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I think I may have been a bit hasty in deciding to spray it so I've sanded it down and given it a couple of coats of tinted Danish oil, it will probably end up a bit darker by the time I've finished?? 😀

Saturday featured a planned trip to BassDirect following the tedious and late completion of my house sale. Many months of chasing and hassle had to have some type of reward I decided. I set myself a budget and took my good lady along who was oddly keen to help me in my latest GAS relapse (it'd been a whole 4 months since getting my Dingwall NG3) There were a couple of basses i'd eyed up in the 2nd hand section to try out, but upon entry a gleaming apparition appeared before me. A glorious sunburst MM Jazz, beckoning me. It had just come in on p/x and was about to be posted online. I think not. I'd wanted a Miller since I first started playing in 2004, and this was not to be a missed opportunity, having missed out on not one, but three MM's in that time. Plugged in, it did all the right things. I knew it was meant to be. I did however try out a few others just to say I compared it (Dingwall ABZ4, Combustion 4) but it was a one horse race.

Finished! These pictures don’t really show the full effect, but a couple of coats of paint make the grill look so much better! Not bad for a £90 cab?!

... or tune down a semi-tone and use a first-fret capo for the stuff in standard tuning..? Lazy, yes, but it's an option.

There’s quite a bit of confusion and mix up in this thread. Let’s separate out some points for clarity. TRS & XLR - different connectors, same job. TRS stands for tip/ring/shield and means there are two signal wires and one ground - this allows for a balanced connection which (keeping it simple) allows much longer cable runs that can have any noise picked up along the way cancelled out at the other end. XLR is the same - two signal, one ground and thus balanced. A standard bass cable is one signal one ground and thus unbalanced - long cable runs will pick up noise. Now, the key bit is the impedance & voltage of the signal you are trying to send. From lowest to highest - mic, instrument, line. Depending on the equipment you are plugging in to, you are trying to find an input that will deal with your signal properly. A mic input on a mixer will have a mic Preamp that deals with its low output levels - a line input may not work well, but some pro stuff will be able to. The desk may have a separate line input, either xlr or TRS. A DI box that a soundman asks you to plug in to will convert instrument level to mic level and will have a balanced output for a long cable length. The key bit here is that the Stomp has a balanced output for long cable runs - so long as the soundman knows its line level then they can do what they need to do at the other end and not worry about cable run length. If you present it as TRS or XLR it’s actally sort of irrelevant.

......and.......... relax 🤭 Good to see normal service has been resumed 😂 We'll pretend that blue period never happened 😇

If you think that's dodgy, I suggest you have a look at TC Electronic!

And just for clarity - DI (direct injection/interface) comes from replacing a microphone in the signal chain (mic’ing an amp or instrument) with a direct connection

I'm quite surprised by the amount of vitriol directed at Yoko Ono and this version of Imagine It has a kind of delicate frailty, like it's just holding together. It's not technically great of course, but that's the whole point isn't it? - Human frailty, old age (she's 85), a world going down the tubes where the sentiment in the song seems further away than ever, a message to her dead husband on his birthday, the pop melody of a multi million selling song reduced to bare bones, etc. I thought it was quite strange and touching. I must be getting old

I guess for the "pub band" situation, the key is make the bass solo part of the entertainment. My Generation is a great example of how to do it, where the bass solos are snappy, two-bar breaks which work as a call-and-response between the bass and the rest of the band. If you changed that out for a full 32-bar break for the bass player to go through his/her whole book of chops, then you'd lose that pace and the queue for the bar would probably grow quite quickly. (So at least the landlord would be happy...)

1) if you have really small hands or arms, such as you are a child or have a medical issue, there is less of a stretch. 2) Getting strings is hard, getting a decent deep bass sound is much harder (if not impossible), intonation is harder. 3) No. Start out with the normal and then if you have a problem, seek out something to fix the issue

I just figured it out! These are bass players, aren't they? Examples of various types of Bass Face! As a public service, perhaps we can codify and classify the Six Main Bass Faces prevalent in todays music scene. Then we can just look into the guitarists' beady little eyes and show them one of these cards from the pack rather than get into a long winded discussion about how bass should be played. We need a 52 card deck, but these six are a great start. 1. Mad Max! "Is this guitard actually telling me how to play?" 2. Pained and P*ssed Peter! "Well, that guitard needed to be replaced, anyway, see?" 3. Happy D*ck! "The guitard's fiancé was a little late for work this morning." 4. Doubting Tommy! "So, you call yourself a guitar playah...really?" 5. Vincent the Visionary! "With a 10 string bass, who needs guitards, anyway?" 6. Freddy the Fixer! "Yeah... we had a guitarist... but... it didn't end well..." If you ain't got a Bass Face, you ain't really playing that bass...

Bias Alert! I feel that I should clarify this. The context of my remarks is where a band with a rhythm section is performing music for a dancing audience at a wedding, bar, pub... Where patrons or guests are having a good time moving to music of various tempo and the expectation of the patrons or venue operators is to keep the floor moving. This scenario is the norm for most BP's. A concert performance is a different animal. At a concert, the audience is accepting of long soloing sections and even craving many solos. As a BP of the former, I cringe at the thought of bass soloing as it destroys the momentum you've worked so hard to achieve. Still, it seems condescending to me, "Oh, it's only fair to let the bass have a solo, too!" As patrons find an opportunity to order, make a phone call or use the facility. Even in jazz, when it's "time" for the BP to take a solo, they seem long winded and unrelated to the music that has just passed. But then, I'm a dance musician. I play danceable jazz. Even in Dixieland, BL's have indicated that I could solo, but I never care to. Maybe four bars at most, a little string slapping, and I'm back into walking. In fact, I feel that as a BP, I'm always soloing within the mix, anyway. That's why I play bass. I realise there are 10 string BP's with FX pedal boards of 36 square feet who would like to kill me, now. And I probably only need two strings to do what I do to keep a floor hopping. In fact, I sometimes view the bass as just a glorified conga drum... But I feel there's a place for both BP types. Perhaps, not the same place.

Applying the ebony demarcation veneer. You will hardly see it, but it makes such a difference when you look at the actual join. Because katalox is an oily wood, I'm taking no chances and am using epoxy rather than wood glue - which doesn't work so well on oily woods. When this is done, I'll be seeing how much weight I can take out of the underside of the top before gluing it on and starting to fit the neck joint...

If the singer is struggling with some tunes, it might be worth running them all down a semitone to see if that gives their voice an easier time over the duration of the gig.

Clearly it's all about personal preference, but a rosewood board would give it nice contrast... And yup, I reckon recessed knobs would look good

Right move! The thing is, this has the vibe of an Aria - ref the wood combinations and style - and the shape of an ultra-modern. Honestly - I think it looks great. The 'piece de resistance' are the two stripes at the back. The whole thing is a lovely looking combination - quite unique.

Why am I even asking anyone else about GAS related matters when I am constantly floating in a cloud of it?

Friday night we played a festival in north wales. The organiser told us there'd be a drum kit there, mine is a bit of a PITA to move at the moment, and it was called a festival with more bands on after us so I thought it was a safe bet. When we got there we realised that this festival was just a Friday night in the clubhouse/pub at a campsite. Every other act was a rock tribute, and we're playing original folk-punk. So I was starting to feel a bit un-easy when the organiser walked up and said "I've been told you want some drums". "I was told there was a kit I could use" I said. He had me follow him to his car to collect the smallest bass drum I've ever seen. Maybe 18 x 14" at the most. I'm a fairly big guy and usually play a big 24" kick. Anyway, no matter, I loaded it in and then saw the skin on the bass drum. Some sort of ancient brittle glossy white plastic. I was convinced I'd break it on the first hit. Next I tap the toms which are horribly out of tune, but they don't have standard lugs so my drum key won't work. Obviously I just have to make do but the set was an hour and a half of gently tapping the bass drum while asking the sound guy to turn up my monitor Apparently we were really good and the rest of the band had a great night. I've learned my lesson. I'll never go to a gig without my kit again Saturday night was local at The Rigger and I got to use my own kit. Matt on the sound is always awesome and it just puts you at ease. We played well, went down well, and apparently they raised over £700 for charity which is a lot more than I was expecting considering the turnout. Brilliant! I don't know if this will work but this is a photo of me standing behind the tiny kit, our singer put it on Instagram:

Why would anyone pay £2k or over for a bass where they couldn’t even be bothered to glue the neck on properly and had to use woodscrews to hold it on instead?

I can't comment on the D800/D800+ as I haven't tried one, however I currently own a MPulse 600 and previously owned a Walkabout. IMO, though there is a family resemblance, with similar "faces" and controls, tonally they're not that similar. Nobody doubts the versatility of the Mesa range - lots available which means there is something for most needs and I'm sure that with patience and perseverance you going to get pretty close to what you want from either...The MPulse gives you old school valves versus the Walkabout's more modern solid state tonal package. They are not the same beast. Not currently gigging so I rarely move my gear...I much prefer the MPulse over the Walkabout - if I was hauling it about weekly I may have a different opinion but personally, I found it to be much warmer and phatter sounding - easier to access those more soulful and funky tones - whereas the Walkabout, which I wasn't overly impressed with TBH, is probably more suited to a rockier, more driven tonal palette. Having said that, I do know it's very popular here - many say one of the best amps they've played. If you like a good solid rock amp it probably is...Horses for courses I suppose. I also have the Powerhouse 1x15 cab. They may not be light by modern standards - i.e. compared to BF/Vanderkleys and the like, but they are not in the same weight category as your vintage Marshall/ Ampeg classics. I think Mesa, being aware of the weight factor fitted them with castors as standard....a bit of a Godsend...They must know about my back.. Overall, I'm pretty impressed with the Powerhouse 1x15 however it recently inexplicably developed an "overdriven/distorted" sound for no apparent reason or cause. I suspect a simple wiring problem which is undiagnosable by your typical numpty (me). I bet an "expert" at shaking wires will be able to resolve the "problem" in seconds. Neither the MPulse nor the Walkabout are lightweights by today's standards. If you're not unhappy with the additional weight (over a Class D head) I'm pretty sure that you'll be happy with either.

I found out this last week that I'd passed my MA in composition. I must obviously be mad, I'm starting my PhD this coming week.

I’ve always refuted that idea. I mean yeah what you actually play will sound like you, but the bass itself will sound different. Said bass might sound different again depending on who plays it. Example, if I play a P bass then a Zon Legacy, you’ll be able to hear a difference. Now if someone else plays them they will still be massively easy to tell apart but they might sound slightly different to when I played them due to technique. Which definitely won’t be a patch in mine. Lol. As far as I know, I’ve always loved graphite basses for their consistency and feel. I’ve also always seen Smith basses as having the ‘ultimate’ slap sound. It’s taken me about 10 years to get one.

Here is the latest incarnation of my big bass rig. BB2 and Dubster 2, Alembic Preamps and Crown XLS1502 in bridge mode. Had it out on a reggae gig last weekend. 🙂

Melanie C's ole bass player, Kim Khahn.. Awesome 'in the pocket' player and sings awesome harmonies at the same time.. GUH! Makes you sick ha ha!! Err, Julz Ruzicka too.. just for playin' with style.. I think she is playing with ex-SikTh Mikey's 'new project'. Used to play with Million Dead, I understand.

Ah if it’s a left and right separate TRS then yes, both will be balanced

Crickey! Another 6 months and this thread would have been dead for ten years!

I frequently get platitudes greater than my ability, which is good but not exceptional, in a covers band. I put this down to playing for the way the rest of the band members play the song, being the glue between the guitarist and drummer. Understanding the accents in a song (when to play quietly and loudly and filling the percussion lost when not having a second guitar). A little bit of pantomime by throwing a shape at any big drops and rocking out when I am enjoying it. I am painfully aware I am still like a statue when we play any deftones numbers as I just don't like them but the rest of the band do, so I tolerate it. I saw Wayward Sons earlier this year and the bass player didn't stop moving and it inspired me to generally be doing something interesting rather than just looking bored focused .

Normal in salford...

It looks to me like you haven't got rid of all of the paint residue - makes is look a little bit dirty and uneven. Some of that might be the oil soaking in differentially, but just look at the original - it's quite an even and clean grain. Just a bit more sanding at 240 to really get past the grey finish is more what I was thinking...

Flightcase warehouse should be able to make something to suit, they do a fair amount of custom work. https://www.flightcasewarehouse.co.uk/ Matt

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You can have valve amps that are Class A, Class B. Class AB and Class D (they can also be Class C but that would be a radio transmitter). As for Ashdown, never had a problem with either their amps or the company ,and they do make fine amps. ( I did own a Mag 300 15" combo for many years and have used other amps at various times). Any switching device (Valves,Transistors and FETS) can be used for all classes o]power amplifiers but some work better in some classes than others.

Hi If you've followed any of my build diaries you will know that I've been doing quite a bit of experimenting in recent years making basses (and 6-string electrics) lighter - either by design or modification. My last bass build - built for @Len_derby is a full scale 34" and weighs 2.9kg: @Len_derby is probably a better judge, but it sounds pretty much like a Fender Jazz to me! I've also done a number of rebodies. This Cort Curbow, originally very heavy and made of plastic, now in walnut and lighter, still sounds the same as it did: This Fender Rascal of @scrumpymike 's at the bottom, became the Precision Lyte in English walnut at the top and, to my ear (but again, ask @scrumpymike ), sounded the same: So, in terms of actual amplified sound, will it sound the same to most people - yes. But there are some buts. So - for what it's worth, these are some of the personal conclusions I've come to: However nice in all other respects, a bass that is too heavy eventually becomes unplayable What you are proposing sounds to be TOTALLY REVERSIBLE and therefore the risks are low If all else is equal - ie an exact copy, same hardware, strings, electrics - then the amplified sound is very unlikely to be perceptibly different It will, however, feel different. And to some players, that will make then think it is sounding different. And it certainly can make them play differently. But if in doubt, do a blind test on recordings before and after, playing exactly the same thing the same way! Acoustically unplugged, it will sound different The strap button on the RS924 is in the 'goldilocks' zone of 12th/13th fret. It is unlikely that, on the strap, neck dive will be an issue. It might be a bit more when played over the knee. You can always get lightweight tuners (and they make a BIG difference) but they wouldn't be in the 'heart' shape of the 924. My view is, as long as you are careful to make it reversible, then go for it. Let us know how you get on Andy

Not all class D are sterile, or more sterile. D got it’s letter because it was next in the alphabet and Class C had already been coined for non-audio power, it doesn’t mean digital etc.

I agree. I’m considering one for in the music room at home.. as a fixed bit of kit the weight would be immaterial. Er, as long as floor could take it.. 😂

No... I'm down to one bass and it feels great. Now I can concentrate on my playing and not waste a mountain of time looking at, thinking about, and acquiring bass guitars I don't need. I never had a huge collection anyway (about 5 maximum at one point), but even they distracted me from the business of actually playing. Far too much time spent maintaining, upgrading and setting-up multiple basses, deciding which one was best for what purpose, and on and on. Think carefully about which one you want to keep, get rid of the others, make a bit of money and buy what's-'er-name something nice. Traditionally it's thought that a Jazz and a P will do you for 99% of situations, but you don't even need both. Figure out whether you're really a Jazz or a P man, bite the bullet and do the deed. For myself I'm definitely a P man and have been for years, but in the end I kept the Jazz because it's just a little bit more versatile - in my humble opinion. And in blind tests, a surprising number of people (bass players included) have no idea what bass is playing, anyway. At gigs, it really makes little difference *hides in wardrobe* and in the studio, you can make anything sound like anything else, so... *runs away*

The podcast is a great idea, I really enjoyed listening to Trevor chatting about Wal basses.

The best bass I've ever played was this Shuker singlecut 5-string. If I'd had the money, I'd have walked out of his workshop with it. I know SCs are a bit marmite and they're not my first choice shape-wise, but the way it played and ohhhh lordy the sound... A stunning instrument.

Plywood is perfectly fine.

It's the only amp that has ever forced me to make sure I'm properly dressed before trying to take a picture of it!

Right, the Dunlop Flatwounds are on! Thought I’d give the fretboard a bit of a clean between string sets but it didn’t seem to need it. Really loving the added low mid thump the flats are giving me at every pickup setting. And of course they’re nice and easy on the fingers compared to the Roto Steels - not that the Rotos were particularly harsh but you get smooth comfort for free with flats, obviously. The tension isn’t vastly different from the Rotos and they have a decent amount of high end, giving me a nice clank when switching the preamp to active with the treble boosted. Very, very nice. So, at present my bass lineup is: Sandberg VM5 with Dunlop Stainless Steel Flats MTD Super 5 with Dunlop Superbright Nickel Rounds Sanberg Electra VS4 with LaBella 750N Black Nylon Tapes A lovely trifecta of tone machines!

MXR Bass Octave Deluxe for me. Bought it a long time ago (2008-2009 probably) after trying some market competitors. I went for the MXR because it had (and has) a very natural sounding octave, not synthy, it's true-bypass, easy to dial in useable sounds, has blend, and it's been a working horse ever since. Never tried COG or OCTAVBRE, but have since tried Aguilar, EBS and OC-2, etc. and i still prefer to keep my MXR in the pedalboard. It's cheap too