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Feel free to use this'un if you want. One of my favourite photos of me ever, mainly because you can't see my ugly mug

You didn’t read the post, did you 😂

You might be over thinking this. Bass has a support role in Blues (old and new) so just get a good sound and play well. Listen to Pino, Carmine Rojas and Sean Hurley, and you'll hear totally different sounds and styles. I'd just use my go-to 5 string active jazz bass with rounds and my regular Aguilar/Barefaced rig. What you play will be twice as important as what you sound like. More importantly, find a drummer who knows the difference between a 4 on the floor Texas shuffle and a Purdy shuffle and can play an interesting pattern on a slow blues.Then youonly need a guitarist with a brain and a singer without an ego. . . good luck with that search!!

Finally got mine flight cased up. After recently adding a wireless I wanted a plug in and go set up. Had the helix 6 months now and absolutely love it. I don't use many fx but do use the built in darkglass od pedal lots and love how easy it is to switch basses between songs and just step on a setting ready for each one. Both me and guitarist have ditched backline completely now. Helix and IEMs all the way baby!

Feel free to share this one of me:

A 5 string for blues? Sacrilege. I reckon I could do a whole set on the E string alone.

Here’s my whole family of cheapos. All get gigged, the white PJ and the black J regularly. Together they cost less than half of what my Fender Jazz Deluxe cost.

Just bought this for £50 Made In Japan Hohner P bass, all original apart from the screws on the scratchplate! Any Info On these chaps? Really plays well!

I’ll sleep on it. Been one of those days anyway so maybe I’ll feel different in the morning. It’s a right come down when you get all excited and then it doesn’t work tho. Proper downer on my evening after a long and quite stressful day working. Either that or I’ll get a refund and buy a TE Elf for the sheer hell of it.

Have you got another one where you aren't blinking?

I realise that now. Lots of people like peas and I don’t... Personally I’d have a wall of valves, an old P-Bass and a chequered relationship history if I was regularly playing blues. I have two (just missing the P bass).

Recently, i was fortunate enough to be able to visit Stephen Chown and try out various basses and effects. After a trip to visit family down south, i went to see him in Bristol. The office is housed in a Victorian bridge arch, which certainly beats most offices. After a while messing with basses and pedals, i brought up the point of me making some short scales. Within ten minutes, i had two chowny swb necks in my hands. At some point, a chowny swb with a carbon top will exist (watch this space) Anyway, cheers to Stephen for allowing me to attempt an swb replica, i recommend chatting to him if you ever get the chance, and hopefully visit him in Bristol again soon.

You know what, I really miss lojo in threads like this. He would definitely have had something interesting and thought provoking to contribute. Sadly missed 😞

That sounds fair to me Lozz, especially given that half the song is likely to be in the energy level. But in a covers band it doesn't matter whether you're learning Brown Eyed Girl or Sweet Child O' Mine ... the rest of the band will expect you to learn the right bass line and get the song structure right, if only because they know that their audience will expect that. In that context, being able to hear the mistakes so that you can correct them becomes quite important.

I would say all your thoughts are bang on - 57 with maple / 62 with rosewood etc. Maybe someone with both decided to swap them over or something?

Scale length is an irrelevance unless you have a general preference for a particular scale length irrespective of the number of strings. What is important is the construction of the bass in particular the neck and how it attaches to the body and the strings that you choose. Strings are tricky things. IME what works well on one bass doesn't necessarily work at all on another, and also IME most budget (sub £500) 5 string basses come with terrible low B-strings. Unfortunately the level od construction required to make a decent 5-string bass comes at a price and generally unless you get a second hand bargain you are unlikely to find anything really satisfying under the £500 mark. The cheapest decent 5-string bass I own cost £700 and it was only that price because it was an EOL model that had been reduced from its original £1700. Go to the Gallery and play all the 5-string basses you can get you hands on including those that are outside your current price range and you'll find what suits you and what doesn't. Don't buy something you don't really like just to test it out because that's all you can afford. AFAICS most people who buy a 5-string bass and then give it up do so because the bass wasn't very good in the first place. If you've tried lots you'll get a feel for how much you need to spend to get something you will be happy with, and if you can't afford it now put off your purchase until you can.

You may #Repost anything on my own Instagram https://www.instagram.com/DanVeallBassist Just tag me in the post. There's always loads of bass related stuff there which could be of interest. I'll post a few high res pictures / posts here later.

I prefer using my fingers. OK, I'll get me coat...

Most 6x10's deliver a fairly distorted sound and don't have a flat frequency response. A lot of relatively cheap drivers in a portable cab means that the speakers are technically underdamped and give an all enveloping warmth at around 120Hz as well as extraordinary efficiency. Modern fashion calls for a flatter, less coloured response. That's not inherent in the technology but that's what you'll find in a lot of commercial offerings, so it's kind of true but not for the reasons most people think. I use 12's, One does most of my gigs, up to a couple of hundred people and it can go as loud as pretty much any drummer. If I take two it can be overwhelmingly loud, I don't like overpowering bass but after a mild argument with one drummer who kept asking me to turn up I did, to cut a long story short at the end of the first set he complained about not being able to hear his own snare drum. So yes they are loud enough and will give you a huge sound but it's likely to be a bit different from what you are used to. Ignore the comments about neo speakers. Neo magnets are more powerful for the same weight as ceramic magnets but they are just magnets. You can use the extra efficiency of neo to make a lighter speaker or a louder one, or one with a longer throw for extra deep bass or even get a little of all three but there's no neo magic, they are still just magnets. In the end you need to listen and judge them on that. Barefaced are making old school sounding cabs with modern drivers using their 10" units, they may be worth having a look at.

Here's a pic of some of them. I really must get a family pic of the lot...

Small rooms by their very nature nearly always have terrible acoustics, that’s a fact. Gig venues are generally larger and thus less susceptible to some of the worst issues; but they can still sound crap. Acoustics are reliably unforgiving at the best of times. PS: The idea of a drummer going full tilt in a room the size of a domestic garage is plain crazy to me. Makes my tinnitus go wild just thinking about it. Some of you guys must have thoroughly trashed hearing. I SAID SOME OF YOU GUYS MUST HAVE... oh never mind 🙄

'Old school' drummers (I'm one...) can use brushes (very, very old school, which give a totally satisfactory 'thwack' when handled properly...), and/or 'hot-rods', an excellent compromise between the brush technique (admittedly a bit different to sticks...) and ornery sticks. They, too, can make quite a din, but one has to really work hard for that; normally they're very positive as a feeling, but produce less volume. Of course, real drummers can play well, even hard rock, without excess volume, but that's another can of worms, I suspect.

Just got the Zenith back. All I can say is OMG. It's gorgeous. Simon at GUS has managed to fit a 22 fret 5 string neck to a 21 fret 4 string bass and you'd never know. The passive EMG's and greasebucket tone mod sound lush with a threeway switch and wired in series and parallel. The piezo only has a volume pot but it's got a hidden secret. Instead of being battery run it's powered by a capacitor that takes only 1 minute to charge and this will last 16 hours. I've put the original brass bridge logo on the headstock instead of where it should be. In my opinion it just looks better on the headstock (it looked good on the original rosewood bridge but now that has been made larger it looked out of proportion and 'wrong'). Anyway, I know I didn't do anything to convert it (unlike some of the skilled people on BC I would have just ruined something that, in my eyes, is probably one of the best looking basses I've ever laid eyes on), but I knew what I wanted and luckily had one of the finest luthiers on the planet just down the road from me who managed to transform my thoughts into a work of art

I had to put my foot down with the band about rehearsals. We were in tiny rooms, shoddy kit being pushed to the max, ears ringing for ages after. We now pay more to use the big studio rooms in the same place so we can play at low volumes but with real clarity. Nobody has ringing ears and the practice is far more productive, so though we pay more we are actually getting value out of it now. Why do all rehearsal rooms stink of damp??

Worth seeing if you get a clean signal from the preamp out. If you do, problem is the power section, if you don't I'd suspect the preamp tubes. ( reseating may help ) quality control would have picked up construction fault before shipping to UK, BUT , valves are not always good travellers . Mind you, I'll need counselling if mine isn't perfect ! good luck.

To answer the OP, I am pretty sure the bass you have been offered has been put together from period correct components. I have never heard of a maple neck '62 jv reissue. Interesting question from musicbassman. A quick check on the 21frets website shows JV03197, a large Fender-logo rosewood fretboard Precision bass. They are out there, but I did have to check, and I do remember seeing large Fender-logo versions of all the other guitar and bass types, so perhaps the '62 Precision large Fender-logo version is less common. Certainly, I have the large logo 62 Jazz (JV08875) have had the large logo 62 strat (serial number within 50 of the Jazz bass and identical wood) and seen numerous 57 strat and precisions with the large Fender logo.

cool! curious to see how your replica will turn out!

It just looks so tidy! Brilliant on stage and so easy to pack and go!

I do like that lino. A lot.

...Or stick a guitar neck and bridge on it and go all Hetfield...

I've got a Euphonic Audio (EA) Micro head, can't recall the model number, but it's 550W when run at 4 ohms (for me, this is 2x 8 ohm cabs) or around 300W when run at 8 ohms. People tend to describe these heads as rather "hi-fi-like" but with the right bass and the right cab(s) mine sounds great - quite warm and colourful It can do very flat, dry and clean, with some tweaking of the EQ and the "dry - wet" control It's dead handy cos it's so tiny & lightweight and I really like it I get a good sound with DB / EUB too. I tend to use it with my Epifani UL110 lightweight cab, and sometimes my MB 2x8 or 1x12

It would depend what it was packed in - small or large hard case, gig bag with loads of packing or wrapped in a bin bag. And yes I've received a bass "packed " in the latter It could be somewhere between 125x16x40cm to 140x30x60cm At that size it usually goes by volumetric weight rather than actual weight so I usually say around 9kg just in case they actually weigh it

Fair enough re the nut. It just looked a bit odd, I must admit. If it's fine, then leave it alone. I had a similar bass, MIJ with a broken neck, sometime back. I replaced the neck, and the pickups sounded superb Having sold the bass on after I finished fixing it - I wished I'd kept those Japan pickups, they were so good, yet there was no mark / stamp or brand visible on them You really can't moan for £50 - if you do, I'll give you £51 for it! lol

It strikes me that most small shops would do well to offer very good set-up and repair services, sell consumables - strings, sticks, drum heads, picks, leads etc at a decent price and only sell instruments as commission sales. Takes away the capital expenditure needed on high value, low margin, low turn goods, keeps people, like a lot of us, who just use the shops for strings and set-ups happy and takes advantage of the buoyant used market. It would also have the advantage of having a variety of different instruments coming through the door at any given time, which might encourage people through the door more regularly.

Neither did I. And yet here we are again... Must be a slippery button because it almost happened to me too... But I've got a PF-500 already and an SCR-DI so figured the features lacking in the PF-20T can be accounted for elsewhere, right? Or should I order a PF-50T too...

I`m not sure, but I`ve found that I prefer sealed cabs, I think we have similar tastes in sound, I recently had my ported 410 sealed and the sound is soooo much more what I want. The suggestion of the Barefaced 610 as made by others above is a good one, unless you need really shrill modern highs it will more than likely do the job and is easy to cart about. There is also the option of theier 410 and 210 together - these are a doddle to move about and then there`s the option of just using the 410 at rehearsals, adding in the 210 for gigs for the stack-approach.

Welcome Pete. "My disc has broken in half" suggests that it was involved in some sort of unusual activity for a disc or that there was a failure due to poor maufacture. Is it a warranty issue or did you jump up and down on it in a momentary fit of frustration? I got frustrated with John Pattituci's spider once. For a little while I was out to squish any spiders I came across*. Quite out of character for me as I actually like arachnids. Either way, good luck. *Fortunately no spiders were harmed during that little episode and I quickly turned my frustration into determination.

Indeed i have, I'll just upload them from my phone

I've played with rock drummers that made it look as if they were hardly using any effort but the noise or the sound produced was far more aggressive than those that just hit hard. I've come to the conclusion drumming is all about the technique.

Nice one @Clarky72 Tiger eye Cirrus seems familiar 😄

Not going to disagree with Lozz that an excellent 212 is going to "out perform" a 610. But a 212 will hopefully perform very well indeed; and more importantly should perform more than well enough. And your back will love you forever...

I know the Band leader ( guitarist/singer ) and the situation I'm confused as to why he is a "tryer"

The day we add an original to our set is when I'll quit. But it'll never happen.

I based my initial refin decision on the eBay photo where it looks a lot more washed-out. In the flesh it’s a nice bright banana yellow. As I said earlier, how many yellow basses have you seen? Not many for sure. Found a yellow Jazz on google images with a sort of “aged” white pearloid guard (example below) so think I’m gonna go down that route. Funny you about mention orange - I lusted after a metallic orange Jazz in my local music shop many moons ago (it sold before I could save up enough cash) so orange is definitely high up my list when it comes to another bitsa!

There's also a Flying V, a Fretless and a Uke that have been bought since I took this... so 10, apparently. At least they are all different.

My cheap lot, all Harley Benton's. A couple of B stock ones, some new ones and one sold as deko (which has been turned into a player).