the process of using it on a new recording project I am doing at the moment & it's the first time I have recorded on just one bass for a whole album. I bought secondhand as I didn't fancy the full on expense but I've really bonded with this one. The expensive bit is the furry security guard I have to employ because of all the haters!

fender P = Fender J= Ricks=

Hi All, I'm Sarah and I play bass. Sounds like an introduction to an AA meeting, but without the guilt! You don't want to know how old I am or any of that boring stuff, but if you are curious I'm sure you can Google me and find out. I started playing bass when I was about 13, after my Dad bought a Beatles greatest hits album (the red one, 1962 - 66), and I was blown away by McCartney's bass sound and the way bass made the song 'whole'. After a lot of nagging I persuaded my Dad to get me a bass for Christmas; he got if off his mate who had been in a band years before and since stopped playing. It was a 1965 Hofner Violin bass, which I dearly wish I still had, but I sold it years ago for a ridiculously small sum. Anyway, I joined a band and had a ton of fun. Not long after that, we broke up and other life things happened; marriage, kids, house moves .... all the things that happen during a lifetime. I stopped playing and didn't touch a bass for around 20 years, until my current partner surprised me with a bass and a little amp for Christmas in 2009. That started me off again and I started from the beginning, teaching myself to play the thing properly this time. I soon sold that bass and started trading up; I went from the Agros 'Starcaster' Jazz bass to a Vintage V940, then to a Peavey International, a Washburn Taurus T25 and then made the jump to a Mexican Fender P bass. I wasn't much impressed with the Fender, so I traded that for an Ibanez SR300, which I kept for about 4 years. During this time I started making bass cover videos on Youtube, which earned me a bit of a 'following' both in the UK and around the world, notably in South America for some reason. I still do the videos when I get time and the inclination hits me, and the videos I already have online (about 70) still get comments and views on a daily basis. These are almost entirely 1970's pop hits; there are a couple of 60's and 80's songs in there as well, but I've just chosen to cover songs that appeal to me or mean something to me. Then, about 4 years ago I fancied joining a band, so I advertised myself on Joinmyband.co.uk and got no serious offers, just a few time-wasters so I quickly shelved that idea. Then, 2 years later someone unearthed my advert and contacted me to say that their bassist was leaving their band, and would I like to join? I sent them some links to my Youtube stuff, we met, chatted, jammed and before long I was in! So the first thing I did was upgrade my bass (again) and I bought a beautiful Ibanez SR1200 Premium. Not long after that, things started to get serious and I bought and Ibanez SR 5000 Prestige as well! Realising I was spending far too much on basses, I sold the SR 300, the SR 1200 and my SR 300 DXF ( did I mention I had one of those as well - lovely fretless bass!), and spent the lot on a Rickenbacker 4003s! So those are the basses I have now, the SR5000, the Ricky.... and a Fender American Standard Jazz bass which my partner and I decided to go halves on about a year ago. I'm not buying any more now (unless a Rickenbacker 4001 comes up at the right price!), I'm just keeping what I've got as investments and for the gigs we play now. My band plays pubs around the Leigh / Atherton areas of Greater Manchester; we do covers of 60's 70's and 80's pop hits, a little bit or rock and generally feel-good drinking music! People seem to like us and we have a lot of fun doing what we do and entertaining people. So that's me. probably more than you need to know, but what can I say... I talk too much !

Recieved Barefaced email today showing new ranged of colourful ONE 10 I think these look stunning and want one now! DON'T BE DULL, GET COLOURFUL

I have been using 45 to 105 nickel round Warwick strings for a while on my jazz as they are cheap and I thought I'd give em a try... there great and the they last longer (especially the E ) than my usual faves dadarrio... Has anyone else found this ?

.

Yes, but that would have made my 'may contain nuts' scrotum tattoo bitterly ironic.

Ooooh good jimi track, ooooh good jimi track, anymore like this?

I would have used a router, but I'm really not comfortable with power tools since I nearly sliced my balls off with a circular saw during a cab build. Just sayin'.

What do you mean by "well"? Do you mean accurately or faithfully, or do you mean efficiently? I'd say the enclosure (or lack of) is just as important as the size of the drivers...

Ah ok, but... It's the combination of frequency response with being able to get this across to an audience that I'm really focusing here on i.e. what cone size is going to be able to deliver the low end well (and I take the point about HPF'ing below 50Hz) to our audiences i.e. what makes sense for the gigging bassist. I just don't think a 5" cone is going to realistically match a 15" speaker cone in delivering low end from bass to audience, but I'm open to being proven wrong.

Trying playing through those to an audience.

Setup. The adjustable neck angle is a clever idea although mine needs to be almost flat in the pocket to get reasonable string height. Strings. I fitted the suggested upgrade Thomastik Spirocore Weich strings and they are excellent for a more traditional sound. Playing. This where it wins over something like the otherwise excellent NSX EUB when reading. The neck has the reference points that you have on a double bass. Transporability. In our hatchback the Allegro just needs the wider side of the split rear seat folded down and it fits comfortably behind the driver's seat.. It will also fit in over the passenger seat when it is moved fully back. Please ask any questions that you might have. As always, the above is all just my personal experience.

Air movement is Cone Size linked with displacement - how much the cone can move forward and back in the chassis. A really wide cone only moving 1mm won't shift as much air as a smaller cone that moves 10mm

I know that is something that folk are putting about i.e. a 115 is not going to be noticeably different to a 112 and a 112 to a 110, and 110 to 108 and a 108 to a 105 Following the logic a 105 is comparable to a 115 (or even a 405 vs a 115 to compensate for cone surface area and volume of air being pushed out). I do find that hard to believe! No argument from me on that one!

Despite newer amps being around I still think that Markbass is the best combo available. Very flexible, great in many genres. Takes pedals really well. Easy to add another 2x10 in future if needed. Can't go wrong.

Somehow missed your earlier post. I think all of us have probably had to do at least one 'try, strip off, try again' moments with our finishes. In my case, it still happens!

You have just what you need - Markbass should do it for you for a good while.

Don’t play licks. Just listen to what’s going on, feel it and act accordingly. The most important, for me anyway, thing is to know where ‘one’ is. When I’ve had to play in anything other than 4/4, 3/4 or 5/4 I’ve broken it into two, never more than that. So 7/4 would be 4/4 followed by 3/4. It depends though how the drummer is feeling it.

Or just following the classic pricing model for any electronic gear i.e. high initial price for early adopters for whom getting the latest tech is a 'must have' and then subsequently cutting to flush out the more "reluctant" buyers? My Zoom B3n, which is ridiculous amount of pedal for the money, was £170 when I bought it when it first came out 15 months ago. Andertons are currently selling for £135. So a similar ball park discount of 20% to 25%.

Maybe she'd like the "one trick pony" mentioned in the Is Rickenbacker a dirty word..........? topic?

Quite right C I love the Triumph and Recording basses though

But it creates this wall of awesomeness

Of course, you could always stick a Jazz neck on it...

Chunky and around 42mm at the nut. Very playable, but it's definitely a P neck. If you're a Jazz bass fan, you probably won't like it much.

Not this again? Geddy's on record as having used his Jazz as well as his Ric to record with (on plenty of songs considered to be iconic to the Ric sound), and he's dropped the Ric completely...pushing forty years ago. Similar situation with Foxton and his Precision. I should have written 'didn't use them exclusively' with the studio recordings in my post above, so apologies for that, but the fact remains, however inconvenient. I've never played a '72, they may well have something the ones I have played (and owned) didn't have...and I've moved on basses by Alembic, Warwick, Status, Sei, and all the more usual suspects like Fender, Gibson and MM, and settled with what I like and won't sell. It's a nice place to be, and I'm glad your Rics are that for you. That brand new one I bought was still nowhere near good enough build and finish-wise for a £1600 bass. For the record, I was gutted.

That would be enough for me I really must check out Blue Dot

Try The Marcus King Band for a modern funky approach.

... which inspired Fairport Convention to record this ...

I've never owned a combo that has a tilt back capability but I have read they are really good for hearing what you are playing on stage. Although carpet covering requires a little more maintenance (brush/vacuum) I prefer it in the main to cheap Tolex (far east production?) that marks and tears way too easily

Tedeschi Trucks - take the Blues and do all sorts of weird and wonderful things with it.

Funnily enough I discovered the weirder end of jazz completely by mistake; I was DJing in Leeds in the 80s - mainly funk. And as there was no real means I knew of finding new music I'd buy stuff completely on spec. One day I saw an album cover with a sharp dressed black guy holding a Steinberger bass - it was an import costing £8.99 (this was 1985!!!) but I thought this looks like new funk, I'll play it at the Warehouse tonight! It was Jamaaladeen Tacuma's "Showstopper". I played it before sticking it on the dancefloor - didn't sound straight 4:4, there was weird repetition, there were too many notes, it just wasn't right. So I shoved it in the back of my record collection. A couple of years later I listened to it again, and somehow it just made sense... But it was a slippery slope, I craved more oddness, more dissonance, more crazy. Ornette and his harmolodics weren't enough. Through Shannon-Jackson I discovered Last Exit, Brotzmann, Bill Laswell, Sonny Sharrock, Steve Lacey, Lol Coxhill and the holy grail - Derek Bailey. It was like starting with a fag behind the bike sheds, graduating onto a sneaky spliff, onto white powders, bits of blotting paper, and finally, Free Jazz Improv. All other music sounded dull. After a long visit to the Betty Ford Clinic I was weaned back onto "normal" music, but thanks to this thread I'm hooked again. Cheers!

You don't know me! 😂

1999 😉

I rest my case