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Just been listening to the playlist...Bass player is rubbish... Check @4.20

Never ending story... Ready ? Ok, I warned you, here are some of the basses I've owned over the years (lots are missing). As you can see, I like wood ! 😎 ACG Harlot R 5 : Alembic Spoiler Koa S : Alpher Mako Elite Custom Fretless : Aquilina Triton 5 Fretless : Aries Bajadera 6 : Aries Senes VS 6 Signature : Aries Senes VS 6 Tomek : Basssline Buster CW 6 Fretless : Berne Harpobasse : Byl 6 Custom : Capelli Custom 6 : Capelli DM Signature Pro : Celinder Custom 6 Michael Andersen : Conklin Groove Tools GT6 : Conklin Groove Tools GT 6 : De Gier Elevation 6 : De Gier Origin Deluxe 6 Fretless : Ernie Ball Music Man Sting Ray 5 : Ernie Ball Music Man Sting Ray 5 : Ernie Ball Music Man Sting Ray 5 Fretless : Esh Custom NFS 5 : Esh Impact 6 : F-Bass BN4 : Fender Jazz Bass Natural 1976 : Hohner Professional B Bass VI : Ibanez Affirma AFR A104F Fretless : James Trussart 6 Fretless : Jerzy Drozd Obsession Basic 7 : JP Basses Lucii 6 Fretless : JP Basses Plume 5 : Ken Lawrence Associate 5 : Kramer 450B Fretless : Langowsky AJ6 : Laurus Quasar SL 190 Grafite 6 Fretless : Leduc Contr-U-Basse 6 Tony BERTRAND Custom : Leduc MP 628 SF Fretless : Leduc MP 628 SF Fretless : Leduc 631 SF Fretless : Leduc PAD 6 : Leduc PAD Rock 5 : Leduc U-MM1 6 : Leduc U-MM2 6 : LowDown Custom 6F Special Fretless : LTD B-206SM NS : Mayones Comodous Custom 5 : Modulus Graphite Quantum 6 : Modulus Graphite Quantum 6 : Modulus (Graphite) Quantum 6 : MTD 635-24 Fretless : N.Y.C. Empire Bass 5 by Fodera : Neuser Courage 6 : Nexus Gom Jabbar Magellan 6 Fretless : Noguera Expression Plus Deluxe 6 : Noguera Fairplay 6 Fretless : Noguera Harmonie Standard Custom 6 Fretless : Noguera Trinity 8 Custom Bruno Ramos : Noguera Yves Carbonne Signature 8 Fretless Paul Lairat Gabriella 5 Fretless : Roscoe Century Standard Plus 6 Fretless : Rybski 8 : Rybski Tomek Gassowski Fretless : Sandberg Thinline Custom 6 Fretless : Sei Flamboyant 6 : Shuker Series One 6 : Sivcak OSCII 5 : Skjold Whaleback Exoctic 6 : Stanford B61CM5 FL OP Fretless : Status Electro 4 Fretless : Status Electro 6 II Jonas Hellborg : Status S2 Classic Bolt-on 5 Fretless : Status S2 Classic Neckthrough 5 : Stradi Symphony Bass 5 Fretless : Tune BEB-6 : Warrior DM4 Custom NT : Warrior DM7 Custom NT Signature : Warwick Corvette 4 Fretless : Warwick Fortress Masterman 4 : Warwick Streamer Stage II 4 : Warwick Thumb 4 : Warwick Thumb 6 : Wood & Tronics Zoid 5 : Yamaha TRB-5P : Yamaha TRB-6P : Yamaha TRB-6P Fretless : Yamaha TRB-6P Noguera Fretless : Yamaha TRB JP II :

Yes, I can tell you that the maths isn't simple and that a 12" speaker doesn't move slower than a 10" speaker. If you're so certain that you're right about lighter things accelerating faster than heavier things, can you tell me why a two tonne Bugatti Veyron can get from 0-60mph far faster than a Citroen 2CV which weighs a third as much? At Barefaced we did a lot of R&D before launching our 12XN range as the best possible high accuracy solution. We could have used anything from 5" to 21" drivers but 12" worked best. Occasionally people that haven't heard them ask for a 10" version. We could make one but it wouldn't be as good (quantifiably) so as this engineer is in charge and I don't have a finance director or marketing department telling me to just make something to get some more sales, I'm not doing it!

OK, all 11 hours and 5 minutes now available! Will keep it updated. Have fun 😎 https://open.spotify.com/playlist/59RhYT5dLPwboS9u3njL4S?si=P2uDVC3MQQaMQACfEHilGQ

My recommendation would be... Hal Leonard Bass Method: Complete Edition Spiral-bound – 1 May 1996 ... Inexpensive (£16.15 for three spiral-bound volumes...), taking one from absolute beginner to proficient bass player in credible steps and a variety of styles. It's all there.

Labella Deep Talkin flatwounds, no less. Smooth, responsive, articulate, almost addictive to play. If a teenage boy was given a bass with these on he'd never discover masturbation.

Not terribly exciting but I've completed the shaping of the back of the neck. Can't say enough good things about these Shinto saw rasps - marvellous things!! Gave this a very light coat of sanding sealer to stop an grubbiness from my fingers getting into the wood but primarily to make any little dents or imperfections stand out. I find that I can't always find the really small dents with bare wood but always a little sealer they become obvious. A little more sanding to remove these and back of the neck is done. Next task if to radius the fretboard and cut and install the frets. And the LEDs still work after all which is the main thing!!

Simple answer is. I play a six because I like playing a six. I started on a 4, wondered if I'd get on with a 5. Thought "sod it!" and jumped straight on a 6. Then I found I just preferred playing the sixer. I like the feel of it more, I like the closer string spacing more, and I much prefer the look of it, which inspires me to pick it up more often. I'm not a particularly clever bass player. I don't play a lot of high end chordal stuff that the sixer would allow, neither do I spend a lot of time bashing away at the bottom B string creating thunderous undertones. What I do "do" is play it exactly as I would play a four string, but utilise the extra strings by playing the higher or lower notes in the same position, rather than having to do fretboard gymnastics up and down the neck. In many ways a sixer is "easier" to play than a four string.

I've been playing bass since the mid 80's and have had many books over the years but the one that I highly recommend for a beginner as well as more experienced players is 'Bass guitar for Dummies'. Someone bought me a copy years ago as a novelty Christmas present but it's still a book that I occasionally refer to. It's written in a simple, straight forward way and explains things clearly without blinding you with science. My version also came with a CD but I guess the latest version will have online audio. If you can ignore the Americanisms and bland humour it's a great tuition book that starts with the basics and goes through to more advanced concepts. https://www.amazon.co.uk/Bass-Guitar-Dummies-Patrick-Pfeiffer-ebook/dp/B00H7JE36O/ref=sr_1_1?dchild=1&keywords=bass+guitar+for+dummies&qid=1594537893&s=books&sr=1-1

Think I must be mad, but I've decided to put a Spotify playlist together of this thread. 4 pages in so far. One track per artist - I thought if you like th eone track you can investigate more yourself. A few where I've had to choose a different track from the one in the thread as they are not all on Spotify. I will carry on with this - but here's the first 40+ songs, all 3 hours and 27 minutes. https://open.spotify.com/playlist/59RhYT5dLPwboS9u3njL4S?si=dMaJvNNkS86vEjP5HfNz7Q

There are certain musicians who make full use of extended range instruments and where it's completely incorporated into the music they produce, so a four string wouldn't work at all - Steve Lawson and Dylan Desmond of Bell Witch are two that jump to mind. Six and seven string bassists respectively, their music would be impossible on a four string. Then there are guys like me, who're exclusively five string players, who's heroes are almost all four string players, but do so as a way to make "normal" bass playing easier. The point is, I am a five string bassist, I play better on a five, am more inspired by a five and find it easier to transpose keys on a five - leading to more work. So from my purely subjective viewpoint, yes, extended range basses have lead to better music.

Beautiful bass, collected this week, bought from @Mickeyboro. Hoped I might hate the strings as they're blooming expensive, but I love them. I also love the sound. No eq needed on the amp at it's first outing today. Only fault I can find is the jack socket doesn't hold the plug, keeps on falling out. But the neck, balance and sound are perfect

Scratchplate finished (big thanks to Bass Doc!) and fitted, along with the passive loom and a thumb rest. Surprising how easy (and cheap!) it was to get this converted to passive and give it more traditional twist. The next things I might change are the pickups (thinking maybe the Aguilar PJ hum cancelling set) and/or tuners. That would require an investment similar to the bass itself though, so need to think about it more!

Just had what could be a decent idea (I normally manage one or two a year). Obviously this topic doesn't see a lot of traffic outside the Bash season but, given its regional following, why don't we also use it as a kind of S-W notice board? For example, we could: post details of our own or other interesting gigs (we wish!!); share details of tried and trusted local repairers; flag-up something decent that we have seen in a retail outlet; link ads that we have posted on the FS forum. In the latter case, we obviously can't do that INSTEAD OF posting a FS ad in the normal way but, speaking personally, I would always be interested in knowing what's on offer within a collectable radius from home rather than using a carrier. What do we think?

OK, here goes: This is my first entry so be gentle - I learnt quite a lot - especially the fingering change from a Cmaj to a Bmin7flat 5 is tricky if you want a clean arpeggio. I just got a trippy vibe from the photo so I stole a Portishead bass line for the main theme - but thats OK cos they stole it from someone else. Recorded in Cubase, using MT Power Drums. Bass is my trusty CV 70s Precision stright into the audio interface with a tough of compression. Guitars are my Patrick Eggle via a H&K TM18 which has a red box out all the distortion is from the amp. Keys are Dexed VST

I think that headstock is ok. I do hate fender headstocks on short scale things, it put me off the mustang. I am not normally a fan of fender headstocks anyway but on the smaller bodies they look ridiculously large. I think the only thing worse than a fender headstock on a short scale is an ibanez Talman headstock. And in grey, the whole thing looks very good. .

I like that it has enough frets too. Most shortys only have 19 👍

Yeah. “Ooh lull t-birds” was my first thought. then I saw the black one and thought “ooh just like hooky!”

Got this playing right now, superb work, thanks!

I've never had a single problem buying anything from eBay, and I've bought hundreds of things over the years. You just have to use a bit of common sense and check feedback scores. For example, if it's a high value item and the seller has zero feedback, I wouldn't touch it with a barge pole. If it's a high value bass, I'd check out the sellers previously bought and sold items via their feedback, and if there's other musically related stuff on there, or even just random day to day things a normal person wound buy and sell, then it's must likely genuine. If anything ever says something along the lines of untested, or can't test because I don't have a plug / charger / amp / cable or anything else along those lines. Run a mile. It's knackered!

Great thread. Nothing against them, but can’t see myself ever acquiring a painted bass again - just not aesthetically pleasing enough for me these days. Here’s mine - all current crop (BTB now added).

I’ve got many bass theory books and this one is one of my favourites, and I still refer to it every now and again, it covers major and minor and 2 octave pentatonic scale patterns all over the neck, it doesn’t come with a cd but there’s a number inside the cover to enter for audio

That's me out then. I'll get my coat. 😂

Good idea. I currently have 7 more I haven't yet posted anywhere. Will let you know when they are on the website. 😊 They are Aubade - Soft Machine The Flattery Stakes - Greenslade Waltz For A Fallen Idol - Greenslade Catalan - Greenslade In These Shoes - Kirsty Macoll Dark Eyed Tango - Al Dimeola Chasin 'The Voodoo - Al Dimeola

I can't decide! The following link may be changed without notice:

@visog, as someone who plays only 6+ string basses, I must ask you - why even ask this question? What concern is it of yours to assume there's no merit in having any more strings just because you don't play anything past 4 strings? That's akin to saying 'I don't understand why you don't like mustard, I like mustard therefore surely everyone else must like it too'. People are different, choice is a beautiful thing. I enjoy playing 6+ string basses because a 4 string simply can't do what I enjoy playing. Extended chords and tap style is far more conducive to a 6 than it is to a 4. And yes, I'm sure there's plenty of 'tappers' who make do with 4 strings, there's also some cyclists that prefer a unicycle. At the end of the day, you might no be able to see past 4 strings, that doesn't mean we all have to be so closed minded! This is always an utterly moot arguement whenever someone has raised it. Do your own thing, I'll do mine, and let's be happy that we're both happy with our choices!

Quite right. And I would extend that. What good was the modern motor car? I mean, we could get round just fine in a car from the 1960s couldn't we? I mean they don't do any more than they used to? And the colour television set, the programs aren't any better these days are they? But to be fair, the 4 string bass made a drastic decline in music quality. I mean there haven't been many beethovens and Tchaikovskys since we had the electric bass have there? No, its all 'she loves me, yeh, yeh yeh' and boom boom boom. And hey you kids, get off my lawn!! ah.. bring back national service, that will learn them!

Let me preface by saying: I've grown up playing upright bass (with classical and some jazz influences). So 4 has been the norm forever for me, since I was 10-11 years old. Since I took up electric, after having a try with a 4, I've always gone directly for 6 strings since. Compared to upright they're so much easier to play, I don't see reason not to have those two extra string possibilities available to me, at the cost of having a fretboard not even half the width of an upright one I don't care if I see somebody come out with a 9 string bass. I don't care if they proceed to spend the evening only playing root-five on E and A, I don't care if they spend the evening doing chordal harmonic work. As long as the music is good and they are comfortable and happy playing it No, and we don't have to. Aside of being a pretty silly assumption to make (how 'much' better musical quality or bass playing per-string we should get? What's the "get good cost" of adding any string more than the 4 you already have? Have you earned your 4 already then, or should you be better off playing a 2 strings bass? ) It's literally the same instrument sonically, if you use the same notes as a four stringer. Nobody of those amazing musicians is what I'd consider 'mainstream'. The thing is, you're very likely to have heard someone play a 5 or 6 in some actual mainstream record without even realising it (because they're not using the extended range if not needed). In my example here, the job could have been done with a 4, obviously. Who cares? Again, they're doing the same exact job and can sound identical. Obviously more strings do not make better music. I can make better music with two beaten up pans and my fists, than a Steinwey piano with 88 keys that nobody's playing. It's just logic and common sense. Or, I could sit down at the piano, and rock a 30 min set with two chords and two notes. Or, I could sit down at the piano, and rock a 30 min set while going through all of Beethoven symphonies, sped up thrice just because I'm bored. The instrument doesn't define the music. Play what makes you feel good and enjoy. If you like playing in a bluegrass band with a metal pointy 31 strings bass, as long as everyone in the band agrees, have at it! Just don't ruin the songs by starting going ham on the instrument! (Which is something lots of 4 strings players are culprit of too...so again, poor number of strings. What has it done to you?) Edit: The end of my point being, where has it brought us? To different tonal palettes in some parts of music (like with the people you mentioned) and in the future, who knows who/what else!