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First round of finsihing is complete This first few layers are Crimson Guitars' High build finishing oil, over a surface sanded to 400 Grit. colour wise im extremely happy indeed, the contrast in the marquetry came out really nicely. the target is a nice even satin finish across the whole bass, which im using renaissance wax (conservators wax) slowly built up on top of the finishing oil. From this angel you can see the effect i was going for with the s matched top, with the flame of the redwood matching up nicely throughout the body the flame on the upper horn is especially nice. once ive got some more coats on and a slightly more even finish, ill get some nice close up shots. im also going to put together the power pedal, as well as the custom cable that will be needed for power/signal this week... and then its time to put it all together!!

I think I have a problem. This started as a natural finish P bass body on Ebay that "I don't really need but was too good a price to pass over". Then someone on here was selling some Greco pickups... "I dont REALLY need but too good to pass over"... then an Omega Badass clone on ebay - you guessed it "FAR too cheap to let it slip away"... Then a 1991 Samick made Squier neck fitted with wilkinson tuners... yup... "must have that"... Then "oh look, I have an orange drop cap and a couple of CTS pots in the parts bin..." I already have a Cort made 1996 Squier p bass.. and I have virtually stopped playing,, but I really think I have a problem/addiction...!? I have named her "The Dood" in honour of our very own Dood who I saw just after putting it all together playing a very similair looking (albeit actual Fender) p bass in a video demoing the Steve Harris Tech 21. Somebody stop me please, I am supposed to be downsizing...

On April 10th, 1996, AIC performed at the Brooklyn Academy of Music's Majestic Theater in NYC for MTV Unplugged. I know some people will disagree and point to Nirvana's, Pearl Jam's or Stone Temple Pilots' appearances (or definitely maybe Oasis?), but for me this is most legendary performance. Enjoy 😍

So I have recently acquired a stunner of a 2019 G&L CLF L2000 that has joined my little G&L family along with my 1989 SB2. I love this thing so much, its like a Stingray on steroids and is so comfortable to play. Fit and finish is miles ahead of anything else for this price being a hand build USA instrument. I have a huge thing for G&L as not much stands up to them, especially those MFD pickups! Just thought I would share the moment!

Well...Now we are back in the giant servers of Talkbass, I would like to take this opportunity to Thank all you wonderful people in Bass Chat for a lovely stay...Toasty crumpets and lashings of hot tea. You have all been so gracious and hospitable. It has been great fun hanging out and getting to know some of you. 👍😎 Cheers

Fixed

The purpleheart has been trimmed so the top is pretty much ready to fit - although there is a great deal to be done before that. These are the three dampened woods - walnut, purpleheart and oak: And here is the first of many mockups

I am genuinely touched! I've been having really rubbish day today and this has absolutely brightened it up. Yeah, still have a leaking sink and my To Do list is longer than my arm and I can't remember what free time feels like, but this.. THIS! has made my day

Tort and Flats Precision of course

Actually I just started writing a Big Thank you to making us TBers feel so welcome here

Well, I’ve got gigs coming out of my ears and talent for days, so why not commission another bass... 🧐 I’ve fancied a black/maple Fender P for ages but just don’t get on with 34” scales anymore. So following some egging on from @eude I started talking to @Cosmicrain about a mad idea for a 32” P-alike and he didn’t tell me to bog off... 😄 The main inspiration for this is the 70s Fender P played by Rick Savage up to around the Pyromania-era tour but of course Roger Waters has his famous signature P which is very similar. No pictures yet because we only hit the go button a couple of weeks ago, but we’ll keep this thread updated as progress occurs Full specs: 32” Zoot Precision with 10% smaller body to suit the shorter scale Ash body Maple neck fitted with titanium rods, 40mm nut width, P-alike neck profile Maple board with black dots Lightly aged/roadworn black finish Neck and board finished with a vintage tint Black/white/black scratchplate Lindy Fralin 5% overwound P pickup Passive electronics Vol / Tone Chrome Hipshot hardware with their Vintage bridge Schaller straplock buttons Of course Mike is renowned for using some of the sexiest maple you can find for necks (see my Funkmeister for example) but I’ve specifically told him not to worry about that here because (in my head at least) 70s Fenders didn’t go for highly figured lumps of wood. He’s also known for his stunning finishes (see the recent Funky 5 he built for @MattW here https://www.basschat.co.uk/topic/429761-5-string-zoot-bass-build/?do=findComment&comment=4374720) but again, I’m making him deviate from that for the mildly aged look. It’s a wonder he still talks to me really 🤪

Been a long time since I saw this particular band.

And here is current "Dood" from that very session recording the SH-1 review. It's a 1976 precision, Ash body and a very skinny slip of rosewood for the fretboard. I'm gonna have to agree, I'm in the "black pick guard" camp, even though my passion for natural P basses does stem from John Deacon's sunburst model that he stripped the finish off. He left the original tortie guard on it all the way up to the point of having the refinish in black with gold hardware around 1985. (Yes John did also have a second precision that he stripped the finish off too, which is often identified by having a silver Fender logo rather than the black "TV script" style logo of what became his "main" bass.

Klingon spoken here! 😂

Needs tort ....

Hiya SD Beware of the casual reference to bre*it - it's not popular to mention the biggest act of political & economic suicide in history, which is why I never mention it

I enjoyed that rehearsal very much. Really splendid to lock in with a real life drummer and just sit in that pocket for a few hours. The one thing I did wrong was to spend the weeks leading up to the practice playing a bass with a couple less frets than the one I took to rehearse with today. Spend the first few songs playing the occasional not sharp through not reaching quite far enough left. Once into it all was splendid though. Elf into BF Midget is a wonderful recipe for success.

Why not take the head off/out and get a lightweight cab (or two)?

It seems to have worked treat. Got it screwed on, tuned up and it was grand. Even the intonation was nigh on perfect. The skewer was bamboo BTW.

Reading these comments makes me think I made the right move ordering from Jon Shuker. I wanted a P bass with a J neck and went right around the houses in my thought process. Custom build to my spec with roughly the same wait time and probably not much difference in price.

Please remember. No mugs of tea on top of amplifiers (or servers)!

Noooo... I can only stand Tort plates on Burst basses....get thee behind me satan!

A drummer eh? We knew. When you were at the door, the knocking sped up and you didnt know when to come in... 😁 I'll get my coat....

Of course

It's because you're tortoise blind : a rare disease linked to tea abuse and driving on the wrong side of the road in a German car.

You've never run one over then! It's OK, I won't need my coat in hell. 😄

Is it a left-handed one though?

Oh, I don't know. I'm quite fond of this:

@Stingray5, what a lovely piece of music! Thanks for posting. For me, one of the great results in this thread is the sheer breadth of musical talent on display. Horribly clichéd I know, but in that respect it's exceeded my wildest expectations.

Time to burn some stuff

An absolute dream of a bass. Plays itself, light, and sounds lovely, with loads of finger based tonal variety.

The German brand might be Musima?

Trolleys are great but what I found works pretty well is telling a couple of friends who are coming to the same festival "hey, I'll give you a lift if you like". Before they know it, they're your roadies for the weekend

These are singists:

A drop of wood glue won't hurt, though.

I’ve taken the neck off and given it a good blow out. It was a bit dusty and grimy. I’ve put a piece of matchbox cardboard at the front end of the pocket. That seems to have sorted the problem. It’s far better now. Probably as good as an amateur like me will get it. I’ll still get it set up properly when we’re let out of prison. The setup is basically what it came with so could do with improvement. Thanks very much for your help.

I got this yesterday. I’m in love.

I wouldn’t say that personalities are the key driver. The sound reproduction needs of a bass and guitar are very different. The use of low frequencies from a bass player isn’t totally comparable to the sounds being reproduced by the guitarist. I know there are some exceptions - eg White Stripes/Royal Blood. 1 more mic could wreck a mix. Every time you double the mic count on stage you are losing 3dB of headroom. So if you are crammed on a small stage/performance that is subject to a lot a lot of reflections, chances are you are going to run into problems sooner or later. This is why it is super important that all the mics on the drums are gated as much as possible as they are singularly accountable for the most open mics. It’s not great to gate all mics when not in use. Gated vocals tend to sound clipped at the start - you can kind of get away with it on backing vocals but certainly not on lead vocals. This is what the video I posted of the guy riding the faders is effectively doing - taking people in and out the mix to avoid spill and greatly reduce the chance of feedback. Makes the mix sound way better. Naff vocal mic technique is another area where you can lose a lot of headroom. If your singers are not “on” the mic, you are pumping the gain and reducing to pickup the singer but also raising the amount of spill into your mix. In a pro environment, a sound engineer will always use their own choice of mics - not one that has been carefully selected by the bassplayer. From an engineering point, it is important that you know and trust your mics and their behaviours. Some mics will have naturally hot frequencies - and it’s about knowing that to be able to counteract them and avoid potential feedback. An open bass mic is particularly annoying is that you can’t high pass it as you want to capture the sub frequencies to FoH. Those low frequencies have to be present from the cab in order for the mic to pick them up - hence you are going to be introducing that low end mush onto the stage that makes hearing yourself more difficult and also increases low end spill into other mics. Yeah, you can high pass - but if you start hi passing evening, your mix soon starts sounding thin. As pointed out earlier in the threads, a male voice for example, has a lot of low end content that you don’t want to high pass. As an extreme example, imagine Barry White this a high pass filter on his mic. It just wouldn’t have sounded like Barry White. So yeah, you could lift the bass coming out of your cab speakers to avoid these issues - but foh will want a DI to have those low end frequencies for use. Anyway - back to the “if your rig tone is pleasing to the band mix on stage it will not be out of place in the room mix.” - this is all founded in a big assumption that the bass rig is not heard over the sound of the PA - and that it is not being detrimental to the foh mix (through spill) I’m not sure what you are quite saying in the last para - typically and EQing to the room would be via pink noise and prior to the audience coming in. Naturally the sound changes again once the audience is in so a good ear from behind the desk should be able to notch out any trouble some nodes. Of course, the big advantage of silent stages is that the sound of the room becomes the only major variable.

They don't cancel eachother, there's a "phasing phenomenon" that occurs in all instruments with two pickups. In most cases, the hotter one wins (whichever reads less ohm) and you retain more of that one's character. But, the end result is ultimately determined by how those particular pickups work together. A PJ set (from one manufacturer, sold as a set) will work the best together. In all cases. Mixing and matching (either entirely different makes all together, or even purchasing a set as individual pickups) is always a crap shoot. Sometimes, you get straight garbage. Sometimes, you can't hear any difference when adding the bridge. Sometimes, it works out great. Phasing is a funny thing. When a set works together well, you'll retain the majority of the split mid range, and just add the treble and definition of the single. Or, manufacturers will make them scoop more mids out to simulate a jazz bass set up. It all depends on the pickups. But, to answer your question simply, Phasing JN

The Funk Monster OMG ;D

Looks awesome. You have just kick started my Gas for synth related gear.

Don't go back then 😀

You're welcome. To be fair I hadn't noticed, glad you enjoyed your temporary stay and all is well beck in Basschat land, but don't be strangers. As a newb bassist I welcome feedback and input from anywhere, the more bassists chat and interact to kick ideas around the more we all benefit.

Thank you very much!👽 My right hand position is very comfy for me, no muscle tension whatsoever;] I guess it's a technique thing - I attack the strings from a different angle than you, more aggresively (though I'm not heavy handed), to get my strings to hit the frets. Your video is very nice! Keep up the good work👽