Leaderboard

And it's pretty much finished... @eude is probably going to change the electrics so we opted to just put the old electrics back in. The jack is actually fine, but both pots are shot. I'll order some replacements anyway to fit while the finish is hardening. But, other than the final tweaks on the setup and a final buff up in a few days time, its finished. I've obviously gone heavy on the tru-oil because it's ended up at 8 3/4 lbs rather than the 8 1/2 I was projecting but it sits BEAUTIFULLY on the strap. Even my slippy cheap nylon strap - it rests level and will sit and stay at almost any angle you care to play. It actually feels lighter on the strap than it actually is, presumably for the same reason. The fretboard is just polished - progressive from around 2000 grit paper to 12000 micro-web. The figuring shows up great in real life. I'll probably take a few more fancier shots when the lighting is right, but here it is in the meantime:

Mate of mine is into gypsy jazz (he's a guitarist, obvs). He went over to the big festival they have every year in Holland and joined in with some of the workshops. He realises during said workshops he is sitting in with some of the very best gypsy jazz musicians in the world - 1 being Django Reinhardt's grandson! Later he was due to be on stage for a group performance - playing rhythm guitar (which in gypsy jazz is no calkwalk), but ends up sitting at the front! Ok he thinks, I'll keep my head down and just concentrate on my rhythm work. During the performance all the top guys (remember, these are the best in the world) take turns to solo. He is sat next to Django's grandson who, after finishing ripping out a blinding solo (and if you now anything about gypsy jazz you'll know that everything is played at at least 90 mph) he turns to my mate Andy, (for that is his name) and indicates it's his turn...to take a solo! My mate did his best and 'got through it' as he said. The next day, he's sitting playing in another workshop when the aforementioned Django's grandson turns up with some of the other top performers, joins in with the music and everyone takes a turn soloing, my mate included, not quite so nervous this time and felt he made a better account of himself compared to the previous evenings performance. When the workshop finishes my mate then recounts how nervous he was at the previous evenings show and how he felt like an imposter. The reply of Django's grandson and all the other top players was to tell him that it matters not what you play, but the fact that you do and that everyone has to start somewhere. They were so encouraging and supporting he's booked to go again this year.

That's a bit of a sweeping statement. We have band practice once a week because we are not pro musicians. We have jobs and families, and have band practice so we can be tighter than a very tight thing and give the audience what they paid for, a decent nights entertainment. Being able to busk your way through a set is not the only measure of a musician. Being prepared to the best of your ability, however limited that ability may be, is the very least I expect from any band mate. I have busked through a gig, as a drummer, and I did not enjoy it as I spent all my time watching the other musicians like a hawk and trying to keep up. So much so the dynamics of the gig completely passed me by.

So, just to confirm - are Bryan Adams covers back on the table? Too soon?? 😖

My observation - from teaching and talking to an awful lot of bassists - is that the role that magazines played in terms of filling in historical knowledge isn't one that people are using the web for... It's weird, because YouTube is the greatest learning resource that humanity has ever come up with - whether you want to fix the screen on your phone, or work out what Allan Holdsworth was doing with symmetrical scales, there are SO many amazing lessons on there, but because the focus is on 'info that will benefit me right now' rather than the contained, delineated authoritative experience of reading an episodic magazine, it seems that relatively few people are spending time online digging into the history of the instrument. Reading BP cover to cover in the 90s (and reading every bass-related thing in Guitarist in the late 80s) was as much my school as the two years I did at music college. I have things I use every day in my playing that I learned from Rich Appleman's theory column in the 90s. I know about players because instead of, as has been indicated here, worrying that I didn't know who the players were, I read more voraciously when they were musicians I hadn't heard of than when it was ones I knew... So magazines were a way of accumulating knowledge... That was, in many ways, a problem, in that it meant that the writers and editors were the gatekeepers of knowledge, and as they were almost exclusively dudes (in the case of BP editors, all of them ever were men), women got WAY WAY worse coverage, and were often written about in a really shitty way. Likewise, the coverage was overwhelmingly US and Europe-centric. YouTube has its filters which provide similar levels of myopia if you use their algorithms to decide what to watch, but the capacity for learning is huge (I recently went on a Soca binge, and discovered a ton of amazing music and bass playing). ...So, I'm still a fan of magazines - the economics of running a mag is way more perilous than a website, you can get away with more auto-generated content on a website and have zero print costs (hosting doesn't even come close in terms of monthly outgoing per reader), even though mags have a cover price - there's obviously no granularity to the reader spend. You don't get people who give you 5p a month for reading a page or two and some who pay the full price. It's all or nothing... I greatly appreciate what No Treble are doing - particularly their attempts to fill that knowledge gap I suggested above - Ryan Madora's column on players to know is a really useful one, and the video tuition stuff is great - but the factors that drive virality, and therefor ad money, are far more damaging to so much web video content than perceived bias in reviews (there's SO much to say about reviewing, but my one observation would be that there is, objectively VERY little 'bad' gear out there now, above the rebadged absurdly cheap garbage on eBay from no-name manufacturers - the big players can't afford to make bad gear, and CNC means that consistency across instruments is lightyears beyond where it was 20 years ago when I was reviewing stuff for Bassist - I was regularly sent really bogus stuff, gave things mediocre reviews, and even refused to write about some stuff... It was way more useful to fill the pages with reviews of good stuff that I was to write a hit piece on some crappy gear. Ignore it, and it'll go away - at that point, magazines were the lifeblood of companies' ad strategy, so a bad review was actually more coverage than their rubbish gear deserved... But that's a whole other discussion) Anyway, decent journalism is expensive, so expensive that it makes a lot of magazines impossible to fund, and no commercial publisher is going to run a mag at a loss in order to meet readers' desires. The economics are a total mess right now. I'm really glad that we still have any print mags for bass at all, and I hope the people involved find a way to keep them going - my rate for writing in a UK bass mag is lower now than it was 20 years ago. They've cut everything back as far as it'll go, so we'll see if that's enough. I don't know the specifics of what was happening at BP, but I do know they ditched all their offices a while back and went to a remote working model to try and cut costs. I guess it wasn't enough.

Been after an 8x10 for a while to complete the SVT rig. Went today to pick up one I got on eBay. Sounds good, except I can't really crank it at home right now to gig volume to really hear what it sounds like in anger. Pretty angry, I'd imagine. After hearing horror stories about carting them about, I have to say it's actually easier (provided you've got wide enough doors etc) to move than a couple of 4x10s, just because you wheel it about like a trolley. The head is more of a pain in the backside tbh Anyway, i'm delighted & wanted to share in the delight with you

I think its a mixture of poor advertising on here, as in, vague descriptions, shoddy photo's etc, plus competition from Facebook, eBay and a quiet market I advertised a mint Gibson Thunderbird on here - no takers, not even an enquiry. Listed it on eBay at a higher price and sold it within 3 days. Just lucky that a guy who wanted the exact model I had (a 2015 model with the Babicz bridge) was looking at the time I posted it. He pressed the BIN button and off we went. Out of interest after the sale I asked him if he was on BC and he said he'd never heard of it! So in summary Not all bass players use this forum (shock horror!) eBay, Facebook and thefretboard - a guitar forum which also sells basses and where I bought my T-Bird from - are competing places to buy/sell (and that's without mentioning Gumtree) Many of the owners of collections who advertise on here are 'thinning the herd' which naturally reduces the pool of buyers Selling on commission through specialist shops - Bass Direct sold a Sandberg of mine for a very good price to me, which then appeared on eBay for about 6 months and is now back on Bass Direct's books. It's this one btw http://www.bassdirect.co.uk/bass_guitar_specialists/Sandberg_Classic_4.html It's a cracking bass btw! Having said all of the above I'll still use this forum to advertise my gear. I'm a big fan of BC but like most things, it ain't perfect!

Pea Turgh did ask for lots of piccies....... I think you'll all agree, this does not look like a homemade cab. The Ashdown badge probably helps here, but you can buy all kinds of badges on eBay for a few pounds (plenty of Trace Elliot, for example). So if you feel like putting a name on your cab there's nothing to stop you.

I once played in a band that backed a reggae singer from St Vincent. We were white, he was black. None of us gave a sh 1t about that. It was the best musical experience of my life. Tell me where I went wrong...

Aston Barrett is one of my favourite bassists but he isn't one of your "regular" reggae bassists. His lines are totally unique. If you want to get the feel and learn the style of Reggae I'd listen to others first, then progress to Barrett. For starters, try stuff like : Peter Tosh - Johnny B Goode, Feel No Way, Glass House, Reggae Mylitis etc Toots and the Maytals - Pressure Drop, Monkey Man, Louie Louie, Funky Kingston etc

Might be worth absorbing a live version of the sheriff, as well 👍 Once you can do everything on this thread - if it still doesn't work, then it's probably safe to blame the drummer. 😁

I think that we do need to consider that we have an ageing population in the UK (and the rest of the western world) and the rock and roll generations of the 60s, 70s, 80s and early 90s have now reached various stages of middle age and are not interested in the same things their parents were at that age. Younger people may enjoy live music if they are exposed to it, but it is not the same thing as it used to be and they can't be expected to turn up en mass for a night out to see a band playing a type of music that their parents grew up with. There is still an audience for rock music (or dad rock as some people prefer) and a few years ago there was a pretty vibrant scene in pubs. You could always get a decent audience if the band was good enough. Now you can't help but notice that austerity has taken its toll and it is more difficult to get people away from their TVs and supermarket booze, but I have still been managing to gig pretty regularly for the past few years in decent bands with guys ranging from their late 30s to early 60s playing to audiences of a similar age group. You need to know your audience. These days yoof culture is no longer necessarily king and its the older punters who are more likely to be interested in watching live music, not to mention to have the disposable income to do so...

Check out this vid, at 7 minutes...

Vim Fuego........

@The59Sound do you need to take a break?! How about it, or do you think you can behave like a grown up for a bit? Calm down.

Why are you being rude? What an odd reply. Literally an opinion, a point of view - my 2p. The concept of a cheaper (‘kiddy’) Flea bass in itself was acknowledged by Flea when he brought out the “fleabass” range of instruments and further addressed by the introduction of a lower price point Fleabass (street bass). I was just pointing out that Fender may have missed a trick by only having the one price point which would be out of reach for younger/less affluent fans when they’ve done broader attempts to previously... Mike Dirnt has/had a Fender and a Squier model simultaneously BB King had a Gibson and Epiphone version of Lucille (there are plenty more examples) It just broadens their buying audience somewhat and more buyers means more money. Makes more business sense. And having left the guitar/bass retail industry after 12 years in 2015 - I might have an idea of what people buy into. As a point, the cheap fleabass instruments weren’t that great - but we sold 100’s of them because people bought into the Flea name/image. But what would I know, I’m only a child.

More likely Beach Boys....

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It looks awesome - for those who have lost track... which driver is this?

First time at a particular venue for me last night and a new band too. Playing almost all originals in a thumping alt-folk/Irish/Poguesish style. I stepped in at very short notice and played from chord sheets (on a tablet). Went really well, lots of punters dancing, enthusiastic response to my playing from band members and audience alike. I love this whole depping lark. Everyone is grateful, no one expects perfection and the variety keeps me fresh. Also if the band turn out to be total d!ckheads I get to melt away into the night never to be seen again. The gig was at the Tap social in Oxford , a wonderful micro brewery and bar with incredibly helpful and friendly staff. Great atmosphere with only one tiny drawback. The stage is a big wooden box. I had my gain on 1 and volume on 1, bass rolled back to 50% and still I had some self appointed 'experts' coming up and yelling at me to turn down. Half the problem was of course not me but the keyboard player's left hand and the resonance of the box must have been booming around the room. I managed to roll back the bottom end, boost mids so I could be heard without shaking the fillings free from people's teeth, and all was well. Had it not been for a satnav fail we would have had a better soundcheck and could have avoided the problem. But it worked out in the end. If yu get a chance to play there I recommend it but get directions before you leave home!

I hope you'll like it. It's been filmed over 5 years or so in 20+ countries around the world. Only sound and vision. I highly recommend it. It's magical.

Love it. It reminds me of a movie ''Samsara''. If I didn't know you did it, I'd definitely say it's a part of a soundtrack to that movie. Awesome.

You've not played enough dives or festivals with slippery surfaces, maybe..? It lends a dash of 'home comfort' to the occasion. I'm a drummer, so (obviously...) I have a rug; our rehearsal space is laid out in similar fashion to the video above (albeit a tad smaller room...). Mickey 3D have an armchair and standard lamps, with lampshades, on their stage; it's part of their atmosphere. Try it, they're fun..?

The LMB3 is a very good limiter imo.

I wonder how many people will get that? It congers up loads of images in my mind (if that doesn't sound like I'm on something). I like the way you've used effects on the sound sources.

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Think I may have seen them 12 times now with my sister and various Incognito lover's. I adore Randy's playing, especially his fretless playing on Tribes Vibes and Scribes. But Ernie Mckone's playing on this this record is up there with the best playing I've ever heard on any record ever. He is just smokin. He's all over that groove. His playing near the end of this record is just WOW... imo A Bit Like Julian Crampton on a Down to the Bone record. ✌️

No need, as i've stumbled on some very sweet English Walnut, and we'll be off and running in the new year.

Recommend you don't dive into this thread. It will only reinforce your thinking

I also don't see the point in this. A good split pickup CIJ Mustang reissue can still be had for south of £700 (even with the comp stripe) and will knock spots off one of these.

Frontman version; How many frontmen does it take to change a lightbulb? One to hold it still and the rest of the world to revolve around them and screw it in... I'll get me coat..

Delano make hybrid pickups that sound like a Jazz when splitting the coils:

I knew this bass had potential, but I lacked the tools and attention to detail to bring it out. Luckily, I knew of a very good tech in the area. Apparently, so does everyone else as he has a 4 week backlog! For years I’ve thought “I can tweak a truss rod/set intonation” etc, but I now happily admit I was wrong. The strings are sitting at a perfect height at both ends and over the frets, the action and feel is consistent on every note up and down the neck. Definitely feels like my playing will improve as a result. I am now very happy with Trigger, the bitsa P!

Welcome! The only other bass player in my excellent local om has gone from Fender P to viola-bass to U-bass for reasons of weight - back and shoulder problems - the U-bass sounds better than the viola imho! But there's nothing as good as a full size long scale bass imho... hope it goes well!

Alright Stephen. 👍

Good evening, Stephen , and ... Plenty to read and amuse you here, and lots to learn and share.

Sabbath lots of Sabbath

I'm hoping for a nice retirement ohm to rest my weary bones.

OK, here's some stock shots. Bit of a cop-out I know but attempts to take some pic's of my bass today failed miserably. It's a tricky finish to capture and my normal method of using available light outdoors wasn't an option - there wasn't any (well, not enough) ☹️ http://

If these are the sort of things you are looking at @fleabag - or similar concept - : I got the M4 machine screws from GWR Fasteners who trade on ebay here: http://www.ebaystores.co.uk/GWR-Fasteners?_rdc=1 The threaded inserts were also from ebay (can't find the specific supplier I used). The only thing to look for is that they are hex-key inserted (the slot head insert ones are a disaster) and that the fins are nice and thin like these which cut through and secure neatly and securely.

X32 Rack, RCF 735x2 with a suitcase of XLR cables (do not skimp here, expect to pay at least £20 for a 6m XLR, preferably something like Vandamme, Klotz, Sommer - handmade, as tag machine soldered XLRs will fail), a pair of hotcovers for the cabs, a rack case for the X32, a few DIs (look at Orchid Electronics), a couple of stands, some Behringer P2 wired inear packs all for under 3k should get you quite a formidable, portable wedding rig - with the provision for stereo IEMs too! Those tops will happily have bass and kick through them, as well as the rest of the band. No need for subs unless you stepping up to play some big venues. Just those tops will do 95% of wedding venues without a sweat. Dont forget lots of power leads with lots of sockets on too. You didn't mention mics, but a set of AKG Session Ones (factor in two stands for overheads) for the drums are great, as are D5s for vocals.

the only way you can decide on an amp is to use it in a band setting, if you play in a band that is.

That sounds suspiciously like current goings on with people who have now discovered the mess is really bad, but fingers in ears will not admit it - it's fine. I knew the cost - any cost is fine as long as I get what I think I want!! Seriously though - there ought to be some form of decent comparison - you often try an amp in a shop at first polite and then a quick stab at noisy volume - but every amp can pretty much manage that and still sound ok. It's no use when you want to know how the sound will work at the sort of gig volumes you would need your Trace Amp turned up to 1.5 for...