Leaderboard

And to the next very scary bit. Routing out the neck mortice. First of all I needed to set the neck heel and tenon angle and shape. For the angle, I sorted an offcut block, planed to the exact size of the fretted fretboard, at the heel point and put a straight edge up to the top of the unsaddled bridge to work out the neck angle: Then to do it - yes, you guessed it - another jig! This is one I cobbled together for the last acoustic build and is an old-workmate based simplified version of the fancy and ingenious O'Brien / LMI rig. This allows cutting the neck heel angle, the heel template positioning and clamping and also the body clamping and mortice template routing. First off was to transfer the neck angle to the rough-cut heel. The jig clamps the neck - positioned vertically by a couple of pegs that slot in the truss-rod groove, all of which is on a hinged ply leaf, settable at the above angle: With a couple of stiff bearers, this allowed the heel to be routed at the correct angle: Then a quick check that the angle is right before I start doing stuff that can't be undone: And then the G&W Mortice/Tenon template is positioned and stuck with double-sided tape (I did put screws in, but for the other template!) to tidy it up to dimension and shape: And then onto the body. So I tell you what....let's just suspend this fragile body, clamped between two jaws of a workmate and dangling a foot over the concrete cellar floor... Call me an over cautious wuss, but I put an old towel underneath... Note that, for this template, the fixing screws actually fit And with that routed to around 14mm depth, we have a decently fitting mortice and tenon ready for aligning, edge relieving, flossing and, ultimately, fixing: Still got loads to do but in the meantime, I'd better get on and order a trussrod - going to need it soon

Put some side dots on the neck as I forgot to do that earlier. Much more difficult to get them aligned after radiusing the fretboard. Won't make that mistake again....(famous last words!!). I got the chance to fit the frets this evening. I've used thin frets for this just because it is such a short scale and I thought they might work better (not sure why!!). I've not filed the fret end or filled the ends of the fret slots, that'll be a job for tomorrow. I've also stuck some strings on it just to get an idea of angles, action etc. Needs a little bit of adjustment, probably need to drop the bridge down 1-1.5mm, but that's about it. I'll also try some different strings; my original idea with this was to use the bottom four strings from a five string set and (hopefully) that should allow me to tune it EADG. Again, another job for tomorrow.

OK - I think this is the last structural task on the body itself - the binding closure at the tailstock. I used a router guide bush with the same mortise template to rout the groove out for it and then finished off with chisels: Better get that trussrod ordered because finishing the neck is the next task!

Here is the way to do it as NOBODY BUT ME ever reads a user manual (copy/paste) : Setting instrument type (guitar or bass) By default, PolyTune Clip is set up for tuning guitars. To tune a bass, press and hold the Display Mode Button for more than 5 seconds. The secondary display will display “B”. To return to Guitar Tuning Mode, press and hold the Display Mode Button for more than five seconds again. The Secondary Display will display “G”. The selected instrument type will be stored and preserved even when you change the battery. Read the f*cking manual ! 😎

I don't often post on here but wanted to publically credit a bass manufacturer, since it's always good to hear good news. Long story short, I have a Sandberg California TMII 5 string bass, which I absolutely love which I bought 18 months ago second hand from Bass Direct. Unfortunately, a few weeks ago, it just stopped working, took it to a local guitar repairer I trust and he basically said the electrics are buggered, a circuit has gone, not a lot he could do without direct contacts in Sandberg etc. I emailed Sandberg directly (only hoping they might recommend someone I could pay to fix it etc.) But instead, I got an email from Mike, one of the service engineers, who asked me to remove the entire circuitry and send it over to Germany for immediate free repair. I did this, he sent back the newly repaired circuit (1 part on the circuit board replaced), with lots of good communication along the way and last night I put it back in. And it is now as good as new! I just wanted to commend Sandberg for their amazing customer service, all done (including free tracked postage back to the UK) for absolutely free, there was no obligation from their side, they could have just sent me back to the second hand dealer I bought it from. I wouldn't imagine you would get the same level of service from one of the other big guitar manufactures (although I've never tried)! So hats off to Sandberg....not just great quality guitars but a top notch company with amazing customer service too!

And I’m very happy to say that I’m the very happy new owner. I’ve just given it a blast in the practice room, and it is A-MAZ-ING! It grinds my Genz Benz ShuttleMax 12.2 into the dust. It just has an authority that that the GB cannot get close to. It sounds so alive and the GB just sounds sterile in comparison. And it is loud, I mean really loud, and when I tried to get the same volume and depth out of the GB, it caused the output to clip. The EQ is simple but very usable. The build quality is absolutely impeccable. It looks fantastic, it’s compact, and whilst it isn’t light, it’s certainly very manageable. If this amp wasn’t actually mine, and I’d just borrowed it for the night, I’d be ordering one tomorrow. It might sound ridiculous to say that an amp that probably costs the best part of a grand is bargain, but it’s hand-made, hand-wired by someone who really knows what he’s doing. I cannot speak highly enough of this amp. Anyway, I’ve got a gig on Saturday, and maybe I should’ve waited until after that before I posted this but I’m just gushing! Thanks again Michael for meeting up, really appreciated, and I can so understand why you were sad to see it go. Anyway, here’s a pic:

Got a Stingray5 from skidder (Steve) in an exchange. Played and sounded great. (Great guy by the way) Only problem, it was black, and had high mileage😂 A luthier quoted me 320€ to strip it back and finish if I gave him just the bare body. So, a Black & Decker heat gun, about 8 hours work and a saving of 320€ later, here's the result. I'm really pleased. Before and after.

Nice job. If you've had the neck off - I'd say you may have reassembled it with a better seat than it had previously. It seems a more likely cause than from changing the finish.

With the exception of Coldplay ( I don't know what would improve them for me) all the other bands work because the rhythm sections don't overplay. Bad Co & Free in particular had spectacular rhythm sections IMO, who completely understood and used an understated groove to make the songs work. As Mickeyboro said in the above post, they could also cut loose in a live situation where necessary.

hi folks, i have been rather absent recently thanks to a particularly stubborn case of writers block. i have just been struggling to feel musically inspired. i had a couple of tunes for the comp recently but i never got past a quick record of a basic idea. so i decided to throw something together this morning and get it out and maybe i can kickstart my inclination again. so this was all done in an hour or so and each track was only recorded once, so dont expect a masterpiece. the tune is meant to fit the scene of a couple of stoners sitting in the grass talking about how we will colonise the moon and the physics of garden maintenance. no, of course its not based on personal experience, how could you think such a thing? you must be some kind of crazy person. i dont have to listen to these wild accusations! (it was a long time ago😜)

I've been away for a long weekend, which is why I haven't responded to any PM's or this thread. Thank you for your kind words and thank you @jebroad for taking on the mantle. Mrs O. and I are emigrating, well, I'm emigrating, she's going back home, early next year which is why I can't guarantee to be in a position to run it. It may be that we haven't yet left, in which case I'll definitely be along, but also, we may have gone or be in the middle of going. We're going to open a B&B in Northern Germany, not far from the Kiel canal. If it's allowed then once we're up and running I'll advertise it on BC in case anyone wants holiday accommodation in the area.

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If you have an unsightly tattoo on the inner forearm of your picking arm, you can save all that money on expensive laser removal treatment and simply leave the body binding on your Rick do do its magic.

It's down to what people are willing to pay then. I get my main gig bass setup twice a year at a rate around £50 (possibly more, to be honest I can't remember), and I provide the strings. I don't feel short changed or ripped off. My gear and playing earns me my living, and it has to be right. They get worked hard, I work hard and ultimately I can't be arsed to do it myself. I know how, but it's easier to drop it off with my tech. I'm happy to pay that price, and considering you've said it takes 3 - 4 hours, that works out less than £5 an hour average, which is less than minimum wage. Technicians have livings to earn as well. As far as I'm concerned, if someone feels the services are worth it, then they'll pay the fee. I know I'm not the cheapest session musician around (be it for live and studio), but guess what? I get repeat calls and earn a good living from it. Why? Because whilst I may not be the cheapest, I certainly do the job properly!

Status-Graphite in Essex.

Just spotted this. Im sure the more experienced musicians out there are very aware. But some may not be. A good well thought out vid on why your place is your place and why your favourite licks are best kept for moments in a song.. Too many voices trying to put a point across in a conversation never works.

Hello there, basschatters The current plans for the 2019 MBB are as such It'll be held on may the 4th 2019 (star wars day) at Doveridge village hall (Sand Lane, Doveridge, DE6 5JQ) Doveridge is relatively easy to access by train but there will be a short section needed to be done by taxi as the nearest station is Uttoxeter (a couple of miles down the A50) A bus does run to doveridge but its reliability is questionable. Plenty of parking is available. 1pm-5pm (ish) Theres a main hall with a stage and alphaprocreative will supply PA gear and a couple of spare bass rigs. There is also a smaller room with a kitchen for tea and coffee. This will be used for talks and the such A 5 pound entry fee on the day which will just pay for the room and any extra will go to basschat funds or a charity of basschats choice Any cake is much appreciated and so is anyone wishing to show off basses, amps, effects or even guitars. More information will be added of talks and attendees closer to the date. Please contact me if you are interested in giving a talk or want to turn up early to set up anything If you think you can make it, add your name and any gear you may bring to the list below. Please bring- Cake, enthusiasm, raffle prizes and extension leads Cheers, Jamie Notable attendees Chowny Jon Shuker Manton custom

Utterly brilliant !! I want one, mum.

Thats a beauty. I love a fretless P. I can see the little flaw on the pickguard when I zoom in 😳

Hi, I read you long time ago and finally I register to this wonderfull comunity, I play bass for more than 12 years now, before I played guitar in a metal band (high school years), I started bass when I was in a modern music school but after 4 years I stoped, after someyears I joined some bands where I played from jazz to funk, rock, metal..., but I love to play funk, soul is more funny for me, now I'm without band for a year but it's great for me, I play that I want, I follow scott devine and marlowe dk chanels and I'm learning a lot too My best bass is a Sandberg KT 5, I have a Cort and a icon freetless jazz bass 'modified', sometimes I have a G&L l-1000 from '81 a spectacular bass, amp I have a EBS gorm2x10 and I use a lot for home and more a zoomb3 . I think that's all! Nice to meet you!

It's put me back badly, I was hoping to have these sprayed by the time we went on holiday next week so they would be dry when we got back after four weeks but that is out of the window big style. I would have minded less if they had actually ordered one for me when they went out of stock over two weeks ago when I ordered, not when we phoned up to ask what was happening. I think they will have to try hard to get me back on side now, plenty of other suppliers out there! Yesterday was a day off, first of a few I think, today I gave the headstocks a sanding and bevelled the edges. I then gave them a coat of sanding sealer (with a brush) before grain filling, after that I gave them another coat of sealer and glued on the fretboards after running a file down the frets to get the ends flush with the binding

Anyone that dresses up as a star wars character, gets extra cake.

I'm perhaps not the person to ask. I think if you put studio headphones on, sit in an anechoic chamber and A/B something you'll nearly always find a fault. I'm a firm believer that if I don't notice something in it's natural environment then it doesn't matter. So on that basis I'd say it has an infinitely low noise floor and is the quietest and best pedal on tthe planet... 😁 Ooooh, I forgot about it, but I loved my Xotic RC Boost. That one really was quiet and unobtrusive.

Yes, but it's a pain in the *ss to move, you know these stones are so heavy.

Respectfully disagree with most of those examples. Listen to Mr Big on Free Live and come back to me...

Hiho I was rushed to cardiac unit .Confirmed that I had a heart attack. I,m not stressed at all about gigging just wondering if I should scale it back a bit or just get back to normal.I think I,ll just get back to normal and keep gigging.Thanks to all for advice and thoughts-keep on keepin on

Wasn’t that what he wanted? I seem to remember him using very narrow gauge 030 - 090 Rotosound strings then, the same as Mark King. His worst sound for me was the later jazz bass. I was listening to a live album a few days ago, the bass sound got annoying after a while.

Well done on the move to Germany chap - hope it works out well. Hoping we can manage to keep the bass bash going - the couple ive managed to get along too were great, and been a great chance to meet other BCers.

Often more is more. IMO there are too many songs where the bassists, drummers or guitarists underplay. Not that I'm a fan but Bad Company, Free, ZZ Top , AC/DC, U2 , Oasis and Coldplay all might've been better bands (IMO) with a bit of overplaying, especially the rhythm sections.

Hi Folks, I think the phrase is 'better late than never', so without further ado, here are the programme details for the 12th Basschat South East Bass Bash!! Date: Saturday 29th September 2018 Time: 10am - 5pm Entry: £10 (for the 12 year running - how's that fo value for money!) Venue: Jubilee High School, Surrey, School Lane, Addlestone, Surrey KT15 1TE Venue Link: Venue website Map link: Streetmap link Workshops/Guest Speakers/Guests etc: Please note that times may (and probably will) vary on the day... 12.30pm: Blind Bass Tone Test (led by Paul, a.k.k Nancy Johnson + glamorous assistants) 2pm - 3pm: Richard Searle, Workshop With a great deal of tenacity & perseverance on the part of Gary, a.k.a. cetera, I'm really pleased to say that Richard Searle (bassist for Corduroy) has stepped up and will give a 45 minute talk on his career, gear choices, life on the road, and - if we ask him nicely - may be kind enough to demonstrate a few tunes.... Here's a link to some more info about Richard: Richard Searle Wiki 3.30pm - 4pm: A very brief 'Test of the Heft' workshop - can we really tell or feel the difference between valve amps & Class D amps!(led by Silverfoxnik /chimike & anyone else who's interested...) - Other important info: Room layout will be something along the lines of the last couple of years with the large Hall area as the space where you can all set up & compare (loudly) your own gear, the Theatre for Workshops, the Jam Room (as per usual led by the mighty Paul on drums) .... And in the Foyer will be the reception desk, Luthier Ian Robinson will be providing set ups (for a small fee of course), Refreshments, the Gear for Sale section and the Raffle Prizes table Spaces: The Quiet Room and the Theatre for Workshops The Jamming Room for jamming with drummers (and other strange non-bass playing people) The Main Hall (where you can set up your gear and make some low frequency vibrations) The Foyer - Refreshments, Luthier Ian Robinson will be on hand to do your set ups, Gear For Sale table & The Raffle About Costs....Every year, it costs about £185 for the hire of the venue plus an amount for some public liability insurance cover therefore to cover those basic costs, we need to charge £10 per head entrance fee to one and all. As stated above, it's been £10 since the event started back in 2007, so it really is fantastic value for money! Charities: We will donate all profits from the day to a worthy cause or two, probably in exactly the same way we did last year. Refreshments will be available on the day for a small charge of course which will help increase the profits and keep everyone happy! Last year, as ever, Hamster & Mrs Hamster (a.k.a. Sarah) did all the work on that and have offered to do so again, so many thanks in advance to them! How you can Help/Get Involved What would be really helpful from everyone who's interested in participating on the day is: 1. Donations of raffle prizes[/font][/color] 2. Volunteers to help out on the day Thanks to all those who've already said they're attending - it's much appreciated and we look forward to seeing as many more of you who want to come along on the day! The South East Bass Bash Team

ACG all day every day...

1. jebroad 2. Len_Derby 3. Jabba_the_gut 4. Spondonbassed - Hohner B2A Good catch there Jamie! Thanks for taking it on. Si600 has established the MBB making it a pleasing event to attend and it's well worth keeping up.

Nowt wrong with a pointy headstock in 2018!

Forgot to post the result of the new red Mk2. And it has joined its siblings in the stable.

Dyed in the wool ACG fanboy here. You can get a RetroB J type bass for well under your budget. The pic is one I commissioned that is getting close to being finished now. https://www.acguitars.co.uk/retrob-basses/

Here is my short alphabetical and chronological list after a bit more than 30 years of playing and collecting. Some are still there, most of them have been sold. Enjoy : 1. Alpher Mako Elite Custom Fretless 5, 2014, natural maple burl. 2. Ampeg Dan Armstrong, 1971, fretless, see-thru. 3. Aria Diamond 1420 (Höfner 500/1 copy),1960’s, sunburst. 4. Aria SB 1000, 1980’s, defretted, natural light oak. 5. Aries Bajadera 6, 2002, natural bajadera . 6. Aries Senes VS 6 Signature, 2009, natural translucent redwood. 7. Aries Senes VS 6 Tomek, 2006, natural ebony. 8. Bass Collection SB 401, 1990’s, black. 9. Bassline Buster CW Fretless 6, 2000’s, natural maple. 10. Belle Isle 5, 1990’s, white. 11. Berne Harpobasse, 2000’s, violin burst. 12. Blade B4, 1991-92, translucent red. 13. Byl 6, 2005, natural walnut. 14. Capelli DM Signature Pro 6, 2001, natural sophora. 15. Carvin LB70F 2TEK, fretless, 2000’s, blueburst. 16. Celinder Custom 6 Michael Andersen, 1994, natural flamed maple. 17. Cimar (Jazz Bass copy with Cimar pickups), 1970’s, sunburst. 18. Cort A6, 1990’s, natural maple. 19. Cort B4FL, fretless, 2000’s, natural mahogany. 20. Cort B4FL, fretless, 2000’s, natural walnut. 21. Cort C4, 1990’s, natural walnut. 22. Cort Curbow 5, 1990’s, blue. 23. Daion (Jazz Bass copy with Daion pickups), 1970’s, sunburst. 24. Daion Power Series, 1980’s, neck-through, natural. 25. De Gier Elevation 6, 2004, natural burl maple. 26. De Gier Origin Deluxe Fretless 6, 2009, natural buckeye burl maple. 27. DeArmond Ashbory Bass, 1999, red. 28. DeArmond Ashbory Bass, 2001, blue. 29. Eko Violin Bass, 1970’s, sunburst. 30. El Maya (Precision Bass copy with Maya pickup), 1970’s, red burst (my first bass). 31. Epiphone EBM 5, 1990’s, natural. 32. Ergo 6, 2009, natural. 33. Esh Impact 6, 2005, natural mahogany. 34. Esh Stinger 4, 1990’s, Musik Messe Edition, translucent black. 35. Esh Various 5, Neuser NFS bridges, 1990’s, translucent green. 36. F-Bass AC6, fretless, 2006, antique violin. 37. F-Bass BN4, 1986, natural ash. 38. Fender Jazz Bass, 1968, sunburst. 39. Fender Jazz Bass, 1970, defretted, black. 40. Fender Jazz Bass, 1971, sunburst. 41. Fender Jazz Bass, 1972, sunburst. 42. Fender Jazz Bass, 1976, natural. 43. Fender Jazz Bass, 2001, sunburst. 44. Fender Precision Bass American Vintage ’57, 2010, white blonde. 45. Fender Precision Bass, 1964, fiesta red. 46. Fender Precision Bass, 1964, natural (sanded). 47. Fender Precision Bass, 1964, with Jazz Bass pickup added, olympic white. 48. Fender Precision Bass, 1966, sunburst à la Rory Gallagher. 49. Fender Precision Bass, 1970, fretless, sunburst. 50. Fender Precision Bass, 1972, brush white. 51. Fender Precision Bass, 1975, fretless maple board, sunburst. 52. Fender Precision Bass, 1978, antigua. 53. Fender Precision Bass, 1978, sunburst. 54. Fernandes ABM 70, 1990’s, vintage natural. 55. G&L SB2, 1990’s, sunburst. 56. Gibson EB 3, 1970’s, cherry. 57. Gibson Grabber G1, 1980’s, natural. 58. Godin A4, fretless, 1990’s, natural. 59. Godin Z1, fretless, 1980’s, black. 60. Godin Z1, fretless, 1980’s, white. 61. Guild SB 605 Pilot, 1986-88, black. 62. Höfner 185, 1962-64, red. 63. Höfner 500/1, 1967, sunburst. 64. Höfner 500/1, 1968, sunburst. 65. Hohner B Bass 5, 1990’s, natural. 66. Hohner B2A FL, fretless, 1980’s, black. 67. Hohner B2A, 1980’s, black. 68. Hohner Professional B Bass VI, 1990’s, amber maple. 69. Hohner The Jack Bass Custom V, 1989, black. 70. Ibanez 2030 (Jazz Bass copy with Ibanez pickups), 1970-73, sunburst. 71. Ibanez Affirma A 204 F, 1992, fretless, natural kralo walnut. 72. Ibanez Affirma A 305, 1992, natural flamed maple. 73. Ibanez ATK 305, 1990’s, black. 74. Ibanez EDA 900, 2000’s, blue. 75. Ibanez MC 924, 1980’s, yellow. 76. Ibanez Roadster RS 800, 1980’s, yellow. 77. Ibanez Soundgear SR 700 WH, 1992, white. 78. Ibanez SR400, defretted, 1990’s, white. 79. James Trussart Custom 6, fretless, 1988, Parisian period, amber burst. 80. Jerzy Drozd Obsession Basic 7, 2007, natural etimoe. 81. JP Basses Plume 5, 2006, natural burl redwood. 82. Ken Lawrence Associate 5, 1994, natural koa. 83. Kramer 650 B, 1978, natural. 84. Kramer DMZ 4000, 1979, vibrato, natural. 85. Kramer The Duke, 1980’s, black. 86. Langowski AJ6, 2016, natural flamed maple. 87. Lasido Z1, 1980’s, grey. 88. Le Fay Herr Schwarz 5, 2000’s, black. 89. Leduc BD3, 1982, translucent red. 90. Leduc HMP 528 SF, fretless, 1999, honey yellow flamed maple. 91. Leduc Lady B 4, fretless, 1980’s, translucent red. 92. Leduc Maurad 4, 200’s, natural. 93. Leduc Maurad 4, 2000’s, blue. 94. Leduc MNV 6 SF, fretless, 1990, yellow pearl. 95. Leduc MNV 6, Vigier Nautilus preamp, 1989, translucent green. 96. Leduc Moaï U-Contrebasse 6, 2013, natural mahogany. 97. Leduc Modern 5, 1989, yellow pearl (stolen). 98. Leduc MP 624, 2003, natural ash. 99. Leduc MP 628 SF, fretless, 1990, active, natural bubinga. 100. Leduc MP 628 SF, fretless, 1990, passive, natural bubinga. 101. Leduc MP 628 SF, fretless, 1999, active, honey yellow flamed maple. 102. Leduc MP 631 SF, fretless, 1990, passive, natural bubinga. 103. Leduc PAD 6, 1998, natural padauk. 104. Leduc PAD Rock 5, 1998, natural padauk. 105. Leduc UMM-6, 1999, honey yellow. 106. Leduc UMM-6, 2006, high gloss honey yellow. 107. Lightwave Saber 4, 2000’s, flamed maple. 108. LTD B-206SM NS, 2016, natural. 109. MTD 635-24 Fretless, 2002, natural red. 110. Music Man Sabre Bass, 1986, black. 111. Music Man Stingray 5, 1989, translucent red. 112. Music Man SUB Bass 5, 2003-06, cinnamon. 113. Neuser Cloudburst 5, 1990’s, red burst. 114. Neuser Courage 4, 2000’s, natural. 115. Neuser Courage 6, 1986, honeyburst flamed maple. 116. Nexus Gom Jabbar Magellan Fretless 6, 2000’s, natural spalted maple. 117. Noguera Expression Plus Deluxe 6, 2000, natural birdseye maple. 118. NS Design EU 5, 2000’s, natural flamed maple. 119. Overwater Progress 4, 1986, natural zebrano. 120. Pedulla Thunderbolt 5, 1990’s, red. 121. Rickenbacker 4003, 1980’s, black. 122. Roland G77, 1985, white. 123. Rybski 4, Rybski pickups, 1990’s, natural. 124. Sandberg Thinline Custom Fretless 6, 1990’s, sunburst. 125. Sanox Logabass 4, 1980’s, red. 126. SD Curlee 4, 1970’s, natural. 127. Sei Flambloyant 6, 2006, natural burl thuya. 128. Shuker Series One 6, 2001, natural. 129. Skjold Custom Series Whaleback 6, 2005, natural birdseye maple. 130. Spector NS 4 CR, 1990’s, black. 131. Squier Vintage Modified Jazz Bass 70, 2010’s, natural. 132. Squier Vintage Modified Jazz Bass Fretless, 2006, sunburst. 133. Stanford B61CM5FL OP, fretless, 2000’s, natural cedar. 134. Status 2000 Graphite, 1980's, black. 135. Status Electro 4 Fretless, 2010, natural rosewood. 136. Status Electro 6 II Jonas Hellborg, 2001, natural rosewood. 137. Status Energy Matrix 4, 1990's, natural. 138. Status KingBass Black Beauty, 2009, black. 139. Steinberger XL2, 1980's, black. 140. Stradi Symphony Bass 5 Fretless, 2015, natural 2110 years old swamp oak. 141. Takamine B10, 1990’s, antique stain. 142. Tobias Growler GR 4, 1990's, natural. 143. Trace Elliot T-Bass 4, 1990's, sunburst. 144. Tune Bass Maniac TBC 4, 1980's, black. 145. Veillette-Citron 4 short scale, 1980's, natural. 146. Vigier Arpège IV, fretless, Delta metal fretboard, 1980’s, black. 147. Vigier Excess 4, 2000’s, black. 148. Vigier Excess 4, fretless, Delta metal fretboard, 2000’s, antique violin. 149. Vigier Passion Custom III, 1999, red. 150. Wal MK 1 Fretless 4, 1980’s, natural shedua. 151. Warrior DM7 Signature Custom, 1990's, natural flamed maple. 152. Warwick Streamer Stage II Fretless, Bartolini, 1990's, chameleon purple. 153. Warwick Streamer Stage II, EMG, 1990's, natural maple. 154. Warwick Thumb Bass NT 4 SE, 2008, natural burl bubinga. 155. Warwick Thumb Bass NT 6, 2006, natural burl bubinga. 156. Washburn Status 1000 S70, 1980's, natural. 157. Westone The Rail, 1985, red. 158. Wood & Tronics Zoid 5, 2007, natural quilted maple. 159. Yamaha BB N4, 1990's, natural. 160. Yamaha BB5000A Wide Neck, 1990’s, purple pearl. 161. Yamaha John Patitucci II, 2008, amber quilted maple. 162. Yamaha Nathan East Signature, first generation, 1990’s, amber burst. 163. Yamaha TRB6P, defretted, Crel-Noguera, 1980’s, natural. 164. Zeta Crossover 4, 1990’s, natural. 165. Zeta Crossover 5, 1990’s, black. 166. Zeta Prism, 1980’s, green. 🤘 💪 🖖

Well, here's a turn up for the books. The tonal qualities have changed. I plugged this in to a practice amp to make sure I'd reconnected the electrics properly. All good however, I've just plugged into my main gigging rig, same strings, hadn't touched the amps EQ since last use (my normal settings and in the same room) and it's like the bass has come alive. It sounded great before but now, with all EQ set mid point, I now have this fabulous Marcus Miller piano like tone. Surely the finish can't make a difference.... can it? I'm loving this even more now but would welcome any thoughts on this.

Same here, once relief and action are set, they stay set unless I change to a different type of string.

Hmm just watched the vid and although I agree with the premise I gotta say I preferred it when they overplayed as it shut the singer up !

When I was invited (by the singer) to join my Tex/Mex band the BL (call him Rik) was not keen initially because I already played in another band. After a couple of months I discovered that Rik also played guitar in a Country band. And that his Country band was looking for a bass player. So I put myself forward for the slot. Rik liked the idea of me playing bass in the Country band, but advised me not to mention the Tex/Mex band to the BL of the Country band because "he doesn't like it when people play in more than one band". You couldn't make it up ...

Ive built a few kits from various places. Normally easy and straight forward. It does help if you can set up a instrument properly. On some there were high frets, nuts cut incorrectly normally high which is better than too low. Easy for me to sort out but might cause issues for others. There were sometimes other minor issues. With cheaper kits sometimes you can find a part missing or screw holes not as they should be. If you want a cheap one but with good after sales Thomann have them and when I got a body that screw holes were not fully aligned for the bridge making the bridge off by a few degrees (nothing really) they kindly sent me a new body. There pretty good at sorting things quickly if your polite. Of course any cheap kit don't expect to much. But you should end up with a actual playable instrument that you can upgrade. Tuners are normally not great but serviceable and same with the bridge, cheapo pick guards, cheap control knobs. Electrics are simple and normally reliable but using the cheapest pots etc so probably won't stand up to a world tour lol. Lack of control cavity shielding so extra shielding recommended shielding paint is imo easier to apply than shielding tape, kitchen foil. Pickups are again cheap and cheerful some have slight microphonics but are a easy and simple first upgrade. Some are part finished so you can paint over them without much prep work. I recommend maybe just oiling the body and neck for a first time build tru oil etc keeping it simple. And of course you need to cut the headstock to shape, for simplicity you could just cut and round the corners if you don't fancy really getting into shaping it. I know I've said everything is cheap but it's actually surprising how decent they can sound, p basses and simpler designs turn out better than more ambitious ones. Unless you are paying more. Oh to add some p bass kits come with cricket bat necks, jazz ones are a better bet if your prefer a thinner neck.

I`m still waiting for mine to clear customs, it took less time to get from Australia to the UK than it`s taking to get from the South to the North East!

Yup. The difference is knowing when not to be busy.

A sad occasion this weekend, as the trial WB-100 was collected by its first proper owner (another BC'er, I'm happy to say). Funds are tight for me at the mo, otherwise I would have bought it seconds after gigging it for the first time. I hope to correct that soon, though - until then, back to the also-marvellous R-400.

If anyone would like to submit their basses to the 12.30pm Blind Lemon Rooster Tone Test, could you just shoot me a PM before the 29th as I need to prepare sheets for people to put Xs in boxes. Please bring a guitar stand. Ideally, I'd like to limit this to ten or twelve basses, otherwise it might drag; I don't feel we need to duplicate basses...for instance, there's no need to blind test five Fender Jazz basses, so one will do, but it would be fun to have a Sire P and J as well. Let me know what you have and what you're happy for <insert basschat member's name here> to dent play on the day. In my head I figure it would be useful to play a four short pieces on each bass with everything full on/open, fingers/pick, clean and then with a bit of dirt (GED2112). Maybe two or three minutes per bass tops. Vote and move along. We can mark each others papers when we're done. Paul/NJ

I'm a Yorkshireman. £65 is expensive for a bass! 😂

The latest from Bernie - The GB Classic. It plays like a dream and has an incredible tone (as you'd expect from Bernie). Love it!