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Sold my Status in a mad panic as the Mrs’ car is making funny noises. It’d been a close second to my sadowsky and I bought it in a mad rush because it was drop dead gorgeous and local... Anyhow, I wanted to have funds in just in case it’s not a simple fix. It’s booked in for the weekend so should be sorted fairly cheaply. Yesterday I Sold a (non working) vintage watch to a man across the street (he mentioned in passing he liked watches the other week and sent him pics and entered into negotiations). I had sorted my amp situation so wanted to move my Ashdown rig on. Got a mailshot from Local PMT the other week that they were doing a sale on “pre loved” gear in store. Messaged them to see if they still had a natural Spector LX i’d spotted last month in stock. ”It’s still here, but it’s red, not natural...” I went down to see what they were on about. Love at first sight is nonsense...NOT. Jeez. Agreed on price, and then did the “Ive got a p/x can you look at it...” the guy at PMT I’ve known for years (probably 20+) and he’s the manager, great bloke. Did a decent P/X value. And for the price of the watch and a bit more...I was leaving without my old amp and owning a Euro LX.

Thank you all for the feedback. It was really helpful. In the end I had to weigh up what was more important to me. Some extra versatility with the 5 string or get the 4 and enjoy looking down on lesser mortals. So, 4 it is!! In all seriousness in was something in the video that @Kevsy71 suggested that tipped they scales. I had been entirely focussed on the fretting hand whereas when I thought about the picking hand and the extra space that the 4 could have seemed like it might be a better way to start. That coupled with the majority of online lessons (especially beginner) being centred around 4 it just made sense to me. So here it is..... my Ibanez SR750. Really happy with it and with a little help from Scotts Bass Lessons I've been able to play a basic line without having the unfretted strings droning away in the background. Such a different playing style to guitar but I'm already addicted. @achavarin I think the advice to get both should be taken VERY seriously. Thanks again for some great tips and advice.

Hey guys, I thought i'd share my new video with you all here. It's a mash-up of Dean Town and Teen Town (I think we've all heard of those tracks!), it's been done before but this time it's a bit different. I am using my Mayones Jabba 5 string that I bought used on here, I cannot remember who I got it from though... Hope you enjoy and that the video doesn't give you a 90s flashback migraine.

Here's another and, oh my word, this is how it's really done. That's Paul Geary on the bass, with colleagues from across Europe. This IMO is better than the original version.

A new arrival. Been 20 years since my last Spector.

Held off for a while on this, had to wait for some bits to arrive. So I’ve used Ashdown exclusively for years, probably since about 2009 - previously I’d used Trace Elliot and then SWR. I still love Ashdown, think they’re a great company and make some unbelievable stuff. Literally just fancied a change. Initially started looking for a 410 - I Miss that air that a big fat deep cab moves. I found @bigthumb was selling an EBS proline 410 and as he’s local, jumped at it. Then I set about looking for a head. I always fancied a fafner II or TD650 as they look brilliant. The fact that I don’t have huge amounts of cash was a deciding factor...but there was loads of conflicting opinions on the 650 vs the 350 ve the Reidmar. Cue a discussion with resident expert @EBS_freak who was really gracious and helpful. He reminded me that @Dood was selling a Reidmar 750. A day or so later...here we are. Very, Very (VERY) loud. Super clean - but will investigate the settings more at rehearsal as my neighbours are all poorly with Covid19 and I don’t want to disturb them too much. Enjoying it so far.

Yes, people must (be) really stupid

I'm no stranger to GAS. I do it with everything. The anticipation, the hunt, the joy, the guilt, more joy, repeat. Four months ago I'd never picked up a musical instrument. My spare room is now starting to look like Abbey Road.

Benavente Vortex :

Just been listening to Don Letts 6music show from Sunday. It was billed as dub special, but as is often the case it was all types of reggae, not just dub. It annoys me a bit when people use dub as a term for reggae.... but maybe I should get out more! Anyway, here's my pick from the first hour:

Although my 'No.1' bass has been my go-to for as long as I can remember, I have always loved the sounds of P, J and MM basses on albums I grew up with, from Sade, Steely Dan, that sort of thing. At the same time, I resisted getting basses like that because I wanted to have my own sound, rather than to play an instantly recognisable type. Eventually I realised it would be great to have one of each as a 'tool' to vary my tonal palette and closely match the sounds I recognise. Having a range of basses also helps me feel inspired and I fall in love with each bass anew when I discover a great track I want to play along with. Also, and this might sound weird, but as 'The Bass Guitar' as a 'Thing' has been so important in my life, both through BC but also in making friends, playing in bands and generally providing the foundation to my pre-child-and-wife days, I believe collecting examples of the seminal developments in bass is excusable from a collector/historical record perspective. Just researching the ins and outs of how these basses came about, leading to things like the Vigier (it was the 80s), is really interesting. Although I'd probably not share that in public for fear of beatings or at least an uncomfortable silence, I feel I won't be attacked for it the same way here, in part because you can't reach me but mostly because I know you'll provide me with the conformation bias I crave. So after much experimentation and false starts, I have now amassed a collection of what I would consider my 'best' J, P and MM. When it comes to the MM, I have only played a few and owned two others, so I don't have as much to compare there. But as stated in another thread, nobody (or very few) luthier/companies make a 'take' on the MM bass like they do the J and P (apparently Ernie Ball are quite lawyered up) so I went straight down the line and got a Musicman for the job. When I say 'false starts' - it's often not the way the bass sounds, but the setup I am able to achieve on the instrument I've had previously. I like a flat neck with very low action, and not every bass can do that in the same way. This has led to some painful realisations when I've had to move on otherwise fabulous basses. If I can't play it effortlessly (I don't make effort very often), then eventually it gets moved on, normally to someone who says 'how the hell did you play it with the strings painted on like this' So here we go: Let's start, illogically, with the bass that's NOT a J,P or MM. It's 'My' bass - it has a sound all of it's own, but it's smooth, focused, detailed and consistent. I know exactly how it sounds in studio, live, amped, the lot - and it's a very versatile bass. It's been likened to sounding like a 'velvet brick' - kind of like a Modulus flea with a wider range and glassy almost digital response. It's a 1988 Vigier Passion Series II (Graphite neck) with a Marleaux pre, Basstec pickups and Roland GK system (I'm sure lots of you know it already) Next, the P bass. It's a G&L SB-1 from 1991. Strung with Labella light flat wound strings, it thumps and bites. The pickup is fantastic, with a huge range of sounds on tap by backing off the volume or tone. I nearly sold this when I nearly gave up on the idea of collecting the set but soon realised that I wouldn't get another like this. So what's next - Here's the Musicman. It's from 1983, the last year before Ernie Ball Made some changes, many probably for the better, but I love the fat slab body and the response of this bass. I have yet to try it with flats but with Elixir 40-95s (which I use on every bass except the G&L) it has that super poky top end which cuts through any mix, and the sound of pops on the G is just perfect. The previous models I had sounded a bit brittle, whereas this one sounds warmer and more 'chunky' somehow, although my setup has changed so much I can't compare for certain. The Jazz bass with the final hurdle. I actually didn't realise for a while that the 60s and 70s spacing on a jazz made such a difference, and when I did I wasn't in the space to buy one. I have had several 60s types in the past but never got on with them, finding the sound a little too rounded for my tastes. So after a crusade to play as many 70s basses as possible (knowing the quality and weight can vary substantially) I realised the best way to get what I wanted was a modern 'take' on a vintage bass, which, more often than not, needed work to support my lazy setup. The search was on - and this is where I ended up. I wasn't able to try it before I bought it so it was an anxious wait and unboxing and restringing and plugging ining, but the reputation of the Celinder J-Update is richly deserved. It's got that grinding, airy feel where the notes have that top detail and a slap sound so consistent and rich you feel like you can bite it in mid air. Oh and there's my 16" Wingbass with Roland GK pickup. Amazing little thing, perfect for playing synths or noodling around the house. The build quality is superb - beautifully carved black limba with a maple top. Guess what, the neck is dead straight because it's a plank of wood on the body, so the thing plays effortlessly and sounds huge. So there we go - If you are still awake, well done. Time to take Sybil for a wet walk. ped

I've built a few different short scale basses now at various scale lengths 23" (headless), 27", 29" and 30" and I'm still enjoying tinkering with these!! I'm particularly enjoying playing the 27" basses so much so I'm building a 27" 5 string at the moment (on another thread). I ordered a generic neck blank and the one that arrived was quite wide, wide enough to have sufficient spare for a headless neck.... So, I'm going to make a 27.5" neck for one of the mini headless basses just to see what that is like. I'm hoping to be able to use normal short scale strings on that to achieve the right tension etc. - might work, might not!! The reason for it being 27.5"? Well, that is the scale length of a spare slotted fretboard I have, leftover as the result of an error with my measurements from a previous build...!!! I've also made a neck blank for a 17" scale neck as another possibility - that would be tuned an octave up (@ped's fault again with his picture thread of really short basses). I've got a bit more to look at with that to see how the pocket tapers with it being much shorter (i don't want to modify the body). This is the neck blank for the 5 string neck - it really is quite wide!! Next to the ruler, I've got some other laminated offcuts that will form the centre section of the neck. The shorter piece is the blank for the 17" neck made from offcuts from other necks The two necks from the one neck blank with their corresponding fretboards Note sure what the result of this will be but only one way to find out!!

Not too sure if I’ve already posted this one on the thread . My trusty old 1987 Kramer NS2 , this was specially built alongside Doug’s (Wimbish) amber bass at the Neptune workshop , purchased direct from the company .

Bedminster

Well???........, we prefer the term hard rock rather than metal, but this one seems ok so far? video-1604058486.mp4

A little bit overkill for acoustic gigs , but i like to have thunderous lows even with acoustic bass !

I had to extend some wires on the Noll preamp. A super tight fit but got it squeezed in on the pickguard.

Infinite Bass IB-1.5FL and Infinite Bass/Status Hybrid 4 (I built them).

You'll need more than a spare room by the time these members finish with you.............

Oooo...somewhere else to post photos of my Ibanez Roadster

No one warned me!!! Am now in possession of two Sandbergs!! In addition to..........

Aye he said his mate needed a nudge as he’s never been down for years and said it was fine where it was. I believe he moved it the day after 😂

Lovely bass. 👍 Now the one thing that nobody else of the forum will tell you is this: before you buy another one, learn to play the one you've got!

I gigged last Sunday, I'm gigging tonight, and I've just landed another gig for Tuesday. What's more, two of these three are actually paid gigs!

Mine was £999 from a new price of £1799... at £300 (& with the matching cab) I would have to wonder if it was nicked. Granted there are a few who sell not knowing what they have but that is *very* low. Almost too good to be true. Might be wrong but I'd have been very suspicious.

The vintage instrument market has taken a hit, but that happens in every area during a time of economic downturn. It's a buyer's market at the moment.

One word: Neckdive. Or should that be Neck Dive? In which case, that's just two words ...

Oooh that is a sexy pic! Mine will have had two years of being regularly played and won't be anywhere near as pristine as yours. On the other hand it will have had free A.R.E. (Acoustic Resonance Enhancement), resulting in "outstanding tonal balance and eliminating the harsh edge common with younger guitars" which Yamaha would charge me an arm for if I had bought a BB2025 (the leg is for the I.R.A treatment). In other words it will at least have been "played in" 😁

The BassDirect price was too good, but the Station Music was the cheapest of the two or three others I was able to find in Europe. With shipping & handling it cost me about 50€ more. Not too bad. That pickguard isn’t the prettiest thing ever, removing it might be a good idea. I’ll let you to be the trendsetter, though!

Thanks RB - I'd have never got that one ! 😎

Theres a mod i did with mine, I removed the knobs and placed 2 o-rings over the shaft covered in talc power. Then replaced the knob. Its documented well somwhere on the net, I think it may have been an official mod fro. Panda. And it works well to increase knob resistance.

One from the archives: I first saw this (or a version of it) perhaps 20 years ago ...

I bought a Cutlass II in the late 90s in my native Italy; I brought it over with me in the UK, when I relocated at the end of 1999. It is now part of the collection of a very well loved English bass player. In the Summer of 2018 I was lucky enough to find a Status neck on eBay and I bought it for a StingRay I used to own at the time. I loved the combination, possibly even more so than the Cutlass II, as I have never been a Sabre type. To each his own, I guess... I hope to play another one before I die! 😎

I'm jealous, I would love to be in a band playing Alan Spenner bass lines. He was a great bass player. I used to see him playing the pubs and clubs in Kokomo. Apparently he was Bryan Ferry's favourite Roxy bassist.

It means he's not very good at identifying traffic lights and fire hydrants. Possibly a robot.

Ouch

Hard to believe my SR900 is my home beater bass (not that it gets beaten), I got it fairly cheaply on here and wow what a great Ibby, although I found a solution for those terrible Bartolini Mk 1’s, I hate them! - bit of fettling involved with those cheap Chinese covers off eBay but got there in the end 😊