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Hi Folks Don't often do this but with this one I thought I must.. So, there I was in my local music shop in Bognor Regis (Mike's Music) buying some strings when I saw this hanging on the wall looking a bit unloved.. Being the kind chap that he is, Mike let me have a trial with the bass and after spending some time with it at home, I realised it was a must have.. As far as I can tell from the serial number, its a Made in Japan 1991/2 Fender Precision. Sounds great, beautiful Ash body and maple neck and is in brilliant condition for a 27 year old bass. Happy days, or should I say, happy NBDs! Thanks for looking.. 😊

Ive had my P34 for a week now, and love it to bits. Not had a lot of time to play it this week, but i can honestly say i had had no ‘i wish it....” moments, its the most complete bass ive ever owned. Ive struggled to take any phots that make it look interesting, its hard to photograph at home and, well, we all know what it looks like. Still, a few to prove i have it lol.

Awesome gig yesterday evening at the Farmyard Bikers rally in Helmsley, North Yorkshire. This is one of big ones at about 6-7000 punters and loads of bands over 4 stages and 2 days. Great weather and enthusiastic crowd, even had time for a beer after our spot and watched a couple of bands. Loved the backstage request.....lol

😂 Si

Milli Vanilli

Liam Gallagher in every band he's ever been in.

Just back from a local (festival) gig... now off to a pub gig. Oddly the pub gig is going to be paying way more than the festival but I reckon the festival gig might be the better experience; we shall see.

took a good bit of cleaning, was like a dusty headache. Wearing some BB knobs now too.

Woo! First one I've actually recognised. I'm nowhere near my bass at the moment so someone else should feel free to continue

“YAMAHA”

Could you please update me about everything you've posted in the last... oh, I don't know - 3 months?? 😃

Yay! 👍

Here’s some https://www.allparts.uk.com/collections/wood-horn-knobs

Female bass-player? Boogie Oogie Oogie, A Taste of Honey?

Completely disagree. He was great with AC/DC at the Olympic Stadium a few years back. Aside from nailing the songs, he looked like he was living the dream. I guess this post is about replacement singers, because (like it or not) the singer is almost always the focal point for an audience and everyone else is essentially a backing musician. A change in a high profile frontman can be hard for some fans to take, but - so what. And just for the record, I think that Adam Lambert is awesome with Queen.

Couple of good gigs this week in Milton Keynes and Aylesbury. We have a new lighting guy, so enjoying seeing what he can do to make us look better, not an easy task....

I remember when it was all fields.....

All my basses are active. Passive basses are a bit meh these days (with the exception of Hohner) They were all the rage back in the 50’s 60’s, but not so much in recent years. 🤔😆

Dear friends, after more than 4 years the first 4 String bass is ready to rock the world ! EVO-FX4

The thing is, when Gibson were going bust, everyone was saying “they need to go back to what they do best, Les Paul’s/SG’s/335’s!” And were criticised for all their “innovations” (which incidentally were poop...) Fender and Gibson do what they do, Imagine Levi’s making tracksuit bottoms or Dr Martens making tennis shoes. It just doesn’t work that way. Fender have a staple 5/10 models and have to work with that. They try stuff and it doesn’t always sell - there are 100’s of models which didn’t stay long. I sold Fenders for years as my Job, and all the weird and wonderful sat on the wall while black strats and white telecasters turned over in huge numbers. For years their best selling Telecaster was the butterscotch 52, their second biggest selling telecaster was the left handed version. After that it was a natural finish USA with a black pickguard and the Baja Tele in blackguard blonde...etc. Its about an “Icon” thing for players. Jaguars/Jazzmasters/Mustangs were sort of dead until Grunge - the artists bought them because they were reputable branded guitars but cheap. Then in the early 2000’s the 72 Custom Tele/Thinline Tele/Tele Deluxe were in vogue because of all the hip indie bands using them for that same reason - before that they couldn’t raise an eyebrow let alone a big ticket price. They have a legacy and they’re bound to it, damned if they do (by some) and damned if they don’t (by others). More stringent quality control and they’d be away - but that adds cost, and that’s why a Deluxe USA Jazz is £1800 or so and a USA Sadowsky is about £4500. Incidentally - I side by side compared a USA 2010 Deluxe, A USA sadowsky and an Alleva Coppolo (check spelling) and the Fender held its own, massively. I preferred it in sound to the other two and it felt as nice as the Sadowsky. It was just a bit heavier than the other 2. It was also about £1449 at the time. They should open up 12 month contracts to us all and see if we could do a better job. Anyhow, as someone said earlier - if you weren’t thinking of buying a Fender this year - these probably aren’t aimed at you...I’m off to play my yamaha 😂

I just think that Gibson are behaving oddly pi55ing on their own chips by behaving like a peevish gorilla at a time when they should be focused on mending fences with a sizeable slab of disaffected consumers. The time to pursue copyright infringement is when customers (and potential customers) are back onside with the company. That said, it might be that the hedge fund wonks who now run the company are attempting to enhance the value of the company by clearing up any unattractively loose ends in respect of trademarks which might excite the concerns of future investors or outright buyers. A sign that Gibson may be back up for sale sooner than expected? Who can say? If, however, Gibson's plan is simply and negligently to run high-profile lawsuits alongside their customer re-engagement strategy then that's Juskiewiecz levels of crazy.

You can create your own Glastonbury festival at home. Pitch a tent in your garden,put on radio 6 Then get whizzed and stoned out of your mind. Don't forget to steal your own shoes and urinate up the side of your tent.

I fancy changing the rather bland black-metal set on my W&T, to something a little more in keeping with the instrument. Anyone suggest somewhere to buy a set please?

Here's my recently refinished P!, It was only a cheap bitsa copy but it plays lovely!! 😁

That’s a beauty Nik

Cheers Folks, Been playing it all afternoon and it's great.. 😊 Fabulous tone, sort of thick and woody but if you open the tone control all the way up, it gets much more clanky!

This is the intro to a great Disco tune... 👍

Well you're the first to actually name it, get your track up!

Neil, I'm going to say it's Diamond Dogs! Although apparently it is actually Saturday Night's Alright For Fighting!! (I've had fresh success with my uploadings! 😃) 👍

Fantastico!! 😍

Like others have said i can play other spacing but i find i'm missing strings and don't play as accurately with my right hand finger style. I do get used to it reasonably quick but when going back to 18mm i have same issue so its easier keeping same 18mm spacing that i like. Dave

Axl Rose in any band

Just bought some strings from Dave, quick delivery and perfect condition, deal with confidence , Thanks Tony

Defiantly... If not, get Animal in on the gig. He'll nail it.

Just something that happens sometimes. When you fret strings at the dusty end , you are basically bending them to the equivalent of the action height. Think what the pitch of a bass string does if you bend it 2 or 3 mm So all the intonation drop back distance of each of the saddles from scale length is doing, is compensating for them sharpening as you fret down. The amount each string sharpens depends on the action height, the string tension, string material and no doubt other stuff. Usually, the G sharpens the least and so the saddle usually ends up not much more than a mm past the scale length. The thicker strings usually sharpen more so tend to have to drop the saddles back more. But if, eg, you have a particularly high tension G and a low tension D, then that may end up the other way round. So it just depends. Just looked at the Nanyo save I've just finished for @TheGreek - and that's just like that... the D is forward from the G and the E is forward from the A

On the Hull to Rotterdam ferry, walked into the ferry band playing a Pink Floyd song..... sounded pretty good with a very decent bassist. We are everywhere 😂

It was better back in my day! Oi! Give me back my Ovaltine - Nurse!!

Time for me to come clean. It was me who bought the "Black strat." Bit of a stretch at just under 4 million bucks but hey, gotta do something with all that cash form the Class A. Can`t really put it in the bank now can I? But everything is good, Big Dave is well happy and so is the climate. And I don`t need to worry as I had a text form DPD at 11 am this morning saying Fred their driver will drop the guitar off between 3.42 pm and 4.42 pm at my addresss. 👌

Go for four-conductor wiring humbuckers and run each individual pickup in series.

@51m0n thanks very much for taking the time to put my mind straight on the subject of transients. I've shared your comments below for the wider forum as it was such a helpful pm and I am sure will be of interest / benefit to many others! Transients and compression Transients are one of the keys to understanding compression and how compressors tick, true. The threshold is always crossed by the transient, that is the trigger, it is always the loudest part of the signal (with bass), only instruments that swell volume can achieve crossing a threshold with the body of a note rather than a transient: certain ways of bowing a note with violin family instruments, e-bows, volume pedals, keyboard pads and a whole raft of other sources do behave differently, but general bass playing, it’s the transient that engages the compressor. There is no 'note' or pitch info in the transient, it is percussive noise, but it has more or less higher frequency content, the nature of human perception of sound means that a high frequency heavy transient will give the impression of a sound having a generally brighter timbre throughout the note duration, even though that transient is just a few milli-seconds (ms) ?in duration. Anything that allows you to hear the transient 'better' will result in the timbre of your instrument sounding brighter generally - tweeters do this, they tend to reproduce transients better than full size drivers, as well as dealing with the high frequency energy of the transient particularly well, brightening things up a great deal. Ergo anything that dampens the energy in that transient will also darken the perceived signal timbre. Anything that increases the transient energy will effectively brighten the perceived timbre of the entire note. It’s subtle but very real. Some sound engineers swear they use compression to help EQ signal as much as an EQ. I agree with them. This is important because compressors and limiters can hugely change the relationship of the volume of the transient compared to the volume of the main body of the note materially impacting the difference in level between the two. Hence, they can definitely impart or remove brightness, which they do as a direct function of the attack time setting. They modify this relationship depending upon the type of compressor / limiter and the settings you have and the input signal. This is what a compressor really does, the make-up gain does the rest; people label this with many simpler things e.g. “compressors make your quiet signal loud, your loud signal quiet, your dynamics more squashed etc” all of them an over simplification, which is where the problems really arise. A transient is typically less than 100ms long, it can be much shorter, in order to not trash the brightness in your tone you need to get your compressor out of the way of your transient. In order to not make your tone too harsh when using higher compression ratios you need to still keep control of that transient, and that is why attack time is so vital, and a limiter can seriously help from a timbral perspective as well. The final super-important nuance is that no two types/models/brands of compressor achieve full compression up to the set ratio after the threshold is crossed in the same way, the compression is almost never turned on linearly, or 'immediately' it takes time to ramp up, and it is rarely linear. The same with the release. The very sound of optical compressors is the relative slowness of the way they turn the compression on and off, coupled with the very curved nature of the optical circuitry, the light starts going out very quickly but as it dims it slows down in its dimming. This has a massive impact on the sound of the compressor.

How good does this look? This looks like exactly the thing I've been looking for for ages... https://www.boss.info/uk/products/eq-200/ In fact, all the new 200 series stuff looks pretty ace...

Welcome to the club! A few notes for you: The mono jack socket is the one nearest the strap button and if you plug a mono jack into the ""Rick-O-Sound" one you'll only get the treble pickup. I'm not sure if your one has it, but on current 4003 models the Treble Tone knob is also a push/pull switch, which allows you to switch in the "Vintage" style treble capacitor. The strap buttons are Schaller Straplocks. Don't put too heavy gauge strings on a Ric; I use Swing Bass 40-60-80-100 on mine. Enjoy the Ric! (BTW, the Laredo is a 4004!)