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No, not all immediately recent - obtained over the last year in various ways. First one was the Thunder 3 fretted, acquired locally about a year ago. It was the classic been under the bed for 20 years job, but had a failed pickup, green frets & was a bit sad looking generally. I could see it was fundamentally sound though and just needed a lot of TLC, which I gave it & got the pick up fixed by Kent Armstrong via my local (most excellent) music store, Kempsters. Second one was the Thunder 1A, picked up off of here about 6 months ago. Paid probably top dollar for this one, but it did come with an original case. Also needed some TLC but not as much as my first one did. My first ‘proper’ bass as a teenager in the ‘80’s was a Thunder 1A. By now I was smitten with my more recently acquired Westone’s, & the 1A sounded even better than I remembered when played through my modern decent backline. So when a mint Thunder 3 fretless came up for sale about three months ago at Bass Direct, I was in like a shot! No second thoughts. Due to a talent shortfall on my part, the fretless will probably stay a home player lol. The fretted 3 & 1A have both been out on rehearsal duty already & sounded brilliant. I’d never owned a Thunder 3 before and after playing bass for 40 years or so, I’d say the one I have is one of the nicest basses I have ever heard. Very happy with this trio, it has to be said 🙂.

I just stole this off a local Facebook page 🙂

Joe Public: "Boring old Fender, always rehashing J's & P's" Fender: "Here's our new Katana." Joe Public: "What the hell is that? Booooo! When's the next J or P out?"

My slightly altered lineup; my black bitsa (currently “for sale”), my new CV Mustang with fresh scratch plate, and my old faithful JV P.

The best laid plans and all that.... Anyway, after managing to get down to three basses (P Bass, SR5 and Fretless) I called in to PMT Cardiff to buy some strings but on the way in my wife spotted this gorgeous US G&L CLF L-2000 in their B-stock section and said "ooh, that's a really nice finish on that bass". I hadn't actually seen it at that stage but on closer examination she was right. Not only was it a lovely looking bass, it was also a really, really decent price too, especially as the only thing I could see that was slightly wrong with it was a very minor lacquer chip near the truss rod access on the headstock and a tiny bit of a lacquer ding on the bottom edge. Other than that it was spotless. I spoke to one of the staff who told me they'd had it hanging around for a while but had only just put it up for sale and would I like to try it. After play it for 10 mins I fell in love with it. I've had a couple of G&L 5 Strings before but this was the first 4 string I'd tried and it's something else. It's a lovely light weight and the electronics sound amazing- more organic than say a Stingray, but equally more hifi than a P Bass. The neck is lovely too. The guy could obviously smell blood in the water as he offered an even bigger discount than on the ticket but I decided to be sensible for once in my life and walk away. About an hour later on our way home my wife asked me why I didn't buy it and I explained that I couldn't really afford it or justify it at this moment in time. She told me to use some of our savings if I wanted to, so when I got home I called the store and asked them if they'd accept an even lower price for it: they wouldn't but reduced what they'd offered it to me for even further and threw in free next day delivery. And here it is. So anyway, as I was saying I'm at four basses, which is obviously far better than three

it’s obviously not an original, but…. Had no idea this was posted on YouTube. I was helping these guys test their new camera and audio kit. A mate sent me the link. Not sure how I feel about it as I hate my voice and hate seeing myself on camera. It’s why I play bass for others, so I can hide. But I guess it’s out there now, and you only grow when you put the lights on.

Isn’t it a direct copy of the Fender Roscoe Beck bass? Lol Si

It was 1985, I was 14 years old and it was a very hot summer's day. I was doing what I was always doing, riding my BMX outside, practising stunts to perform as part of a freestyle team that performed at school fetes, village fairs etc. over the summer holidays. I was aware of music as my mum, dad and two older sisters were all music mad and would be constantly playing Jazz, 80's and all sorts of music throughout the house round the clock. I was aware that Live Aid was on throughout the day and would dip in and out to watch some of the artists I was aware off, mostly artists that I knew from my sisters playing them but if I'm honest, I found a lot of it a bit boring. However, by chance I caught U2's performance. I didn't really know the songs or the band but quite liked it but what caught my attention was Adam Clayton. Remembering this was the 80's, he was strutting around stage looking super cool, pixie boots, confident and looking mega cool. As a geeky, spotty teenager, I wanted a piece of that. I had no idea he was playing a bass, let alone a sunburst Precision but from that moment my mind was made, I wanted to be in a band. 36 years later, I've been playing bass for 33 years now and made a career of it. I've been on TV, radio, multiple tours, written music for adverts, done 2 John Peel sessions, XFM, Virgin and Radio 1 live sessions and many other incredible opportunities. Even better was getting signed and the producer of our album was a gentleman called Mark Wallace (It Bites, Travis, The Primitives). It turned out Mark was the engineer on U2's Joshua Tree and produced all the b-sides so it was great to have a connection with where it all started for me. So I'm not sure if you would say it changed my life, possibly you would as it steered me into a life and a career in music, giving me some incredible opportunities that I would not have experienced if I have not by chance caught U2's performance at Live Aid.

Took my 1001M out for a "proper" spin at band rehearsal last night and a 2 hour gig tonight - first time since getting it a few months back. Had no problems powering my BF BB2 to hold its own with a full 5 piece band. Its core tone is definitely more gritty / "dirtier" than my DG M900. I need to spend a bit more time getting my ideal "base case" EQ settings - I was playing a passive Yamaha BB1025 tonight and maybe a sensible approach is to stick with that "threesome" till I've got the base case nailed. It was feeling a little too full on bass particularly on P or PJ, but even a relatively slight bass cut on the amp and compensating boost to the mids at 450 Hz felt a little boxy. So I'll need to tweak it a bit further to hit the sweet spot and also have a listen from the audience rather than just in the mix with the band. But overall, this is undoubtedly a kick-ass amp! Gig was a lot of fun too - crowd definitely up for letting their hair down on a Friday night!

This is something different...

Like most here I have spent many years chasing a sound that has become an ear worm for the thick end of forty years. I have had some of the best gear on the market over that time from the standard go to brands to the more flavour of the month ranges. I have been lucky in always having good comments on what ever equipment / bass I have used with the comment that no matter what I play it always sounds like me anyway.( why do I change my gear use the same settings and expect something different? Duh) Which brings me to the point. Now playing after COVID (thank god) I have replaced my last rig in favour of a Line 6 pod go and 2 Headrush 112s my Ibanez ffr 805 via a line 6 G30. After the very first gig where we had a great local musicians support and I received brilliant comments from the band and even better from the musicians in the audience. This continued on our next few gigs.So what’s changed ?. For the first time I think the bass is actually being heard as it should be instead of me trying to over colour it with a recorded perception in how it should sound. The headrush which I suppose are glorified pa speakers do an unbelievable job in reproducing at serious volume to a very flat sound from the amp cab sim choices from the pod go.For the first time my sound has changed and become more satisfying even though it is not what I had in my head for all those years. I can still recreate that if I wanted to but the options now are much greater . Sorry if this doesn’t hold much interest for the reader but I have just been amazed even using one cab at how versatile this little set up is compared to some of the very expensive and large stuff I have owned in the past.wondered how many people have had the same experience or the opposite. My little setup has been like a breath of fresh air for me and raised my enjoyment in playing as your typical weekend warrior.

I have my TC112s. Well, I also have my BC112 cab but you have seen that! Do you want it recording again, I could bring the camera, and maybe we could actually record the audio too

Brilliant, we will be doing something in the side room with home built cabs it would be great if you could join us there tomorrow with your two cabs.

Hi guys Finally i want to share to you , i get this bass for a second time, i get this bass in united kingdom. Its take 3 years from 2019 for search this type. Fiuuh thanks for all Thanks Sandraupa

Thanks chaps I always find some basses/brands lend themselves better to being either 4 or 5 strings and (for example) have always preferred Fenders as 4 strings but Stingrays as 5. My experience to date had always been G&L 5 strings, so trying a 4 string has been a revelation for me and I much prefer them that way.

This was recorded with a cheaper than chips amp through my smartphone... Le Fay Remington Steele 6 RHT CC CAP Big Block.mp4 This is the amp : https://m.thomann.de/gb/joyo_ma_10b_portable_bass_amp.htm Strangely, it sounds amazing at, of course, low level. I also bought this to use if off the mains, but it can also work on batteries : https://m.thomann.de/gb/harley_benton_powerplant_powerbank.htm

I’ve posted it before, but now it’s getting some gigs under its belt, I thought it deserved another pic 😊

Twerp!

Mine will have its first public outing for 18 months tonight on the back of a Trailer. THe house PA may or may not be any good so both amp and Basschat BC112 MK3 will get a good workout. I have never really had to have either anywhere near flat out so it will be interesting.

Here's Hugh being typically charming to the audience at Guildford University. He starts with "Have you all got yer Crackerjack pencils? Stick 'em up yer derrières, then!" After playing Hanging Around, he finishes with "Guildford University never respresented Guildford. We hate playing to elitist audiences, so fukk off!" https://www.youtube.com/watch?v=s-_vHvYWDLA

Nice bass and it’s great that your wife is helping to feed your GAS. Which reminds me that there is a formula to determine how many bases you should own. I got this from another GAS inflicted forum but it applies equally here: - The correct number of basses to own is n+1. While the minimum number of basses one should own is three, the correct number is n+1, where n is the number of basses currently owned. This equation may also be re-written as s-1, where s is the number of basses owned that would result in separation from your partner.

That looks like a flying V that's been delivered by Hermes

Following several enquiries, Jack has asked me to point out that he doesn't have a cardboard box big enough to take a beech tree, and anyway he won't sit in the wood all day waiting for your courier to collect. 😉

WARNING BASSCHATERS... Over recent days it seems a cluster of what can only be described as 'Dark Materials' has been forming... Initial analysis shows the majority are of 'Metal' construction and emenate from the Far-East... While other, more complicatedly formed items of particular interest involve 'Wire' and possibly 'Magnets' and are belived to be of UK origin... Possibly as far as Hastings!.. What are these for?.. and should i be unduly concerned? I'll report further if the situation changes.

Here's a lovely version of a tune I'm working on at the moment - guy has converted a modern banjo to gut strings which gives it a very different feel.

Friday night was my last gig with the Flotonics, the photos are from soundcheck. It was a birthday party on a farm (hence the trailer stage and outbuilding backdrop 😃). I followed Google maps directions getting there, luckily I drive a pickup truck! The tarmac quickly vanished when I turned onto 'duck street', I didn't see many ducks but plenty of geese, chickens, pheasants and partridges on the dirt track. The set up was a rectangular patch of grass surrounded three sides by farm buildings. Hog Roast, horsebox bar, couple of fire pits and bales to sit on...right up my farm track! (That doesn't sound right 😆). It was the new guitarist's 1st gig and he sounds great, it was good to meet him and play alongside him. Hopefully I'll get to play with him again soon, I'm still going to dep when needed. The actual gig was beset with one major problem...the singer had a cold and we only managed about a dozen tunes over two sets! Shame that my last gig was a damp squib! I'm going to miss playing with these great musicians and I've certainly learnt a lot and improved as a bassist and as a human I guess. I'm looking forward to the next project whatever that is, I haven't decided yet!

Will be interesting to see what it fetches - needs a bit of tlc, & given the condition I wouldn't put money on the electronics being functional. About £300-ish would be fair enough but I wouldn't want to pay much more.

Yes that would be great. It's really interesting to hear others cabs and chat about their experience and what works and doesn't as well as the design process and tools.

I always get Roqsolid. I’ve had Hotcovers ones before and agree that the padding is better but as per the comment, they don’t fold up too well so you have to find space to store your cab-sized cover. Which can be a bit of a pain in pub venues with no dedicated storage areas.

Try now - I had the 'force sidebar to show' ticked

I've been a Gus user for over 20 years now and a big fan of theirs since I first saw photographs of the prototypes in one of the musical instrument magazines in the mid-80s. I currently own two G3-5 basses and a G1 guitar (I did also have a G3-4 fretless bass which now belongs to Happy Jack). Everything apart from the machine heads and strap buttons are either made by Simon Farmer himself or specially commissioned for the instruments (AFAIK the pickups are made by Aaron Armstrong and the bass pre-amp by John East and both are unique to the Gus). Like most carbon-fibre instruments they are made in a mould, but there is added complexity as they have a wooden core to the body and neck and the carbon fibre is a "skin" around that. All the metal-work is made in-house although I believe the chroming is outsourced. Somewhere in the "Gear Porn" section is a thread about the refinishing/refurbishing of my Red G3-5 Active which shows some of the final processes in the making of a Gus bass. There is also a workshop tour on the Gus website although this is now quite old and many of the processes have been updated. Regarding cost, I had Simon price me up a custom Bass VI a couple of years ago, using his G3 Baritone 30" as a starting point and we were looking at something around £6.5k although that includes a lot fair amount of extra and custom options. I believe it may still be possible to order a standard 4-string passive bass for under £5k. However I was told that there is currently a 12-18 month waiting time for new orders. When I had my G1 guitar made at the end of 1999 it took about 3 months from placing the order to receiving the finished instrument. The Prince connection (Prince used the purple and gold G1 guitar at his last ever gig) has significantly increased the profile of Gus Guitars and consequently Simon's work-load, which is good for the future of the instruments. HTH.

I'm not sure if people will be aghast at this idea, but for low volume home use with a low powered amp, a small closed-back guitar cab might well do the job just fine.

Hey teebs, not sure how teeny tiny you want to go , but miss RB bought me this to play my phone through and you can also play your bass through it, it’s a proper mini amp, it doesn’t rumble the house down 😁, but it works

I was always a bit disappointed that none of the bands I've been in wanted to do Derek Bailey and Jamaaladeen Tacuma's "Mirakle". I suspect it would have set the dancefloor alight at next Saturday's punk Dollfest! 😎

Unfortunately, I see thing often enough to suggest that your next step is a new set of pots. They will probably continue to deteriorate due to the element being damaged. D5 contains all the lubricant necessary for regular rotary pots, just the tiniest amount possible is plenty. The F5 is for faders, it's way more oily and frankly doesn't work well on fader or rotary pots. Faders, being so exposed, are particularly vulnerable to debris and all that lube does is attract more debris.

Is this an opportunity to make jokes about Sting, you 'Logging In' or favourite Van Morrison album being Tupelo Honey?

I use my ms60b for chorus and phaser (and synth patches) but the octaver isn’t great; the pitch shift set to an octave down is better.

That would do. The larger the cab the lower and louder it can go with not much power. That's why even in home hi-fi big cabs ruled through the 1940s, when 25 watts was a monster amp, and they still do with Singled Ended Triode amp aficionados.