Leaderboard

Jon sent me a few pictures.

Finally it's back! I traded this beast away several years ago and always considered it to be 'one of those that got away'... I think we've all been there, trading a bass and then suffering instant regret! However... finally after 3 years of failed attempts to get this bass back, the right sequence of trades has now landed this monster back in my hands. It's a Warwick Thumb Single Cut 6, a horrendously expensive thing if you wanted to buy it new (price tag is a shade under €8000). Warwick only made 120 of these and now only make them to order. These are heavy, but they are exceptionally good basses. The tone is outstanding and slices through any mix, the construction is immaculate. Pommele Bubinga top with USA ash body, flame maple neck and thick ebony board. Solid brass 'invisible' frets, MEC active/passive pickups and preamp. This one is near mint, with the flight case and Warwick folder. Very glad to have it back!

Well I don’t know about anyone else but all I have ever really wanted from Fender is decent build quality and some interesting colours, not just black and sh*t-burst.....so on that note, well done Fender and yes please to this....

As part of my ongoing search for a decent Overdrive pedal (ie a warm, slightly overdriven sound rather than a dentist’s drill), I decided to pick up one of the new Fender Downtown Express Bass pedals incorporating and Overdrive, Eq and Compressor. Build-wise this thing is high quality and a really substantial bit of kit both size and weight wise. It was apparently designed in conjunction with Mr Aguilar and I can well believe it. At just under £150 the quality of the Compressor (analog) and the really meaty Overdrive (all the way from thick warm valvey sounds through some serious dirt) as well as a decent eq and a DI, it really seems to be very good value indeed. Granted I’m not a massive user of effects, but it really is a good (in essence) multi-effect pedal as one that is very intuitive and easy to set up. The LEDs are something else too!

The Q\Strip is very capable as an analog speaker sim if set correctly. I'm not familiar with the other pedals you mentioned. For a speaker sim, it's best to use after any distortion producing pedals. You should obviously have the LPF engaged. You need to make sure everything is gain staged correctly as you could be getting fizz from overloading the interface. If you're running a number of pedals in series you want to set the gain structures so you have unity gain. Here is a video showing the Q\Strip as a speaker sim in action.

I'm asking Rocco to fund my holiday to Crete

A new Fender range. "Vintage style for the modern modern era" 60s Jazz 70s Jazz 50s Precision 60s Mustang

A fellow Scot here, with a Sterling Sub Ray 4 in my arsenal. (No cheap shots, please, about tight Scotsmen, or I will hunt you down like a dog.) Like the OP, I wanted to test the MM waters, but I find the wide nut on EBMM basses to be too wide for my delicate little paws, being a Jazz Bass player by temperament. The Sub Ray 4 I nabbed may be cheap, but it really packs a punch, and sounds close enough to the real thing to me to be well worth considering, to get a sense of these things, which are very different to the Jazz. I got mine for 200 quid, and there are plenty around, so give one a whirl, I say. I will now duck into my previously prepared bunker, so as to avoid the inevitable incoming from those rightfully enraged by my maundering.. Carry on.

Always looking for a bargain...one day somebody will post an ad for something I want but missed. Hope that I'm doing the same for somebody else... That or I'm fuelling everybody's GAS...

I'd like to take some of the credit but I think at least 95% must go to @Andyjr1515..... As you say "amazing skills"..

...Handbox looks great, but sadly only 200W at 8ohms, otherwise I would have been very tempted myself! Mesa M6: definitely a bit of fan noise with this one (not noticeable at all as soon as you start playing). But does it just deliver the best tone of any amp I've come across to date? Yup

Thunderfunk all the way.

The Portamento basses has 30 “fret” boards

Every time you buy a cd with tracks you haven’t heard in the radio. Every film you’ve gone to see at the cinema, or bought as a preorder.

The basses are ‘no great shakes’, but some of the telecasters look quite tasty...

I've actually always wanted one of these. When you think about it they are ridiculous, having only 15 frets and the same range as a 4 string but I still want one but I like the odd balls from the 60s & 70s like these:

Brilliant, thank you

@cetera Oh Spector King - knowest thee what this is?

As an artist I think it is somewhat presumptuous and disrespectful to your (potential) audience to expect them to crowd fund your recording. It is my experience as a artist that if your music is worth releasing you will find a way to do it without resorting to begging. It is also my experience as a fan of bands who have used crowd funding to release their music that the incentives being offered aren't really that special. What I am primarily interested in is the music. I'll be able to buy that for £10 when the album comes out. Nearly all of the other stuff is irrelevant to me. And in this particular case $50,000 just seems to be far to much money to ask for with no explanation of exactly how it will be spent. Is it just for recording costs? Getting your music on-line with all the major download and streaming sites only costs $50 for an album, so unless he's going for a large volume physical release that seems like an awful lot of money. For that kind of money just for recording plus mixing and mastering I'd be looking at a couple of weeks lock in with a name producer and mixing engineer with the aim of producing a fantastic sounding album and turning at least one of my band's songs into a potential hit single. Getting your music recorded and released has never been cheaper. My last studio recording (made earlier this year) was charged at the same hourly rate (£6/h) as my first back in 1980 and while both were made in similar locations (converted garages) the quality and range of the equipment (as well as the acoustic treatment in the studio and control room) used for this year's session was vastly superior to 1980's semi-professional 4-track tape machine fed from a modified 12 channel PA desk and the sole effect available being reverb and echo from a spare 2-track tape machine. Maybe the way forward for crowd funding recordings would be instead of offering useless "special" incentives would be to give everyone funding the album a cut of the sales? I might be tempted to throw a couple of hundred pounds at my favourite bands in return for 1% of the sales of their next album.

Yes, I've forgotten to thank Luke for his work on the badges - looking good.

What a negative thread! Give them some credit - they've made up a word!

I agree with Billy Corgan, the colour of the instrument changes the sound of the instrument. Well played stew -- it looks and sounds fab !! 💟

Sssssh

One on here too 😉Inexpensive bargain yammy that is...

...that cost an arm and a leg and a kidney and a liver and... with detuners the price is over 10 k$. A used Ashula has a price tag that is less than 10 % of the Hyperbass. http://www.zonguitars.com/zonguitars/bassbuilder/index_hyp.htm https://reverb.com/marketplace?query=ibanez ashula If you are really lucky, you may find a fretless tune Bass Maniac with 3 octave fretboard. But it is really rare! I think that Ibanez has recently had a fretless with over 2 octave fretboard in their catalogue.

It was years ago now but I had no trouble whatsoever when I changed the strings. I didn't even need to tweak the neck. I'm playing the bass a lot these days as my band rehearses in a very small room, for financial reasons. My Thunderbird struggles to fit in the room. That said, the Hofner really does sound wonderful, and has such a happy tone to it.

I think this ought to go down a storm with the TalkBass members: given the number of them who reflex-post things like: 'there's no money above the 5th fret,' or 'But Jaco...'

Hi JJ

Yep, I have an active 5'er J/J and a passive 4 P/J. The 5 is great to play, has a lovely neck and the stock active electronics are quite bright and lively. The passive 4 fills a gap in my Weapons of Bass Destruction. Equally lovely neck and possibly the easiest-playing bass that I've ever had. I'm struggling to make a direct comparison with the original stock pickups as I can't remember their exact tonal qualities; I can only say that found them a bit "polite", and definitely not bright, so I had Entwhistle Neos installed. Those are neither dull nor particularly polite. Given that I have recently acquired my Spector 5's, I guess that I shall be looking to let the 5'er go anyway in the near future. Too many basses, according to Mrs. Mango….mind you, she did encourage me to acquire the Spectors, so I can have no complaints.

Yep, looks like a Q4 Pro http://www.spectorbass.com/uploads/Resources/Archived_Korean.jpg

Sunstroke? Had it, and not nice feeling at all.

Traded basses (not places :)...) with Jon, absolute gem of a BC member. Thanks for the trade, the company and the coffee! Enjoy the new thumb anchor point 😂 .... you’ll suss it in no time.

If you have an £800 budget just go direct to getting a used American Stingray from the classifieds on here. It may be a bit scruffy but they're tough basses and it should be perfectly usable. If you get a new Sterling for £800 you'll always be wondering if its the same as a 'real' Stingray. Which it isn't..... Its close but not the same. If you buy at the right price used you can always sell it on for about the same price if you don't bond with it. But you'll have scratched your itch. Re the 2 band /3 band sound - they are quite different. There isn't actually a flat setting on the 2 band as it's a boost only preamp but the 3 band is centre detented. And that isn't necessarily a flat response. The 2 band generally has a warmer bootier sound in my experience.

Thanks for that skidder, I'll check it out now.

That was pre-Basschat and well before I knew what an efficient cab was. To be fair I was playing alongside a huge Ritchie Blackmore fan who had about 5 of his signature Strats and about 8 Marshall 4x12"s on stage.

If it was faulty why didnt you get it swapped over or just get new springs? Never had any issues with my Gen1 V7 and ive had it since they first came out. Never spent a penny on it other than strings.

I'm amazed, you mean it is possible to have some kind of shop outside london?? 😮

The newer Dimension was a killer bass. Beautiful compound radius, oiled neck, great weight and balance, 18v active electronics, dual humbuckers. They tried. We didn't buy them because they weren't 'Fender enough'. We don't actually want Fender to do anything other than what they are currently doing, it seems.

Oh, and I've added tweeter protection to the crossover. Bass guitar is never going to stress the compression driver in this system, but better safe than sorry.

I take it when you but the 70`s Jazz you get a dodgy neck pocket, boat anchor weight and general shoddy QC? But not all 70`s Fenders are crap: so says everyone who tries to sell one I take it that knowing Fender these ones will be more expensive than the almost exactly the same models that these ones replace?

Overeater OS050. One of their first models ..I got it around 1981 ,I got it from new the neck was twisted ,I sent it back in its new case & came back in an old case ,the neck was straighter but there was no tension in the neck it felt like the truss rod was broken ,I felt as though my complaints were ignored ,so never again ..

Thanks for the corrections, chaps - much appreciated. I've posted an updated parts list in response to your comments and to include an additional few items. Next week, I'll post the final drawings and cutting list (thanks RichardH) with the crossover circuit and layout for the Faital PR320/Celestion CDX-1425 system. Anyone wishing to cut their own wood and build their own crossover will then have all the information they need. All the quotes are now in for the CNC kit cab. I'll be choosing a supplier early next week and progressing the matter so that we can get moving on the kits again.

First rule of interviewing, eliminate candidates who aren't appointable. So rather than compare A with B, ask the question of each 'is s/he good enough to join the band?' This will then leave you with two, one or no candidates, so you can move on to the next stage of the process.

Fantastic bass. My Zoot was the bass I should never have sold. Love the neck, love the spot and block-free fretboard (never liked fret-markers). Enjoy, and thanks for sharing your thoughts.