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Indegestion? Touch of GAS? Took some 'Gumtree'... I likes the Ibanez SR's... After buying a GSR200, nice and great value, I wish I threw some more $£ in and gone for the SR300. I also likes me 'Naturals'... So I 'Hit Submit' on a 2010 SR600... Ash Body, 5 Piece Jatoba/Bubinga Neck... 38mm Nut... Bartolini Mk1 pups £200... Hopefully I didn't get my pants pulled down to far?

Bit more progress on this - routes and now going through the oiling stage - apologies for the low light on a couple - it’s in me shed. The block of wood above the full length shot is for the next build! The block started at 5kg - this is hovering at around 2kg no hardware so should be nice and light

If you play BASS!!!!! like you TYPE!!!!! then I think I UNDERSTAND!!!!! why.

Have you got a mouse in your kitchen?

58 year old 'snowflake' here, using amp modellers, in ears and FRFR. Plenty of current excellent rock music all over the shop 😁

All Japanese fender basses are superb, ive yet to a play a bad one. The 62RI's are excellent, nothing further to be said. 😃

Guardian Live | What's on An evening with Skunk Anansie's Skin Thursday 24 September 2020, 7pm–8pm BST Born Deborah Anne Dyer, Skin rose to prominence in the 90s as the frontwoman of rock bank Skunk Anansie. As a black queer woman writing and performing in the heavily white and male Britpop era, she has continued to blaze trails throughout her career; in 1999 with her band she was the first black woman to headline Glastonbury, and her political lyrics have spoken to the disenfranchised for the past 25 years. In her upcoming memoir, It Takes Blood and Guts, co-written with journalist Lucy O’Brien, Skin chronicles her life as a Jamaican working-class girl from Brixton who broke through a difficult childhood to find fame as a world-touring performer, fashion icon and social and cultural activist. She will be in conversation with Observer journalist, Miranda Sawyer. Book tickets

Fie! Fie! Fie! 👿 Just-A-Nut is brilliant. It's the non-adjustable nut that's the stupidest thing I've ever seen in my bass-setting-up life. It's the only aspect I absolutely loathe in my new Ibby. You can make absolutely everything individually higher or lower, but not the nut. Complete idiocy.

I've had about five variants of this "company" pop up on my FaceBook feed offering £2000 guitars for £86. It's the biggest scam since Scammy McScamster opened up a branch of "Scams R Us" in Scamstown, Scamshire and offered a free scam with every scam purchased over £85. I'd avoid it, if I was you.

Finally got to rehearse with the setup 😀 2 guitarists, vox, medium hitting drummer. All went well apart from a speakon lead went down and like an idiot I didn't have a spare! Upshot was, I used a single cab with the Quilter and it sounded great. Plenty loud enough too! In future, it's a single cab for rehearsals. Well impressed. 😃

There are quite a few Stickists in the UK go on Stickist.com and say you're interested in the Stick give yer location and see who bites. You might find one or two for sale or at least someone to invite you over and check it out...we are an extremely friendly (and talkative) bunch and passionate and not secretive at all. We want the community to GROW. And there are a lot of us coming from bass. Strings...Newtone is a good source. SE from California is prohibitive in $$$. And you can ask me anything. I play a 12-string Grand tuned Dual Bass Reciprocal de-tuned a half-step, with the Melody a half-step lower, which really makes it matched. In that the fret markers match. It's weird if you check out Stick.com (the Stick website) the explanation is Melody being a 5 or 6 string bass and the Bass in 5ths "sharing" the common low B string. But for me my tuning makes more sense. Greg Howard experiments with DBR and even shows how to "convert" to DBR from other higher Melody tunings, but does it with a Stick that has no markers and he puts tape "off-set" on the Melody...Like I said weird, or complicated, depending on how you "think" (I'm a bassist, I don't "think" like other people) Anyway, I encourage anyone that likes to play crazy stuff or likes to write but doesn't get on with a guitar or keyboard and wants to march to the beat of a different drummer to check it out...

Playing originals... a girl told me I didn't play it like in the record. . . . She was right too! That song was on our first album and I had since changed the bassline. It turned out she was learning to play bass and learning our songs! We've been together 5 years now

Apologies - I’d been promising this for a while - the fretless now restored entirely and on view here with its non-identical twin. A bit of natural light this morning so front and rear facings. Unusually, Mica selected the more dramatically figured facings for the rear of the fretless. Massive thanks to Bow, the Gallery, Mica and others for some world-class work/advice on getting the fretless back to ‘as new’

So up next will be a modern 5 string. - 35” scale - 24 frets (may opt for 21) - 2 active EMG MM pups - passive EQ VVT (may put in a preamp) - Black hardware - 18mm string spacing (single string bridge) at bridge - brass nut (10mm spacing) 50mm wide - swamp ash body with a tbd top (walnut likely) - maple neck, bolt-on - wenge fretboard (most likely) - I quite like scalloped headstocks, so will probably go with that Will be doing a full-size drawing in the next weeks..... old school style

So the nice man from DHL delivered a parcel today! As I probably play as much guitar these days as I do bass I had 3 electro acoustics, one 12 string, two 6 and two of those were Taylors. However I haven’t owned an electric in years! So I sold the Taylor 6 string and replaced it with this neat little T5Z which is supposed to be able to do acoustic sound and electric. Nice dinky body which is surprisingly audible unplugged, amazing neck super shallow and the 5 way selector switching between its 3 pickups. I know it only looks like one but there is another hidden in the body by the neck and then a body sensor picking up the vibrations of the mahogany top. ive only a little 10watt amp at home so not the best test as it’s pretty tinny, but so far I’m impressed. I wouldn’t say the acoustic tone is the same as my electro acoustics but it will do and will be interesting to hear it through a PA. Neat little gig bag too.

Well - it's not a big place - near Gouda (the cheese place, indeed), not too far away from Delft as well. @BassTractor - are you on Muff Wiggler's as well?

I play pubs and clubs. The idea of turning up at the Dog & Duck and saying, "I didn't bother to bring any backline, where's the venue's PA and sound guy?" is so preposterous that there's really no need to take the subject any further. Like everything else in music (and most things in life), it's horses for courses. If you only play big, well-organised gigs with excellent PAs, experienced sound guys, and superb monitoring, the why would you bother to haul around a valve head plus a 410? That's not a good description of my musical life.

Okay, okay - here you go...😁

use a dremel with a little polish mop and a touch of auto glym on the frets...

Our chiropodist uses one.

Great bit of kit to have in your armoury, surprisingly versatile for cutting, sanding polishing etc I'd recommend the 'real thing' if your budget allows, they are very well made and tool bits are decent too

Nice one @Obra, you must have had time to kill, I thought this thread was dead and buried quite some time ago 🤣 Pleased to report back that this still gets played regularly, and sits in the corner of our living room.

You might regret saying that if you file too far down on a bone nut 🤣

Were you honestly expect us to jump in and steal your thunder o’ guru ?

Like Covid....

Quick skim through the thread, don't think anyone's answered the specific question so if boring details are your ting, here goes. MIJ - Made exclusively by Fujigen Gakki, and basically covers all Fender Japan output between 1982 and 1997. There have been a few Fujigen-built MIJ batches subsequently. CIJ - Post-Fgn production, from Dyna Gakki & Tokai Gakki. Some might've heard of one of those. Not 100% sure but there are probably a few pre-'97 CIJs in circulation. Real-world differences - a letter. High-end Japanese manufacturing consistentcy's always been incredibly good, there's never really been a "best" factory. There won't be a fag-paper between MIJ & CIJ. Just a little addendum - Fender Japan (a partnership between Kanda Shokai & retail chain Yamano Gakki) came to an end in 2015, and I don't know who's responsible for subsequent Japanese Fenders, or who makes them. I should probably find out.

I have had numerous Japanese Precisions and the build quality (CIJ or MIJ) has been consistently exemplary. Frankly, I see spending the extra on one from the American continent as pure waste. That said, I have tended to go for the US variants as they have alder or ash bodies (for example PB-75US).

I knocked out a couple of John Giblin transcriptions last night. The first is from the 1981 Phil Collins album 'Face Value' and the tune is 'Thunder And Lightning'. https://bilbosbassbites.co.uk/thunder-and-lightning-phil-collins/

At 52 many start to bemoan the fact that "it's not like it was in my day", that "the kids nowadays don't know how to make proper music", that "rock music is dead"... What this shows is that: a) they're old and looking back on their past glories with both rose-tinted specs and a longing for their youth b) that rock music is usually reinvented by subsequent generations, usually to the horror of the previous lot - which is the whole point! c) Their version of rock music will be carried on by their generation, getting more and more staid and forgetting gradually, as they approach the age of the bath chair and early-evening cocoa, that rock'n'roll is meant to be edgy! 😁 However, I would hold out more hope for rock'n'roll if the performers didn't just appear on stage with the same tshirt and jeans they wear everywhere else. Or worse, a nice clean shirt and slacks. As far as I'm concerned you're putting on a show, not just a record - your audience need to be entertained visually in some way as well as aurally. Stop with the squareness already!

So, Andy looks like he’s in. We’re sending tracks back and forth and demoing ideas where time allows. He bought a Vintera 60’s Strat to celebrate - so fair play, he seems enthusiastic. Drummer has just bought a Roland TD kit so he can track drums more or less silently at home - before we meet and rehearse, bit scuppered by holidays this past fortnight. Hopefully...hopefully...we’ll finish our second EP by the tail end of the year.

And we now have a full size drawing, to the correct dimensions, scale etc. I need to sort out some neck wood, as I didn’t yet order anything whilst I was deciding what I wanted to do. Tuner positions are just approx. to get an idea of the headstock. Not sure what it reminds me of, but I may unintentionally have nicked a design. Pedulla Rapture-ish, but smaller. The body is an adaptation of the body I designed for my fretless. Anyway, can start on the body, but the neck will need most work so need to start ordering something...

Add tools who leave their pedalboards on the stage and I’m with you.

Oh and my pet hate, from a promoter or stage manager: “The headliners won’t move their drums so you’ll have to set up around them.“ This makes me want to urinate or defecate over said immovable kit.

Punk covers band Drunk bird says “play some Bon Jovi“ I play some BonJovi Drunk bird says “no, play some Bon Jovi” I diplomatically yell through the mic “I just ferkin did” Rest of pub laugh, drunk bird decides she can’t work out what’s going on, but that we're obviously rubbish so leaves the pub

Having some fun on Donny Bénet's "Mr. Experience".

There’s No disputing Coleman’s Mustard!

Carl !!!? 😮

First impressions. Very nice design, metal base, plastic top. Clunky great wall wart to adapt the European style plug, but it's 9v centre neg so actually not an issue. I'm used to Zoom's multi F✖ so that's my comparison benchmark. The screen and controls are much classier than the Zoom, whose simple animations are cute but dated. I dove in without the manual (as any self respecting bloke of a certain age will do) and it is pleasantly intuitive to alter the parameters of individual effects and rename patches. All became a lot easier once I found the download link for the proprietary software. Thomann have hidden this with great and unnecessary cunning but I won in the end! The thing I always found with my zoom pedals was an inordinate great heap of reverb and delay options. Which I have little or no use for. One or two maybe, but there seems to be hundreds. Well this shiny little silver thing is like that but with guitar amps and cabs. No surprise really, it's aimed at the guitarist market. There are empty slots for 'third party IRs' which I now know how to both make and buy. A few dedicated bass speaker options and the balance shifts. They do have a bass bin, head and mic option. But d'you know what? If you forget the labels and treat everything on the pedal simply as a sound effect, and one you can alter and fine tune and just let your ears be the judge its absolutely fine. I did spend a while reducing high frequency distortion (and distortion in general in fact) from presets and produced very usable noises both through headphones and cab. The Zoom pedals allow any number of configurations - heck you can just pile up a bunch of overdrives or five different chorus pedals if that tickles your fancy. Unless I'm missing something (remember I haven't studied the manual) this is organised very differently. Each patch can feature up to 9 different programmable 'noises', they come under headings FX/COMP, DS/OD, AMP, CAB, NS GATE, EQ, MOD, DELAY, REVERB. Each of these has their own list of choices. So all the amp choices are under AMP, reverbs under REVERB etc. So far so good. However, for reasons of palpable insanity all but one of the wah effects are in the same sub section as the compressors (under FX/Comp) . This means you can choose either a compressor or a wah. But not both. Go figure. If there's one effect in need of good compression it's an auto wah, right? The rest makes sense, fuzz boxes all under one roof, as are eqs and cabs and other modulation effects, such as flangers, choruses, phasers and such. Anything missing? Synth sounds I guess. Not an issue for me but a win for the Zoom. I have much more to learn but I will never need another overdrive or valve sim if I keep this! In case you're wondering why I bought something so clearly biased towards the guitar, I thought it would sit nicely in the fx loop of the high frequency side of my Bi-amp rig. And it's Harley Benton so had to be tried. When Thomann's house brand hits the mark the quality /price equation is just plain nuts. Well worth the gamble of the odd turkey. More on this as I get to grips with it.

Someone always says "you should hear my mate singing, she`s great!" Usually a drunk woman. I blame X factor, Mickie Most and Hughie Green. All Ba*tards!

Me checking my mic level: "1 2, 1 2". Punter at the back of the room yells: "3 4"! Punter then laughs hysterically at his own 'joke' and attempts to high-five his nearest mate who just stares at him blankly. Over the past 24 years that I have been gigging I have played a little over 1500 gigs. In that time I have witnessed this happening a little over 1500 times. 🙄

Turning the One10s sideways makes the lows less deep but thickens them up. Not better or worse, just different. Some rooms will suit one orientation more than the other.

That’s a good idea, with the right bits the dremel is a great tool