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There's a simple answer - everything I don't like is obviously over-rated, and everything I like is obviously under-rated.

As above, you really want the twin cartridge filter type as a minimum, the sort of paper makes being bought up in huge quantities at the mo are just dust masks and won't stop paint fumes. The other problem with that type is they don't generally seal against your face very well, as you can see after using one when the sides of your nose around your nostrils are covered in whatever dust you were creating. On a lighter note, the correct gear is not good with this covid19 around for a different reason. Our house is up a lane (pedestrian) off the road, my workshop is the opposite side of the lane to the house. When painting three basses a couple of weeks ago I'd come out of the workshop between coats, as even with extraction it fills up pretty quick in there. Some people walked up the road to see me stood in the lane outside the house in full hazmat gear, white paper overalls, latex gloves and full face with hood breathing apparatus. They looked quite worried to be fair.

Couldn't do it in the end so holding on to my Will Lee. Still the best 4 string I've ever played and would regret it if I sold it! I'll bring it to a south east/London bash some time!

I am amazed that people think they can’t see past their likes or dislikes to decide if someone is over rated or under rated. There are some amazing performers out there that just aren’t for me, doesn’t mean I don’t appreciate their talent. Equally there are some bands I love that I realise are from demonstrating musical genius and can see that they don’t deserve the status they have when compared to other bands.

Here we go again. Is anyone bothered?

I'm playing an acoustic gig this Friday . We will be playing The Barley Pop in Germantown. We will be playing outdoors to the customers picking up their " take out" meals. This is the way it is for some of us, basically grabbing anything we can get until Wisconsin opens up. Hopefully we'll get some media coverage. We have good gigs booked starting the first week in June if we're open. Blue

This has been a bit of a challenge for me over the past week or so. We recorded a few tracks in the studio a little while back with the intention of using them to make up an EPK for 2020. One thing lead to another and before we knew it gigs were cancelled and there was little to no prospect of getting anything booked for the foreseeable future. So we thought we would use one of the tracks to dedicate a thank you to all the NHS and Front Line Responders out there helping to keep everyone safe. I've put a few videos together for the band before, but this was a really steep learning curve for me. All the individual elements were recorded at our respective houses using different equipment/frame rates etc and I don't mind telling you, it took a bit of time to get my head around it. It's not perfect (these things never are), but I think it turned out OK in the end. Please feel free to share it with anyone out there putting themselves on the line as a huge thank you. Stay safe.

Over-rated: Controversial I know but.....David Bowie IMO everything he did after he stopped taking drugs (Scary Monsters) was well below par. Lets Dance - poor, Tin Machine - absolute disaster. He should have been shot for what he and Jagger did to "Dancin' in the street". In fact, they both should have... Under-rated: Corduroy - the founding band on the "Acid Jazz" label. Some wicked basslines and amazing grooves. Totally unacknowledged by the majority of music listeners.

arrived this morning. Birdseye maple facings, ebony fingerboard I've had a couple of Wal's before (one second hand from the mid '80's, one that was new but not my custom order from the late '90's) and those never quite felt like they were "mine". Also, necks a bit on the chunky side. This one is most definitely mine, and the neck is unbelievably slim and fast. Plus, you know, it sounds like a Wal. Just all round gorgeous - now that I have it the two year wait seems completely worth it. Another reason to hope for the end of the lockdown so I can take it to a studio and play it through a cranked up amp And Paul and Philip at Wal were excellent to deal with - top marks all round. My boss thinks I'm working this afternoon. My boss is wrong

The story of the Shadows celebrating 60 years, Friday 1st May 2130 BBC4

Quick mock ups to see lay outs. This is with the control plate fully covering the cavity but it then eats into the scratchplate in a telecaster kind of way. This is where the control plate looks best. Still to far back for a Stingray but better looking. The cavity will need filling though which will show up in the future. This you'll need imagination for. Ignore the horns of the scratchplate and imagine the two plates bevelled on the join like a Baldwin/Burns, maybe even a top horn plate. I'll make them in black card tomorrow to better envisage it.

I don't know if I'm going to write a proper review as such. I haven't owned a lot of different basses in my life, and so I don't have a good sense of what's out there for comparison. This is the first bass I've bought in over ten years, and for most of that time I only had one: the Tune TWB43 I describe here. Any references to "the other bass" will be to that. This HB is at least a kilogram heavier than the other bass, though only slightly larger, which is mostly down to the wood, I think. It looked bigger in the hands of other players, especially Julia from Thomann, who says this is lighter than the MJ-4 J-style version. I'm 6 foot in socks with muscles, so I'm OK. Both are basically Sandberg-inspired, mine being a clone of the Californa VM4. I didn't really want the blue, and it looks like I'm not alone there, since the other two colours (cream and natural) are sold out for the next six weeks at least. But I can live with it and may consider refinishing it some day. One disappointment: the pictures seem to indicate that the body is sloped to accommodate the picking arm more ergonomically: it is, it's barely cut down at all, so it's more of a slab. So I'm not totally happy when playing seated, but less bothered when standing. On a strap, there's a little neck dive: nothing that a decent strap can't handle. The bridge is solid and looks more complicated than it is: each bridgepiece has an optional locking screw to hold it down once you're done with adjustments. These arrived loose, presumably in case the player tries to raise the action and can't. Through-body stringing is standard but optional, and I believe the supplied strings are the specified D'Addarios. I mentioned the neck already: modern C shape, satin finish on the back, and I don't think I'll need to touch the truss rod in the foreseeable future. If I did, it's an easily-accessible wheel method. I've been learning more about setup, starting with Fender's advice here, and the feeler gauges told me the relief was just under 0.35mm, which was spot on. However, the action at the bridge was way too high, about 4mm (double the recommended 2mm), and I struggled with that a bit. Today I lowered it to about 2mm, and am much happier. The bridgepieces are low but didn't bottom out - a problem I've had before. (On the other bass, I ended up sinking the whole bridge in to the body to get the range of adjustment I needed, as a project, rather than use shims. I have a little buzz low down that tells me the neck may be a little too straight now, but nothing requiring action yet.) So I like the construction so far, I think I have a solid base for modding. Which is good, because they have skimped on the electronics. First of all, the pickups are decent, I think. The split-P is definitely powerful. The MM HB not so much, but it sounds good, if a bit anonymous. After adjusting that up and the P down, the balance is better. The P is now nearly 3mm below the strings, and I am not short of signal. I might replace the HB with one of these, but it doesn't seem urgent at this time, since it's adequate and the P is the priority. The other bass is active, but with everything pegged it's still not as loud as this P pickup in passive mode. Which is where it will spend most of its time, since the electronics let it down badly. I thought the electronics in the other bass were average, which makes this new bass' below-average. The pickup balance pot only seems to "blend" around the centre: more than a few degrees either side and it might as well be a switch. The low EQ seems to add boom, the high EQ seems to add string noise, and both seem to be off-centre: not flat when centred. The 9V circuit seems to lack headroom, since there is audible distortion from the P when it's up full. (I thought it was 18V for some reason, but that was probably my mistake.) . I don't have an amp - too antisocial - so I'm testing using two different headphone setups: a cheap-and-nasty Amplug clone - great for practising while walking around - and a tc electronic SpectraDrive, which has two TonePrint sections. On the SpectraComp side I like the Captain East preset so far - a great all-round compressor. On the TubeDrive side, when I use it, I try a few different TonePrints: Dark Horse for distortion, Natural Drive sometimes, most of the time that section is off. As other reviews have noted, the P-signal takes distortion well. The best tones I get so far are from the P in passive modem, which was my top priority, since my other bass is more Jazz-like if I want that. I am already planning a total rewire to passive mode, 2V2T controls, maybe a HB coil split switch, and stereo out (Rick-O-Sound style, switchable). I would rather have no circuit than bad circuit, and the SpectraDrive has a 4-band EQ already. Pro: solid construction, good bridge, string-through, zero fret. Good setup range. Very good passive P tone, not affected by lower action. Con: the colour, electronics, the weight if you're weedy. I'll add more updates / impressions over time.

Always a "wallet risk" to have space for one more pedal on your board! Proton arrived yesterday to take the remaining slot on my mini board. First impressions: very positive - it’s really easy to dial in a tasty filter sweep. Signal chain is Smoothhound wireless-->Boss LS -->Zoom B1X-4-->3Leaf Proton--> Digitech Mosaic. As mentioned previously, the Zoom is in the LS2's loop to allow me to blend in as much clean to combine with the Zoom's effects. That's a must for a lot of the Zoom drive patches, particularly my fav Rat Tail, but it's a "nice to have" to keep some authentic low end with other fx.

And there's the UK's departure form the EU to take into account. I suspect many bands from outside the UK won't bother with the extra expense and hassle of getting permits to tour here after the end of 2020.

It's a difficult decision. On one hand go with the designs that people already play, but how do you make your take on it an improvement when most people are more than happy with the choices that already exist? On the other hand if you go with something completely different how do you convince the majority of very conservative musicians to accept it? As I've said before here and other similar threads I really can't see the point of offering something that is essentially very similar to instruments that already exist in vast numbers with almost infinite slight variations and the standard designs. Yes it is perfectly possible to improve upon the basic design of the Precision and Jazz basses but unless you do it and still sell it for less than the price of a MIM Fender, your market is at best going to be niche, in which case why not do something completely new and different?

Like a lot of people my job has been furloughed leaving me with more time on my hands. Obviously I could be using the time to get better at playing but that would be far too sensible. Instead I decided that the hideous pink of my cheap Joyo British Sound pedal was the perfect excuse to get creative with a bit of a horror vibe.

I mean ... it said blue, and it's blue ... maybe it'll pop under stage lights, but in today's grey daylight, it's just ... blue.

Synth Patch (do try this at home!) A couple of you have mentioned you're on the look out for a synth pedal for use on a couple of tracks. I've pulled this together on HFX - IMO it's usable (without being amazing). Based on classic: octave -> fuzz -> filter approach: Rochester Comp --> Simple Pitch [1] --> Valve Driver --> Autofilter [2] --> Low cut at 30Hz [1] pitch shift set at -12 i.e. octave down. Mix only at 40% to give a touch of octave to fatten without giving rise to mush. [2] low pass, up-sweep, short attack but long (1.0s) decay. If you try it out, let me know what you think.

My favorite electrics are SGs. These are 50s Tribute guitars with 24 frets, Grover machines, and no pickguard. P 90 pickups take me to Leeds (almost).

Been checking out Miles M on YT, some fab stuff a little bit different from the usual.

Flop it out! Go for crazy jazz next month!!!

The type of mask needed for painting is very different to PPE needed for Coronavirus so may* be available (*but may have been bought by people thinking it will help). I use a twin filter Scott one, I think it was about £20 plus about £10 a time for a pair of filters. I was spraying the wings on my Capri project over the weekend and you cannot smell anything. When I took the mask off I was hit in the face with the smell. It’s worth getting the right protection and not trust to the fresh air approach.

Hi, the strings are all hand wound onto a hexagonal high carbon content core. The Energy and Groove strings are the "standard" line, Grooves are Nickels and Energy are Stainless Steels. The Ultimate and Advanced are again Nickels and Steels respectively, but they are "Soft Touch" strings. They feel softer, bendier and lower tension. The Vintage strings are very highly hand polished flats, again Hexcore, wound with a mix of nickel and laminated steel wire. Hope that helps!

It seems to be the thing to knock Nirvana now. I think they only made one good album, but what an album!

Thats obviously good for for Ska!

It's possible to take plenty of classic design hints and still come up with something that looks new and awesome, while having enough familiarity not to offend. I think this looks far better than many 'boutique' basses:

Good luck with that one whichever thread it's in.

Not indoors, certainly, however many windows are open. As I've said in another thread, this is no time to end up in A&E with a serious respiratory problem...

Miss this under no circumstances, watch it. or: Miss this under no circumstances watch it.

I would disagree mate. We have a beach just out of town. I always used to drive there to walk the dog. Ive heard people have been told to go home from there by the Police. No shops open, streets empty, no bars, no entertainment. I know by the strictest definition of the word it isn't a lockdown but I would say its pedantic to say it isn't actually a lockdown. edit: Plus if it was a complete lockdown, how could anyone survive for 6 weeks?

If your existing bridge has no problems, any decent luthier should be able to fit adjusters to it. Most prefer to fit the bridge before installing adjusters rather than using a bridge with them pre-installed anyway.

The wife and I are off out tonight by our back gate to watch someone up the street playing 'Happy Birthday' on a trumpet for an old fella. And, what with it being local, we'll get home in good time.

Yes, it was last shown in 1872.

Thanks for that WOT! Might have known it would be him. He really was everywhere all at once at the time like some omnipresent bass god wasn't he. Following links from that led me to this: Scroll through to track 51 at 1:51:06 and it's all there! Great tone, lot's of space and feel with minimalist percussion. Time to get playing along!

Sub'd his channel. Thanks!

As a child I found wearing corduroy as some form of cruel and unusual punishment. I'm pretty sure I have some sort of high sensitivity to touch. Manifested as a deep dislike of some textures and feeling certain sensations for an extended period. Aside from being a bit weird when you touch something and can still feel it for a while (generally until I get distracted) it can have its benefits as pleasant touch sensations can last as well.

Ive got kids so mine live in gig bags or cases standing up in an alcove when not in use. EDIT - the basses that is, not the children.

I knew the guys in Furniture quite well - took a bunch of photos for them and the drummer lived in a flat in the same building as I did. I played with some of them in earlier incarnations of the band around Acton in the early 80s. Ofte saw them play around west London.

I wish someone did a budget Tech 21 Leeds... or they just put it back into production.

Well, back in 1999 a new Wal Custom Series Bass was in the region of 2 and a half grand. Up in that London a second hand Custom Series 4 string was around £1,500 at most. An old Pro Series Wal was about £450-500. Well, in Spring 1999 a nice red Wal Pro 2E turned up. Really good condition and IMHO a real looker. But the price tag said, £1,500! Of course I had a try (I’d actually been looking for a Pro 2E ) and said to the owner. It’s lovely. I’d take it off your hands today but it’s just way overpriced... by a factor of about 3, you know.” “Nah mate. That’s a Wal that is. They’re top flight basses those. That’s what they go for up in London. Properly rare.” “Well, yeah, the newer Customs go for that, the ones with the exotic wood bodies and newer electrics. This is a Pro Series. The market value is about 500 quid. Honest, I’d take it off your hands today for that.” “You’re ‘avin’ a larff, mate. This one’s worth one and a half grand. That’s the price. Take it or leave it.” “OK, I’ll have to leave it. But I’m telling you now, it’s just going to sit there gathering dust, taking up floor space and cluttering up your inventory. But if you don’t mind I’ll pop in every two or three months to have a bit of a play on it and see if the price has come down to a sensible price. That OK?” “Huh, please yourself but it’ll be gone in no time. Really sought after these are. It’ll be gone within a week.” So that’s what I did. Every so often I’d pop in, have a look at the guitars have a noodle on the Wal and offer £500 for it.” Over the course of two years the price label was amended to say £1400, £1250, £1100, £1000, and then £900. Then one month in 2001 The Guitar Magazine covered Pro Series Wals in their vintage basses you might see around and what they’re worth feature. As ever, it finished with a price round up which said that a good condition Pro IIE could go for up to £500 or £550. It was a Saturday morning so I rushed down to the local library and got a photocopy. Then it was straight to the shop to wave it under the owner’s nose. Sadly he wasn’t in, just the Saturday boy (to whom I was a familiar face by then. I had a chat with him and said, “You know that Wal?” He smiled, “Well can you show your boss this article in this month’s TGM and let him know that my offer for £500 quid absolutely still stands.” I wrote my name and number on the sheet and toddled home for lunch. It was about 2:30 when the phone rang and the Saturday boy was on the other end. “I’ve had a word with the boss and showed him the article. He says that you can have it for five hundred and fifty quid.” “Shall I pop over now?”... Got there about 20 minutes later and watched him take the £900 sign off and hand me the bass... Here she is...