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I guess I'm ambivalent 🙂

Had the At 212 Slim a few days now, Bax delivered it in 6 days which was quite good. Cab cost £736 inc discount so I ordered another too which comes end of this week for a 4x12 vertical stack. Comical weight can pick it up with my index finger and it sounds like Thor’s hammer, Had 2 BF Two10’s and this sounds easily as loud and even more full. Nice cosmetic details too on the front and corner protectors and dare I say decent handles.

Here is my Yamaha TRB 5P .. awesome bass..

Of course. It's right in between the 'h' and 'r' of 'hairdrier'. ...sorry.

Latest iteration of my mini rig of doom. The Glockenklang is incredible:

I am currently in process of moving to a new workshop, looking forward to when I can get back to the Streamer. Patience is a virtue right?

I once played a show. An anniversary concert for a big musical at a fairly big and famous venue. We had a problem with a singer. Not tuning......timing. She kept running off in front of us, a beat, 2 beats, a bar. Just totally random. We had to go with her. MD's decision. In was a fairly basic tune in 4 but we ended up sounding like Dream Theater.

I've always been a fan of Faith No More and Billy Goulds bass is a big part of their sound so I'd love to have his signature Zon

Jazz, BB, and Ray4 slap tones:

I managed to get a set of Wilkinsons on mine. It ain't pretty looking at the back but it works.

Holes drilled and cavities shielded, all ready for final assembly. Unfortunately I’m going to be away for a few days now so it’ll have to wait until I’m back next week. Nearly there now.

Halfords sell 'Flexible Vinyl Paint' which they claim is good for PVC, UPVC or vinyl. Never used the stuff myself but it may be another option for you to consider.

Jah Wobble - the man of seemingly hundreds of collaborations.

My fav finishes are red, black, white and natural. However, even I could not resist the lure of a sunburst P bass from the 70s (sorry, no tort, I could not go that far ; -)

@BillyBass You forgot one very important point : 4) Go to a real luthier who is also a bass player (there are some) and get your bass totally set up to your taste while staying there when he is doing the work. And don't forget that the strings have also a great impact on the sound. Come with your amp too. You have excellent pickups on your bass, so the "issue" certainly is the perfect setup. Sometimes it takes me 2 to 3 hours to have a perfect setup on a bass and I've set up thousands...

Jah Wobble's Ovation Magnum.

Steve Harris' Blue Sparkle P ( I own a Fender SH blue sparkle): Cliff Burton's Aria Pro II SB B&G (I own a SB B&G): Mike Watt's Gibson EB3: Jason Newsted's Alembic Elan:

It’s been posted before but I love the version by eek a mouse .

Why use a pedal when you can buy a new bass? You're on the wrong forum m8

The reason they sell 4 and 8 ohm versions of the cabs is that there is a demand from musicians for more watts. Part of that is from people who like to be able to talk about how big their stack is, part is that there is a smidgin of science about it and part is because of people being utterly confused by the advertising departments into desiring lots of watts. The thing is that what you really want is sound levels, for want of a better unit lets say decibels. More watts through the same speaker will give you more decibels so long as you stay within the speakers operating limits. 100 wats through your Ashdown is going to give you louder bass than 50W. Just not as much as common sense might suggest. In fact with the same speaker operating within it's limits you'll get an extra 3db. Confusingly if you were operating at 1W you'd only need another 1W to get 3db extra volume. You've doubled the power and that gives you 3db. So now we go to your amp, theoretically it should give double the power into 4 ohms. and at low levels it will. Running at 1W you'll get the extra 3db into 4 ohms but at 300W into your poor amp will run out of puff (read current) and you will get 500W into 4ohms according to Ashdown. That's a lot of extra watts but not quite double the power so around an extra 2W. Confusingly though to make the speaker 4ohms you have to change the coil and that throws other things out. theory is simple the real world a bit messier. So how much louder is 3db. Well, it might be twice the power but it is nowhere near twice the volume. 1db is the smallest change you can hear, one click on the stereo, a just noticeable change, but if you left the room and you came back and someone had turned the telly down 1db you wouldn't notice. 3db is just about what you would notice. If your mix is right and you turn up 3db the bass would dominate, it wouldn't be silly but it would definitely be noticeable. Equally if the bass was just not quite there 3db would fix it, probably. These aren't iron rules, the sound engineer will be able to hear 1db changes and a ham fisted guitarist quite capable of adding an extra 6db wiping the balance out for everyone else. You haven't said if you like your tone? If so then there is a very simple fix, buy a second 8ohm 15. Doubling the cone area will give you 3db extra and the extra 200W going to 4 ohms will give you another couple of db. 5db will make a difference even the guitarist will hear!

Bob Weston - Travis Bean TB2000 Who needs all those controls?

Yes, I really like Mutoid Man as well. That's all good 👍

Worth it just to see which bass would be played next. 😀

Pickup height is very important. My PJs are both Ibanez. One has the stock pickups and the other has EMGs. On both the P pickup has loads more output than the J. That's partly because a P is just more powerful, but also because at the point it is sensing the strings the string movement is massive compared to where the J is. My J pickups are raised very high until the point where there is about 1mm string clearance when the last fret is fretted. Then I adjust the P height to get similar levels when swapping between them. The P will be lower but probably not as low as you might expect so will keep the lovely P tone fully. Works for me!

Weirdly, the all time award winning ugliest bass ever has not been shown. Now it even comes in a colour fitting the shape... When designers have sh*t in their brain, this is what happens. How wrong can a design be ? Check the photo above...

Ronnie Lane's Zemaitis:

I made my own "custom" pot. I wrote something about it here: Klick

I like both finishes equally:

I have had 1400 hits on the website in the last two days and 3000 in the last week.

You might like Yamaha's three colour sunbursts, they seem to be modelled on 70s Fenders:

For me, it's someone playing an iconic signature bass of another iconic bassist Martin Mendez of Opeth and his Fender MIJ Marcus Miller signature were one of my main reasons for picking up playing bass. His playing and his tone on the Blackwater Park album really struck awe with me, especially that rumbling bit of overdriven slap bass in the title track. I had been playing guitar for a few years when that album came out and I think I had just bought my first bass (but I'm not sure, it's been 21 years!) and this album inspired me to play it a LOT. He and drummer Martin Lopez brought a unique groove to the band that's been slightly lost since Martin Axenroth (no, I don't think being named Martin is a prerequisite to join, but it definitely seems to help) took over drum duties.

Billy's the reason I picked up this 😁

My Thundergun is 7.9 lbs...Korina. Only thing heavy is the tone. I'm guessing the one you tried was a Rumblefish...light and resonant due to its hollow design and phenolic composition, much like a Danelectro. Today's Reverends are far more substantial, as solidly constructed as any quality bass.

The wonderful Alan Spenner (Wal JG series) The wonderful Percy Jones (Brand X) - Wal The wonderful Bernard Edwards - 1977 Musicman Stingray (I know the bass has been mentioned before - no disrespect to John Taylor, but you can’t beat Bernard playing it). Boz Burrell - Fender Precision fretless Andy Fraser - Gibson EB3 Jack Bruce - Gibson EB3

I'm a very experienced choral singer, both accompanied and a cappella. A lot depends on the arrangement... but singing a cappella has a very high risk of going flat - end of story. Any singer who doesn't understand that, shouldn't be allowed to even think of singing unaccompanied IF accompaniment then has to join in, as it will be doomed. It is extremely difficult for an unaccompanied choir to maintain pitch. It can be done, I've sung in choirs that can do it. But, you need a well-trained choir that has worked on doing it - it doesn't 'just happen'. Even very good choirs with certain works will need some assistance to avoid drifting. John Taverner's works are a good example of this. Something like the Song for Athene requires a sort of bass drone which runs all the way through the piece. You need to be superhuman to not drift in pitch. Every performance I've done of it with various very good choirs, the organist has always put his left foot on a soft pedal so that there is a reference pitch to keep the basses in tune. It's usually the sopranos that go flat and then the rest fo the choir ends up adjusting to fit, but you can't do that with the Taverner. Interestingly, an interview with the MD of one of the country's best cathedral choirs said he always did the same thing - QED. The solution if they don't understand this is easy: piece in in G... you play it in G. If they've wandered south to Gb or further, then tough, maybe they'll learn a lesson when they come in out of tune.

That would nail it, esp if you can adjust the curves so that the volume fades in very quickly so you get to actually hear the lower part of the sweep. Would be neater than rigging up a Morley wah and Morley expression blender together with gaffa tape!

Adjust the pickup heights so the output of each is balanced through an amp. Use your ears to set the height, not your eyes. Generally, I find the bridge J needs to be considerably closer to the strings than the P.

In case you haven't ventured into the BB mega thread. My BB424X that I've just reversed the P pickup on. I'm really, really enjoying this bass at the moment.