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Well it was Saturday really but I'm far to slack to post anything before now. Bought from Bass Direct who were ace to deal with & arrived in a factory sealed box,so I am the first person to play it fresh,which I really like. The bass was almost perfectly setup,just needed the A string saddle raising very slightly,otherwise it is perfect Plays amazingly well,effortless in fact & makes my vintage style basses feel very agricultural. Sounds awesome too,especially with all three pickups on. It's also feather light,I've not weighed it yet but I'd be surprised if it was over 8lbs. It came in a very nice Dingwall gigbag too which is more of a soft case. Overall I'm totally loving it so far. Now for the only pic I've taken of it.

The link : https://mahavishnujohnmclaughlin.bandcamp.com/album/john-mclaughlin-shankar-mahadevan-zakir-hussain Thanks to my friend Christoph @chrisbass13 for sharing this. When some people are taking the wrong tracks, other people are showing the right path.

Spot the similarity?

Listen, stop giving this guy a hard time! In this pic, he's actually playing Stairway to Heaven in his local music shop on a Saturday morning using his new Vertical Double Mute technique (TM, pat.applied for) Obviously, it's in the early stages of development, but anyone who tries to copy this playing technique is going to feel the full force of the US legal system, oh yessir, they surely are .....

Er.....fixed

That seems to be exactly what it is, a cowardly and callous approach from the government. Because they haven't mandated that venues/restaurants, etc close, presumably the operators will not be able to claim anything; if they close, it'll be their choice, no-one told them to do it. Scandalous in my opinion. I'm gutted that I probably won't get to play with the band again for months, and feel sorry for everyone affected. Everyone in the arts, everyone who was looking forward to their wedding, all the small business owners, people who are being ordered to take lengthy unpaid absence, etc, etc. 😔

Mk IIIb version

I know there are a few folk on here who are not in the Ric fan camp but I love mine and wanted to give it a New Wave / Power Pop early 80s vibe. Off came the white plastic to be replaced with black plastic, and I had already added the zero mod thumb rest and the bezel cover. I added the neon white strings a while ago too. It got loads of comments on Friday's gig and seems to be getting a lot of likes on Facebook and Instagram.... so here it is in its full glory.

I’ll give them a call tomorrow and see if I can get some info for you all.

That's the one. That one classic line, is the reason I have barns, absolutely full of useless s-h-i-t😂

We don't come in until the chorus on this one.

So the 2020 abstinence worked well for me then, not 2 weeks in and another new bass. But in my defence I am going to be selling 4 basses and 1 guitar, so I’m not feeling too guilty, Anyway, said bass, although I have a Squier VM77 that is great I wanted a US Jazz and saw this advertised on the bay so took a punt. Neck is slim as with Jazz basses, tall frets apparently though I don’t notice them being any different if I’m honest. Added a Hipshot Extender and A-string thingy, plus a black pickguard. I did quite like the minty green stock one but OCD dictates black to match my other instruments. Plays like a dream, sounds great with good difference between the two pickups. The slim neck means I’m playing with a much lighter fretting hand. Was strung with Ernie Ball Super Slinkies - that’s now two basses I’ve bought with these on and have to say I like them. So I now have the classic three, Precision, Jazz & Stingray, all in black/black/maple, plus one of those skinny stringed things (a Fender Tele 72 Deluxe).

That's because Billy has reached that age when a little help is required:

Both of my amps are Ashdown (ABM 600 & Rootmaster 800) and both of my cabs are Barefaced (Super Compact & Super Twin). Either amp with either cab sounds good for many types of music.

One of the biggest problems that is encountered over and over with cabinets that can "go low" isn't always the cabinet causing the problems. Especially if it is a premium made device designed to "go low". It's just reproducing what is being sent to it. I seem to be the only person who mentions this yet it is SO obvious to me. I've said the same for years. Al is right on the money concerning using a (variable) HPF as this can help fix a problem that shouldn't be there in the first place. Allow myself to..err.. explain.. myself. We know that many bass cabinets have a steep roll off in the lows. Let's use the 8x10 fridge as an example, a sealed cabinet that has a roll of starting around 50hz depending on brand etc. -That's actually handy as it acts as an HPF in its own right with respect to this example. Here's the problem. Practically every active EQ on bass amplifiers uses a SHELVED bass control fo the lows. It may be centred at 80hz, but EVERYTHING is boosted below that point, including troublesome sub frequencies. But, as I pointed out above, that's less of a problem if the cabinet's shortcomings are actually helping keeping those sub frequencies at bay. (Even though that energy is being wasted) Enter a super-cabinet capable of reproducing much lower frequencies and that shelving bass control becomes a pain in the asinine. Too much low boost on the amp, pedals and bass swamps the stage with subs and the mids become less defined. Your drummer sat to the side of the cabinet at ear level will hate you. * One solution? It is better to cut non-shelved frequencies (usually the mids) rather than boosting the highs and lows that are usually shelved. The Barefaced BB2 is a superb cabinet, but with anything, it's knowing whats going in to it as well as what it is capable of reproducing. *Mix Engineers often hate taking a post EQ signal from an amp DI (if the amp bass has been cranked in order for the bassist to make up for a cabinet's shortcomings), because what would then be sent, untreated to front of house (with big subs) is more work for them to reign in. I've tested the theory and although it was fun seeing subs drawing ungodly levels of current from the power supply, it simply was OTT for anything other than levelling buildings.

Noooo, that's not how it works, at least IME; I've found that the rate of Pick Loss is directly proportional to how many you have: I buy them in 24s, and immediately lose half a dozen, whereas the last half dozen seem to hang around forever...until I buy some more...

Yep, Gibbons is cool and he has not stool up in *ss...

Been a bit of a pedal board fest for me this weekend! Metro 24 board also now set up and following the same theme as the budget mini board (which is going to be first one I'll be taking out on the road) posted above i.e. centred on a multifx. Signal chain: Smoothhound-->Boss SY1 with Red Ripper in its parallel loop--> HX Effects-->SA Manta-->VT DI. One Spot CS6 underneath and own dedicated PSU for the Helix.

Oh! Found the very gig that drew me to them. Love the style, love the compositions, love the sound, and especially love the musicianship of all three. As a keyboard guy myself, I love this key guy's output. Very fitting live.

Following various iterations I am now pleased to present a simplified version of my graphic:

If I croak, please don't let my family sell my gear for the price I told them I paid!

NOT my bass and I don't know the seller. But if anybody is interested in this bass and is too far from St Helens I'd be happy to help. I have a strong flightcase and a few bass boxes for postage . Although the pictures are not great it might be a cracking bass. https://www.ebay.co.uk/itm/Fender-precision-bass-all-Original-Serial-number-S873205-Made-in-USA-1977-78/254541933604?hash=item3b43e1ac24:g:77gAAOSwH49ebrV3

I work as a journalist for magazines around science, technology and engineering (mostly autonomous vehicles at the moment), and run a content agency where I work for brands and businesses (www.42group.co.uk if you’re interested - and yes, I’m a Douglas Adams fan!)

I have my own gravitational pull

We've been discussing this this evening. With all our gigs being weddings then whoever hits the button and cancels, be it client, venue or supplier, will be the one looking at losing the most. We're looking at every booking and wondering who's going to blink first?

I’m un following this thread now 😐

Ive seen a few video reviews on this head, but this one is the first that has made me realise how small the head is. Either that or Dan has very large hands lol.

I have put some 16 prototypes together from ready parts, mostly. They are far behind from my fretless 4, that a local young luthier built to me. We were drawing the shape for one month, and when he found out what I was after, he made it real. His ability to read my thoughts was the key to a succesfully designed instrument for me. And definitely one very hard task. She is one bass I will never part. And she signs like a dream. Can be seen in my pictures. Keep going. You are making great progress all the time and the next may already be your key to success.

“Do I need new gear or am I just bored?” you’re kind of new here, aincha...

Good Dr Teebs suggests that you refrain from sniffing trees - a strange and unusual habit!

I think sell the wireless kit and pedals but keep the Precision. Having a trusty P around is always worthwhile.

I think Bartolini need to really rethink putting their name on these chinese pickups, they get slated almost universally and it must make people think it is what real barts sound like!

That covers a lot of members on here then 😂

6feet7 beat me to it! Snap on both accounts!

I’ve owned, played, and gigged most of the cabs in discussion here. the F112 has a huge low end (Which extends lower than nearly any other bass cab) which can swamp the mids live. You either turn down the bass or boost the mids, with hand position, pickup choice, effects, EQ, etc. But the F112 puts out a lot more energy in the 50-80Hz range than most cabs. It can and will seem mid shy depending on the signal fed to it, in the live situation. At home it is extremely even through all frequencies but has the pronounced low end. The Berg CN112 is not the same as the CN212. The 212 would handle I think any gig capably, within its volume limits. The CN112 is noticeably a fraction bass shy at home, but otherwise even sounding driver. I never quite gelled with the tweeter. The 212 combo improves the bass output. Either cab excels on the gig in terms of audibility as the mids are prominent by comparison to the bass region. But they can sound bass shy at home and boosting on EQ doesn’t replace all of that. Great cabs. The BB2 has a crossover that allows more signal to be fed to the 12” driver rather than the horn as it is turned. So at one end of the turn, the horn gets fed all high frequency info, and the other end, all HF info sent to the 12” driver with the other signal. It doesn’t just act like a volume control on the HF driver.

Wasn't what i was expecting to be honest. Really enjoyed it. Lot more upbeat. Saw the DB and thought it was gonna be a bit classical sounding but it was almost Prog sounding. Liking that a lot. Her voice is very catchy. Nice choice 👍 Dave

The F112 has a fairly extended bass response, which sounds beautifully fat and powerful on its own. It goes lower than most other bass cabs, but the price it pays is a lack of sensitivity - the normal tradeoff. It's quite common for players to find an extended low end troublesome in some playing situations.

It's a variable crossover not a volume control.

Because he's wearing boxers shorts.

The speeches will be over at 9pm sharp and then you're on. We're expecting over 1,000 people. Just start, I can sing it in any key. Can my mate do a number? He's really really good.

"Any news I don't agree with is biased"

OK enough in my former prog band, but probably not adequate for most punk bands.

Fender Opal White Jazz Bass (2016). This baby was limited edition. HAD to buy!