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Surely I can't be the first person to mention Anita's older sister. . . Hylda Baker?

I'm of the opinion that, as a band, one plays exactly how one wants to. Nothing is sacred. Playing like the original is fine, too, if that's what the band want to do.

I saw JB in 1971, with Bootsy Collins, and again some time in the early 90's. Those performances were chalk and cheese, sublime to the ridiculous. Throw his later career in the bin but he was at his peak and world class for about 25 years. James Brown's career was a story of 2 halves. In the first he certainly was The Hardest Working Man In Show Business. In the second, when he was gigging into 70's and with his many addictions he was way past his best. But in the 60's and 70's there was no one who could beat him. He was the guy who inspired every one. There wouldn't be Funk without JB or Hip Hop. Don't write off a whole career based on some of his later, woeful, performances? When he was in his prime he was a unique and original talent, a force of nature even.

Well - huge amount still to do, but definitely at the end of the beginning! The next bit on the body is getting a router out and routing the top and bottom binding channels. I might spend time on the neck before getting to that terrifying prospect!

Yeah maybe, but at least it gets people talking about great music. I worry when I see threads that ask "which way should I point the knobs on my bass for it to be aesthetically pleasing"..

Great thread, I can relate to many of these! 😁 Last night, towards the end I was mainly thinking 'my toes are going numb, I wish I hadn't worn these high heeled boots'

In the best case I stop thinking (no comments please) and am just amazed how the bass plays itself. In the worst cases, why am I here? when will this end? how much longer do I have to play for? Al the comments in thread so far have gone through my mind at various times

My favourite cover, nothing like the original, and I won’t even mention the snarling growley bass line, oops

I'm starting with this one....

So recently a fellow basschatter sold me a 1981 Ibanez Roadster fretless, the price was very fair and I was made fully aware of the issues it came with (albeit exaggerated as it really wasn't all that bad!). I said I'd post a few pictures once done, so here they are! The Bass didn't actually need a huge amount of work, and I had initially intended to re-finish it with a natural stain of some variety, however as I already own a naturally worn black 1979 Ibanez Roadster fretted I've decided (for now!) to leave the finish as is in its black, well used, glory. The truss rod needed freeing, after a spray with WD40 and leaving it to permeate for a few days the rod is now free enough for adjustment, however the neck is beautifully straight as is. The jack input has now been relocated correctly to the side of the bass instead of the front as it was previously and the whole that was left has now been filled with a tone pot so the bass is now V/V/T/T as it should be. A new truss cover has been fitted (couldn't find a brass 'Roadster' one so a nice black one sits there instead). I found a couple of similar knobs as per an original Roadster and after a full set up and polish the bass is now fully functional and plays great! The cost of the parts you ask? Under a fiver. The time it took you ask? About 2 hours. All in, it's now a beautifully playing, mostly original (bar truss cover) 1981 Ibanez Roadster fretless! Very happy indeed, though I was expecting a slightly longer project so now I'll need to find something to take up my spare time! Russ.

Some of you may know my cousin, George...

I have had my fair share of USA Fenders and unless you can try one secondhand before you buy I would stay clear. I think all of mine have had quality issues of some kind and never felt very responsive. I don’t think they are worth the money new at all. If it was me, I would go Lakland or a chunky necked MIM 50’s (both the normal and roadworns I have played are superb) or I would look at the Nate Mendel precision secondhand. I don’t think anyone has much bad to say about them, they look great and Scott Devine seems to play his a lot more that a Fender Custom Shop which says something to me. We all like different feels and look for different qualities though, so really it’s the same old advice of try a load and see what sticks.

There is a 50`s P bass on here for £500 and that is crazy money. They are great basses and I don`t know why it`s not gone.

You silly, twisted boy, you.

Once the back is glued on is no time to remember that you've forgotten something so this is a time for a pause, note the remaining jobs, do them, pause again. Hopefully, I've paused enough times! First there's the cross-grain maple strip across the join line. Because the back has a double curvature as it slims from the main chamber to the neck, I let the glue for the strip set while bending in this direction by using a fillet underneath at the bend axis of the panel: Then the all important label In the past, I've marked the top at this stage or similar and - because it's pretty much final thickness, those can be difficult to get out. So for the clamping, I cut out a comprehensive set of clamp cauls, chamfered so that the edges don't dig in (fingers crossed!): And then - after one more fit check - the 'well, it's too late now' step :

I googled 'Queen of Soul' and apparently it's definitely Aretha Franklin. 🤪

Elton John?

Why don't folk who disagree with the OP just nominate their fave soul singers? That way I might discover someone I'd previously not known then this would be an extremely useful thread, which would in turn placate those who think it worth contributing to what they see as a pointless thread.

Oh I hate that with such a passion - all those vapid breathy girl singers that do slow boring versions of songs that end up on adverts for banking.

Prefer the Partridge version...

I'm not big on labels. They just cause endless hair splitting, as we are doing in this thread, but Soul in the 60's was a thing. With many influences and a level of creativity seldom seen since. Aretha was the best in that genre and for many since. I've seen Anita Baker described as R&B and Urban Soul. Not labels I know very well but I guess that's not the same thing. In reality both singers deserve as many superlatives as we can come up with.

They are Mother of pearl, it's a slice of a shell, it's 1.5mm thick, which sounds thick but with such tiny pieces it gives some strength while your cutting it which is handy. A tip if your thinking of doing this, clean the floor meticulously before you start because tiny bits will flick off the end of the blade as you cut it free despite your best efforts to hold them down. Fitting them, marking is the important bit, I do it just like I do with the fretboard blocks: In the picture above where I am assembling the cut pieces, well they are actually being assembled upside down and superglued to the paper. When I'm ready I will cut very carefully around it with a new scalpel blade then stick some masking tape to the headstock and to the top of the mother of pearl bits. Then I will superglue the dragon masking tape to masking tape to the headstock. Then I can mark firstly very gentle then harder the outline of the dragon onto the headstock. Once that's done peel off the surrounding masking tape, that will show you if you have missed any bits, then with a sharp chisel pry the masking tape off the headstock and finally peel it off the dragon. I then rout out the outline with a 1mm router bit in a Dremel in a stand (I have a 0.5mm bit too but it plain intimidates me!!), I cut the line out so it actually disappears, yes that does leave a tiny gap. Then I remove the rest of the wood with a 3mm bit and clean any tight corners with the tip of a scalpel. Finally I have a bag of dust saved from sanding the fretboard, I mix some with a dollop of epoxy to make a thick but runny black mess and paint it into the hole in the headstock and fit the dragon. There is a little oozing of the black gloop through all the gaps but what I do then is dab what's left of the gloop onto targeted parts of the dragon to fill any potential voids. The next day I sand it down using a sanding block and examine for any voids and refill if need be. That is very easy on a black headstock, the filled gaps will be invisible once it's been finished but on a paler wood you need to take a lot of care to fit the parts very accurately so any gaps are merely hair lines, that is much more demanding but if you just take your time and think before cutting then it is just a matter of time and anyone can do it if they just think first. It's easier on a single piece inlay than a multi piece which may need to be fitted in stages like marquetry. Also with a lighter wood you still need a tiny gap around the inlay but as small and even as you can get it, you may still want to use black powder in your glue to emphasis the design but use masking tape around the hole to stop the gloop staining or getting into the grain of the wood. The top and bottom of it is that it's a fiddly job that will be no easier for me than it will for anyone else, the trick really is just to take your time and think about the repercussions of every cut if you're having difficulty fitting a corner in, as in if I cut that will it open up a gap somewhere else. My biggest tip would be as hinted above to start on black headstocks, they can hide many sins and you will soon gain confidence to have a go on other things and it really is a lot easier than all that may sound

If your thoughts aren’t like Bowman’s journey through the Star Gate near the end of 2001: A Space Odyssey then you are doing something wrong... ...or don’t you all take acid whilst playing these days?

When I glanced at that photo I thought it was a cake with candles on at first!

Anita Baker, Queen of Jazzy Retro-Nuevo (You had to be there, with 8 million others)

Ann Peebles for me, you don’t often hear her name said, but she plain slays. Not going to get into the King/Queen debate, but I can see this happily transforming into notable others, who maybe should have had the title, bit like an Olympic final, but it’s the music business so no drug disqualification.

I think it's stupid anointing people with titles like this. It's somewhat self-aggrandising of whoever does the anointing. Who appointed Pervis Spann (who?) as the arbiter of who was or wasn't soul royalty? Personally, I think she had a jolly good voice. I think it would be idiotic to have a title that was bestowed on her by some long-forgotten DJ get in the way of that.

Sorry for the delay, I had no tear out at all but I used shallow passes. What I have done this time radiusing fretboards was to just sand them and to be honest I prefer that way as I seemed to have much more control over the process, it only took 10 - 15 minutes each. Anyway if your using a router run it down the length of the board not along it rather than across and you should be fine and do three shallow passes rather than one deep one. Stop just short of your goal then fit the mother of pearl and sand the lot down as one. It's easier to do than say

If you want short scale and lightweight, they won't come any lighter than a Danelectro Longhorn. If you can live with the styling of course - the quirky shape was part of the attraction for me.

I adore my Markbass LM2. But in the Camden bass gallery I did once accidentally have a go on an Aguilar rig (don't know which one) and instantly fell in love with the sound - it was really that good and different to anything I'd ever tried. At that point my wife heard the warning vibration of a stressed credit card and dragged me out.

I have a bitsa P bass: old Squier neck off the slightly later model than the JV with Tonerider pup, KiOgon loom and a 'balsa wood' Affinity body only a few years old. This does everything I could possibly want. ... or did until on a whim I bought an MiM Fender P. Everything about the Fender was better, including the playing and the tone. This prompts me to two advice options. Expensive: buy a proper Fender Cheap: Buy and fettle a cheap clone and don't play the real thing so you don't know what you're missing.

Wish you hadn't posted this..there have been a few on eBay and Gumtree recently...look great VFM and they come well recommended. I'm now GASsing for something I really don't need.

I had a lefty Sire V7 4-string for a while. For the money it was good but I only paid about £300 because I had some euros on a pre paid card that I’d loaded years ago! The tuners were frankly rubbish - two were chewed up within 3 months. Thomann sent replacements that were exactly the same so I put Hipshots on it. Sound was proper jazz in the passive mode and the active pre-amp is very powerful. Neck felt ok but I didn’t get on with the lacquered finish. So, upgrade the tuners and it’ll be a good giggable bass.

I hope I didn't follow through when I slipped that one out

A decent, basic, beginners amp with a good stand and amp for £100? Regardless of the wonky plate, if it plays well, that's a good deal. (just spotted - it's a guitar amp though...)

You’re dead lucky with that at that price, you probably spent as much again on strings and knobs! 😋

No, just a couple of pub gigs so far, and a social club tonight. Probably won't be any videos until the Grateful Dudes play their halloween party in Leicester at the beginning of November. But basically, I just play the same stuff I've always played, but find I'm using it as a five string with the blues bands, not for the below open E notes, but for the ease of being able to play across the board at the 5th or 7th fret most of the time. When I'm playing at home, I am learning more Grateful Dead songs, and they tend to have more bass in the upper register, but I won't be playing with the band again until late October when we have a pre-party rehearsal. I'm not using the chordal and melodic potential of the six, as its not needed in the music I play (not that I would be able to play it anyway!), but rather just as an easier way of playing what I play already without the effort (and risk of missing on a dark stage) a lot of up and down the neck work.

"this is f&*king amazing... i want this go on forever like the best s3x... am i really making that fabulous bass sound" are all things thats are all things that have actually crossed my mind when playing in front of an audience.

Hi Guys, thanks for your help. I have decided in your wisdoms not to upgrade. As a few of you mentioned a few extra watts probably wouldn’t make any difference in those situations anyway. Just a little more background on the two festivals mentioned - We ‘headlined’ both, and were also the only ‘full band’ to at each: The first was my home city’s first ever Pride Festival – a cause close to my heart. I was so thrilled to be accepted to play, I would have played it whatever the conditions. It is a completely free festival. The ‘sound man’ was a volunteer who owned a PA. Act before us was a choir, whom he used 5 mic’s for. “Happy days” we thought, “Two for our vox, two for our amps, and one on the drums”. Unfortunately when it came to our turn to play he could only get ONE mic working, and none of the monitors! Much fiddling, crowd getting ansey, so we just had to start playing. The second one was very similar: Festival at a hospital, essentially a party for staff and patients, few stalls other bits and bobs etc. ‘Sound man’ was a staff member who was in a band, and had access to a PA. Again he didn’t want us meddling with it, but also couldn’t seem to be able to get sound from our cabs to the PA. Neither ideal, I’m now a lot wiser about what gigs we’d accept, and what to expect. Would I play these two again? Absolutely.

Yeah and an ‘A’ bracing pattern rather than ‘X’ apparently 🤷🏻‍♂️

I can go along with all that, but how about the very frequent cases in my world where the original band never had a definitive arrangement or maybe even played the song the same way twice themselves? I know of Grateful Dead tribute bands that cover a whole live show learned from the Archive recordings, but to me that pretty much misses the whole point of what the band was about. And I never ever want to hear any jazz band play anything just like the record, ever. Did I mention never, ever?

Well, posting a populated Fuzzdog PCB after your works of art is hard, so I thought I'll just wait a bit .... but anyway, here we go, a Harmonic Percolator with diode lift switch.

I built another Thunderbird today

Today I worked on the other two fretboards, I'm using 8mm mother of pearl dots, this believe it or not is the very first time I have used them, how simple are they!! Drill and fit, sand and job done. I cut the boards to size and started to think about binding them, I bought a couple of rolls of plastic binding for them but decided to use Sycamore (very like Maple) instead, so I did and very nice it looks too. They've had a coat of Lemon oil and they'll get a couple more over the next few days. I also cleaned up the neck blanks, I think Cherry was a good choice, more subtle than the Gibson laminates

Joe Cocker's version of "With a little Help from my Friends" is in my opinion the best cover ever, particularly when compared with the original 'singalongaMax' treatment Ringo Starr gave it.

I would just plug with hardwood and a quality wood glue. Let it cure for twenty four hours and then mark out for the new screw holes and drill very fine pilot holes.

Punter: Thats not how it goes Me: Its how it goes when I play it

Ooh, got mine done. I'd tried a few things & never got anywhere that I liked. Then on Sunday I was playing my Seaboard & looked at this pic again. I came up with the chords & hook, so played them to a metronome, then tonight I added more strings, some bass and what I think might just be an appropriate drum pattern. ⛱️