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Can you be more specific about the time and place for the handover - I need to arrange an ambush... So, so jealous...

She's here....finally..after exactly 14 Weeks. I think i'm in Love...😍 3,6Kg

Mick man!! I told you not to say anything about our cunning plan 🙄

OK - if the light is OK tomorrow, I'll do the arty farty shots....because it's all done! Wahaaaaaayyyy! I'm MUCH happier with the string positions, both relative to the pickups and relative to each other - and it's all invisible; top horn strap button on; back cover drilled, countersunk and fixed. So just optimising the string and pickup heights and the wait for Boris to decide that @Jus Lukin and I can meet somewhere just north of the M25 for me to pass it over. All being well, final photos tomorrow

What is your most listened-to live album? Mine has got to be Rush's A Show Of Hands. Been listening to that baby since I was about 19, and it's still a regular now, decades later. Honourable mentions: Iron Maiden - Live After Death - played through 2 cassette copies of that in my youth, but I haven't played it regularly in years. Scorpions - Worldwide Live - Still an occasional listen....

Jesus. I hope I never hear it done not properly.

John Mayer Trio - Try!

Stop Making Sense by Talking Heads - still one of my favourite albums of all time. or....Live & Direct by Aswad...my favourite band at one stage.

BEHOLD! The bringer of mud!

We don't have Photoshop at home and the result is not as good as Luke's visions but... This is more or less what my 1000 shall look like. Hardware will be gold then. Doing this in the pic absolutely exeeds my skills 😛

Lots of gigs I've wanted to leave early from, but it's generally frowned upon if a member of the band doesn't complete the set 🙂

To add a bit of back story, years ago I had a TC RH750, hated the head but loved the one knobs compressor and what it brought.. fast forward numerous amp changes and countless board rejigs and I've always felt something wasn't "right". After several trips down the YouTube rabbit hole, I decided a compressor was the way to go, but covid and lack of funding said otherwise. After a bit of Saturday afternoon amazon trawling, I came across this little fella... "Xvive Bass Squeezer". £38 delivered! Very little info online, but nothing negative meant it was worth a punt. After putting it through its paces (through phones admittedly) it sounds tremendous, to the point I expect it'll be an always on pedal. The one knob compressor adds a lot of punch without sounding artificial, and whilst the built in overdrive isn't good enough to be a stand alone dirt pedal; at low settings it adds a real warmth that seems to compliment my GK head beautifully. No doubt GAS will inevitably kick in and I'll NEED an ebs multi comp or something, but for now I'm thinking £38 well spent! 👌

Yessongs.

was trying to find a clip of a BB1300 and internet led me to this which someone said in a link was a Yamaha BB.... but is it? the top looks carved

Ignore us, go and try stuff and buy what hits the spot for you. It's the only way to make a good decision.

Love it.

Since a long time I've been latently lusting after a proper EB-3 bass: shortscale, set-neck, 4-way rotary switch. With the emphasis on latently. The prices on Gibsons have exploded the last 2 years, with even playergrade late 1960's EB-0's fetching 4-figure sums, and since I'm a rather picky person, I wanted an EB-3 with the pre 1965 specifications (deep-set heel, wide control spacing), which would further bloat the price. I was aware of the Japanese versions of those (Greco, Burny, Orville, Epiphone), but those seldom if ever appear outside of Japan, and if they do, top-money gets asked for them. So I let that idea of owning an EB-3 for what it was. Then I started browsing eBay in search for a deal, and there I saw a Japanese Epiphone listed with a very short & poor description, but also at a rather low price (just a smidge more as a regular longscale Epiphone EB-3 would cost in the local store), located in Kyoto. Four people were advertising that bass so I had my suspicions it might have been a scam, as one seller had a low price, and the others were asking nearly double of it, more alike the other offerings of different instruments. So I asked the cheapest seller how that was possible, and he said that it's a central pool of instruments, and each independent seller can ask their own asking price, and the instruments are also sold locally outside of eBay. His ratings were absolutely perfect, with almost everyone saying his packing & protection was superb. It would need to be, because it's an all mahogany instrument with a Gibson-like neck (1 piece mahogany, 17° tilted headstock, big hole for the trussrod), and no case included. So after pondering on it for some weeks (hoping Epiphone would announce something for Winter-NAMM, which they didn't), I noticed 2 Sundays ago he offered a 5% discount on top of his already low price, so I thought to myself: "you know what, fck it, I'll bite. His ratings are good, I'm paying via Paypal, so I do have decent protection,...". So pressed the BIN-button, paid and then wholeheartedly expected to receive a message stating "yeah, it sold locally, I'm sorry"... But that message never came... instead I received a thank you for the payment, and a promise the item would ship on Thursday via FedEx. Could it be that that bass didn't get sold for more than 2 years, at that low of a price? On Thursday morning I received an SMS that FedEx received my package, and it was scheduled to arrive next Monday... Then a delay in Memphis, so it would be Tuesday, but on Tuesday no-one is home here, so I had to postpone to Wednesday... And on Wednesday, a white van stopped and delivered me a sturdy cardboard box (all hail FedEx' method of pre-paying customs & duties, so it clears fast). In it was a layer of bubble plastic, a layer of newspapers, another layer of bubble plastic, a gigbag (got that for free), and inside that a shape that reminded me of an instrument, in a layer of bubble plastic & foam... I peeled away the protective layers, and there it was, undamaged. I now also have enough padded plastic foil to last a lifetime. A quick test on the amplifier learned me the bridge pickup was cutting out, unless I pressed on it, meaning that a wire was shorting somewhere, but the pickup itself wasn't dead. So I opened up the patient for an overall inspection and a bit of cleaning, and saw an exposed wire touching the baseplate of the pickup. Insulated it, and the pickup worked again like it should... But then I noticed someone had been tampering with the wiring. The bridge pickup is the original GOTOH PAF-bucker with plastic-coated coax cable, but the neck pickup had been changed out for "something with a really old braided cable"... So I removed the cover of the neck pickup, and I was greeted there by something that was distinctly not a GOTOH-version of the sidewinder pickup. It was old, dusty, had a wooden spacer between the coils and measured 30k Ohm... Yep, that is a vintage Gibson mudbucker. So now I have a proper EB-3, with a really chunky 1960's neck, and the one thing the Japanese versions are considered "inferior" for (the weak neck pickup) already been replaced by a vintage Gibson unit that absolutely blasts. Ordered a set of shortscale flatwounds, will then further dial in and adjust to my likings. These crisp roundwounds aren't doing it for me. Also DIYed myself a string cover and wooden tugbar.

I lost my passport, so I can't be there for the ambush, sorry guys ! Try not to speak with bad cockney accent this time mates...

How this got to 3 pages is hilarious

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Ok last one....and lovely bit of fast pick playing

Another Bill Withers here @Mykesbass I'm absolutely obsessed with it.

Average White Band - Person to Person (most listened to over time) Bill WIthers Live at the Carnegie Hall (most listened to recently) John Mayer Trio Try is a great call @Crawford13 as is Sinatra at the Sands @EssentialTension

Totally underwhelming. Never wanted a strat as a guitar and definitely not as a bass.

Deep Purple, Made In Japan.

Does Dire Straits count - it's just a description of their music rather than a genre?

From what I've read about intonation and pitch, it's about as subjective as our taste in music in general. Our common idea of intonation is based on equal temperament, whereby the piano is tuned so that it sounds in tune in any key. However, when it first started to appear in the late 19th century many people thought it sounded horrible and out of tune, which in a sense it is, but no one notices it now because it's what the vast majority of the Western world grows up listening to. Prior to that, pianos were tuned for a specific key, or group of keys, depending on the piece. What we now think of as enharmonic sharps and flats (i.e. G# and Ab) were also considered distinct pitches. The story of tuning systems is described in great detail in "How Equal Temperament Ruined Harmony" by Ross W. Duffin, if you want to know more. My point is, what sounds horribly out of tune to you may sound sonorous to someone else who is used to hearing it. That said, you'd think the bass player from one of the biggest bands ever would know how to tune his f$%&ing instrument!

Oof... immediate impression is full on deep tone across the spectrum with no doubt more oompf than my old single 1*12. So who wore it best?

Motorhead , Birmingham Odeon , 1982. So loud that I slept through the alarm and missed my paper round the next morning. They came on, played the songs and left, it felt a bit odd. Tensions in the band must have been high , Fast eddied had left a month later.

I've got 2 Mustangs, a PJ and a JMJ and they are very different basses. I've had my PJ wired with a blend pot as I found the stock 3 way pickup selector switch was too limiting, the blend makes the bass much more versatile as you'd expect. The pickups are clear sounding and work really well together and give a range of familiar Fender tones from the trademark P grunt to that wiry bridge pickup sound. My favourite setting with the blend is just off centre with a bias towards the P pickup which gives a full but clear tone that sits nicely in the mix. The neck is a slim, jazz like profile. The JMJ is different in almost every way. The custom Seymore Duncan pickup has a big, full tone with less top end than the PJ, it's very much a fat, rounded vintage tone. It's not as versatile as the PJ but it's got that tone that both works with the band and puts a grin on my face at the same time. The neck has a chunkier profile, feeling more like a Precision profile. The lovely @Adee had an American Performer Mustang that I was fortunate to have a ply with before lockdown. It's more like the PJ than the JMJ but with higher grade hardware and a more pleasing neck finish than the PJ. But that's not to say the PJ has crap hardware or a poor neck finish, as it doesn't. But the pickups on the American model sounded a bit bland to my ears, they lacked the character of the PJ and the JMJ. Out of the bunch I felt the American was the weakest model simply because the tone was the least exciting to my ears, not a bad sound as such, just nothing that grabbed me. And it's also around a grand or so. As the PJ and JMJ are very different basses they both have their appeal and I'll pick up one over the other depending on my mood. But the following day I'll happily play the other. I like them both a lot. There's also the Vintera and new Squier models but I've played neither one so can't comment as to how they compare.

One's a P, one's a J, they're not the same size. The location of the bridge can be somewhate inconsistent too (think why they needed long G screws). The only accurate measurement is from a fixed point in relation to the scale of the instrument and they are the frets and the nut. The other witness point, the bridge saddle, is an adjustable, movable part.

Surprised this is not up yet: Can't quite get it right on the bass... need to borrow @Bridgehouse's keyboard!

Paging @Osiris, if he's finished on Barry that is...

Living the dream man!

I can only think of Mark & Lard when I see that name, so I'll add 'Frank Spencer Blues Explosion' to the list. 😂

I've tuned my Squier Bronco down to BEAD. Got a set of Labella roundwound strings for a short-scale five-string bass and just used the heavier four strings. The gauges are something like 65 to 125 and it works pretty well with reasonable string tension.

I thought that it was for re-arranging the thread for comedic purposes? Which is funny!

They're in the house! (But I've got lots of work to do do unboxing has to wait...)

Al Jarreau (Vocals) Buzzy Feiten (Guitar) Freddy Washington (Bass) Lenny Castro (Percussion) Steve Gadd (Drums) Joe Sample (Piano) Philippe Saisse (Keyboards)

Have you played the Mark Hoppus bass? It's great as-is, would probably be very old-school with a more vintage-voiced pickup. I think one of the bass bashes a few years ago did a blind (like, someone was playing behind a curtain) 'what's the best p-bass sound' shootout and the Hoppus won by quite some margin. IIRC the EA is in the 'right' place, with the DG being flipped to being closer to the neck. He's a pick player and he wanted more room. Much like the Fieldy signature Ibanez, they're FANTASTIC basses that transcend the artist that endorses them.

‘98 MIM jazz body. Wired stereo/mono. ‘78 USA fretless p neck. Put together just before Christmas. Custom wire harness. VVTT(pull up on last tone for mono). with my mini g/k- MB-200 stereo rig.

Iggy Pop David Soul Brian Emo (sorry)