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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.

Well, not exactly a new bass day as i picked this up a couple of weeks ago. But my first chance to take some pictures and post this. This is my first ever fretless bass. I tried one in PMT in Romford a couple of months ago and really liked it. Especially, the unlined board but dots on the side where there should be dots and lines on the side...well, you get the picture. But nearly £700 was a little too much to chance it. So I saw this up for sale, second hand, at Bass Direct recently and, as I was doing a gig near Nottingam that Saturday, went and picked it up. Really like it. It's got such a great, slim, neck that playing it is effortless. I also like the piezo pickup in the bridge and have been using that at full volume together with a touch of neck pickup to add a little more growl. All in all, I'm really happy with it. I've dropped the action down very slightly at the bridge but haven't had to do anything else to it. Anyway, some pics.

I'd be tempted to change your playing style, if you keep hitting the jack. I can't imagine in my wildest playing how on earth that happens.

Impressive stuff. Although I do now feel a bit dizzy after watching that clip.

Isn’t the ‘queen’ title there because of the longevity of her career, and the massive influence she had on so many during her time? She didn’t just appear and then disappear just as fast.

When you're last minute depping with a band and at the gig have a complete mental blank about the next song that you apparently ran through with them at an impromptu rehearsal that afternoon. Singer, to me : "we're going to do ' Be My Bad Move Dreamer' next" Me: Blank look.................. Singer: " It starts with the bass - remember??? Me: Errr............File not found Singer: "do-do-dar- dum-dum" (Pulls a bass face and plays imaginary bass) ..........."Remember ?" Me: 😥 Guitarist: "No, actually we never did go through that one" Me: ............🙂.....................☺️😊☺️

Generally if you haven't done a lot of this type of repair it tends to end up looking worse rather than better. But with some practice, it can work well. The video below (drop filling with superglue) is the best method if you're finish is not Nitro. If the finish on your bass is Nitro, then thick Nitro lacquer is the best material to drop fill with, as it will burn into the surrounding finish. If you want to find out if your finish is Nitro, test it with Acetone on an inconspicuous area (like inside the control cavity)...if the Acetone damages the finish, then it is Nitro. The Gluboost product which @ikay posted above is essentially the same process (colour and superglue), they just give you the pigments to help match the colour. Also the glue and activator is supposedly a bit better, but I've never used it. I use the method below when I have to. The problem you may run into with superglue is witness lines around the repair as it does not burn into the surrounding finish, so some skilled blending is needed. Here's a before and after pic below of a repair I performed recently. This one came out invisible, but it wasn't missing any colour which made it a bit easier. before- after-

I think you underestimate the BC Massive...😃😃 I had this on tape (remember that?) - I probably need to get it again in some other medium. I can believe that. I've seen snippets of JB Live - always felt like a chore watching.

Here's a couple of mine. A black Jap 75RI jazz and a 'Desert Gold' Singray

I'm not techically minded so some of the might not 100% correct but - On the SVT 3 pro there is a tiny trim pot that sets the voltage being sent to the MOSFETs and it is known for either not being set correctly in the first place or drifting over time such that MOSETs become starved of power. It's an easy fix in principle but difficult to get right in practice because the trim pot is ridiculously sensitive making it very easy to run the MOSFETs too hot and blow something. There's lengthy thread on the other forum about this with all the info anyone needs to attempt it,

I feel like I'm poking the bear here but what then do you make of James Brown as the 'Godfather of Soul'? He was known more for his funk years than his crooning early days but still gets the title. For me, it's always been Otis. Otis, via Michael Jackson, got me into music in general. Natural progressions and that led me to where I am now but seems a bit like taking a dump on a recently deceased indisputable legend for the sake of opinion. It's a meaningless title really, a sales pitch, but she is quite easily one of the most influential artists of all time and if musical monarchy is decided by the people, she's easily the queen. Never mind that she was making music a decade before Anita (not to discredit here, I consciously know but one of her songs). Almost akin to calling Charles Bradley or Sharon Jones the king/queen of soul when they passed. Charles Bradley is the only artist that I've literally cried (emooooooo) every time I've seen him, live or on video ffs. That makes him the king of my soul but what does that mean to anyone else? About as much as the rest of this rambling message, probably.

I managed to get close to the Ain’t Nobody sound with pedals. It sounds like a narrowish pulse wave. I used an Octabvre into a Mastotron (pulse width quite narrow) into a downsweep 24db filter on the Manta. I favoured the jazz pickup on my PJ as it seemed to give the the sound some thinness. I ran that into an aggressive noise gate on a Sentry. The main stumbling block is getting the filter sweep to reset quickly enough. Playing very tight staccato with the noise gate helped but it think I need to try a bit of compression at the front so I can get the gate tighter.

Surely I can't be the first person to mention Amy Winehouse?

I played the short scale model which had a symmetrical body shape. Can’t remember what the model is. I just flipped a righty bass. I liked it. Simple controls and a narrow neck profile quite like a Gibson or Hofner.

And the top is on and gluing!

Thanks for sharing, this is great!

I don't see the point in doing a completely note for note cover, unless you are in a tribute band. Add something of your own in there, or it is pointless doing it. Anyone tells me that "that is not like the record", I just say go and play the record, then!

OK, here's my contribution to the August 2018 Basschat Composition Challenge, inspired by a picture chosen by last month's winner: Bleat. Two synths, trebled up, and vocals from Bryn and Clara. A tiny spot of ride from Superior drums and that's all. Umbrellas used to be made from bits of whale, y'know. Thanks for listening, if you already have; if you're about to, enjoy.

Feedback from your sound engineer wouldn't have gone amiss.