Leaderboard

And the day arrives… Proper studio day. Doing all live takes today - then some overdubs for guitars. I felt the 602’s EP was too robotic and polished. I asked that we live tracked this new stuff. we’ve booked a local string quartet for some tracks and we have a Horn section doing some remote recording for us. Giddy for today. I think we’re doing 9 tracks.

... or making love to a beautiful woman, perhaps?

A small job that @vmaxblues has been patiently waiting for, while I tinkered on the dark side with the ebony 6-string and Happy Jack's Lull necks. The patiently awaited job was the refretting @vmaxblues defretted neck on his lovely Warwick. The neck had, in the past, been de-fretted and the slots lined with maple veneer - a nice job, albeit with the evidence of the tang chips at the slot edges that are unavoidable when removing frets. But well finished and sound. The temptation with fretting a lined board is always to simply use the veneer as the saw markers. The problem with a defretted-lined neck, however, is that the fret slot is usually a teeny bit wider than the veneer used to line it and so you can get slight inaccuracies - not a problem when used as a fretless, but important if it's going to return to a fretted state. So out comes the Stewmac fret calculator, sharp-nosed punch and my long steel rule to mark the fret positions at the treble and bass sides: Usually for a slotted fretboard, I would use my G&W Mitre Block - but that is only usable for unfitted boards. For this one, I had to go back to old-school methods. Using the end face of a radius block to keep the fretting saw blade vertical, I positioned the block and blade so that both punch dots disappeared under the blade width: To check the depth, I frequently checked using a tool I use to clear dust from the fret slots, now marked with a thin pen line at a depth a smidgen deeper than the fret tang: After slotting all of the positions (and yes - some of the veneer strips were indeed a teeny bit out of line) I rechecked both bass and treble sides with the steel rule and fret calculator sheet. And then time for re-fretting. @vmaxblues was happy to have my favourite fretwire - EVO Gold - which was cut to oversize length and detanged at each end. The wire I use comes in a coil and so already has the all important radius. Then - with a teeny line of wood glue along the tang - hammer one side, hammer the other, hammer the middle which, because of the radius, splays out the barbs on the tang underneath the fretboard surface and locks the frets in place. I then clamp a radius block on the fret while I move onto the next: And done, ready for levelling and recrowning: I levelled the frets with my long levelling beam and then recrowned the flattened tops with progressively fine emery and micro-web wrapped round a crowning file: Lastly, rounded the fret ends, filled the edge slots with epoxy mixed with wenge sanding dust and polished it all up: And, at last, sent it back to him

I recently sold a Pbass and thought I'd replace it with..........a PBass! It's a MIJ Hama Okamoto signature Precision.........who? That was my first thought too. He's the chap who has the pointy Katana as his new sig. Essentially it's a 62 reissue body, but with a jazz neck. Nice and light and the neck is a breeze to get around. I'm not too sure if the tort will stay, I'm possibly thinking anodised gold and whacking a pup cover on it too, but we'll see. I'm not sure how the chrome and gold will go together.

Farida. There are 2 of them - was an idea I shared with their head guy and they arrived with my name on. had them for about 12 years…

There I was, in the middle of a very sensible Reduction In Force (I CAN'T do justice to more than 4 basses) when up pops this beauty on eBayI've always liked this bass, and it ticked a lot of boxes for me (mahogany, semi-hollow, f-hole, Matt finish, piezo), but I felt it was overpriced. "No", says I, "be strong", then the seller dropped the price by £100! Too good to resist, so the credit card took a punch to the nose... When it arrived, I was slightly underwhelmed, but I knew I would be: I'd played two examples previously, and both were the same- the piezo just swamped the magnetic pickup, to the point where it served no purpose. The second tryout, I raised the pickup to the point where it could compete, and I could see the potential. This one, though, was the other way around, the piezo was anaemic. Also, I didn't like the fact that although the neck is subtly lined, those lines don't extend over the top. This looks nice and sleek with the binding, but the player has to lean over the fingerboard to see where he is. Also, I don't like the Chromes it came with, they always sound sterile to my ears. SO ... Sell it on, or...? Investigation in the cavity revealed a trim pot for the piezo, and the balanced sound works well. Some 'skillful' use of yellow tape on the neck: A new set of Thomastik flats, and it's become, and likely to remain, my favourite bass! It's light, balances well, has nice simple controls ( vol/ tone x2 ), and sounds just fantastic with both pickups- tight and focussed with the Bartolini, and loads of girth and texture with the piezo. I'm a happy bunny.

I decided today that I'd fettle my old Godin fretless as I've not played it for a while due to the fact I had a few issues with it: 1. overpowering E string. 2. treble side slightly high at bridge. 3. bad static/crackle when adjusting the sliders. 4. intermittent fault on the output. Whipped the bridge/piezo out and someone has previously fitted a nasty shim... removed and that fixed 1 & 2. Took out the preamp / EQ and cleaned the slider tracks with anti-static spray and a cotton bud (very dirty)... fixed 3. Took off the output plate/jack and hey presto a chunk of tin foil trapped in between the contacts! No idea how that got in there or why but it isn't in any more. Glad I dived in and did that as the bass plays and sounds lovely. Moral of the story; don't put off till tomorrow!

Oh dont get me started on this, absolutely boils my blood, partly because I physically can't buy a bass I want as it's not available and especially the whole lined fretless neck thing. I have no issue with people wanting to play a lined fretless bass but c'mon, at least give us the option. Fender back in the 70's released the fretless Precision and can you buy one now, nope, not unless you want a cheaper lined Squire or a super expensive high quality signature model. Absolutely nothing in between. How about Jazz basses, again, nope, not unless you want lined. I grew up listening to Pino, Sting, John Giblin (Kate Bush and Simple Minds), John Taylor (Duran Duran), Derek Forbes (Simple Minds), Paul Webb (Talk Talk), Tony Levin (Peter Gabriel), Mick Khan (Japan) to name a few and who all played unlined fretless basses. I adored their unlined fretless Fender Precisions, Stingray's, Wal's and Ibanez Musicians. I'd never even heard of Jaco until the late 90's and lined fretless basses were not even a thing. I gave up in the end and had my own necks made for my Fender's and bought a Stingray when one eventually became available. With the amount of special editions, remakes and models Fender churn out each year, I just wish they would make a bog standard US Jazz and Precision with an unlined fretless neck or at least make it an option to choose lined, unlined or fretted like a few other manufacturers offer. At least be brave and make an FSR fretless Jazz and Precision if you don't want to take too big a risk, just make sure the neck is unlined. I just think its incredibly lazy of Fender and I have predominantly played Fender's for the last 35 years. I'd love to give my money to Fender for an unlined standard fretless Jazz or Precision but sadly they don't make them and haven't for years so my money went to Ernie Ball. Rant over.

Whey! if I actually record fretless I’ll be shocked. Whenever I record fretless it makes me feel like when you hear your own singing voice - I cringe.

Had this for a while actually, but forgot to NBD it! My poor SUB, always being the base for my graphite related tinkering, after having previously had a fretted Status neck and then being returned to its OG neck for a while, I thought it would be time to experiment once more. After wanting to buy a fretless and absolutely loving the tone a fretless ray gets, I'll be ashamed to admit it took me a while to realise that I didn't have to go and buy a whole new Musicman and could just change the neck on my SUB! A fair amount of money later, this was the end result. Now, It might just be the most resonant instrument I've ever had. The whole body and neck vibrate to an incredible level (even the tech who did the work commented, stating it was probably the most resonant instrument he had worked on) and although this might not be everybody's bag, the amount of mwah out of the graphite neck is off the scale - It absolutely *sings* Tonally, with 40-95 Flatwounds, the graphite just adds to that Musicman growl. It's an incredibly pokey instrument with the tone wide open, but roll it back, and there is a lovely, soft, warmth to be had, with total articulation. I'd describe it as a live 'studio' tone. The neck profile is the typical Status (what I'd term) flat 'D'. Narrower front to back than the stock Musicman profile, with stronger 'shoulders' but the same width. I'm not going to say it's better or worse as that sort of thing is totally down to preference. I went for lightweight, black Musicman tuners to set off the whole 'dark' vibe, which had the added result of making the bass a little lighter. Thanks for listening to my mini ramble/review, I'm off to go get my Pino on! *Stomps on OC-5*

You nasty little man.

AKA a purple Warwick.

Currently in PM's with a bass seller here, and his bass, packaged , weighs 77kg. I said you mean 7.7kg ?? He insisted its 77kg. So the packaging weighs in the region of 73kg, give or take. I'm going to have to decline. My TE combo weighs half that and i can barely lift it

I should have said in my earlier post, I did play a XJ5 many moons ago at the London Bass Guitar Show. The playability seemed really nice. A comfortable neck that was just right for me i.e. on the slim side. It sounded very good through the EA amp/cabs, although there was a general racket in the room that made it less that ideal. They've been on my gas list for a long time. I really like the original Xotic design too, but you don't see them around so much.

If you don't read Site News or the For Sale stickies you may well have missed the grand experiment announcement. By popular demand, original Rickenbacker product may again be traded. No copy stuff! Copy stuff will be summarily deleted but if detected by the new King Rick may result in further legal nastiness and no more Rickenbacker trading forever.

Little video from last night's gig playing with the Tim Shez Band with some fretless goodness 😁

I acquired this lovely little lot the other day: AH300 SMX, 4x8 and matching 1x15. Ultra compact cabs labelled as V-type extension - presumably for the 4808 and 115 V-type combos. I've had lots of trace rarities over the years (including a 4808 combo) but never seen either of these in the flesh before. It sounds superb! 😀 The little 8" drivers are Celestion BG8-60 units as found in the 4808 combo and early SWR Henry 8x8 cabs. They certainly punch well above their size might suggest - a lovely driver. The 15" is slightly less glamorous loaded with the C15H which is a custom version of the Celestion K series. They were in the 1153 and the 250 / 300w combos - a great sounding 15 despite only a modest spec. As a size reference, notice how big the Squier Jazz seems in the top pic and the horizontal format 400SMX / 2103H / 1153 in the lower one.. I've dubbed it the 'mighty mini rig'.. 😊

Genuine Rickenbacker basses are temporarily being allowed, but that's it. Everything else that is pulled now, will continue to be pulled. Direct answer; yes, that would have been banned before and as such it still would not be allowed.

Is it mixed and mastered yet? It's already been a few hours...

And it is spectacular! A superb job, fixed back on the bass, intonation was a dream to set. Neck plays beautifully, it is such a tidy job, all fret edges are smooth, beautifully filled, all the heights are bang on. When my beloved Ray needs the frets doing I know who I will be asking. I will take some better shots, but in the meantime, see below.

I am a unlined fan, but doing a SBL jazz course with the need to go north for soloing and chords I did find that quite hard. £138 for a very nice lined Harley Benton jazz bass (Jaco clone ) gave me the option of easy navigation up the dusty end.. So I prefer unlined up to the 9th fret and wouldn't mind a hand above that, either width lines or stub lines (a la Ibo Portamento). I think when I order my custom Overwater I'll ask for a hybrid neck of that spec.

This really is a thing of beauty 👍 So pleased my son has been offered one.

I suspect some of this is how you were brought up, although I’m sure there are many other factors, not the least of which are time, inclination and, as already mentioned, confidence. Growing up, I don’t think I ever even saw my dad - or mum for that matter - change a plug. If anything needed doing in the house, a ‘professional’ was brought in. My partner’s family was completely different. Her dad - and mum to a lesser degree - will tackle pretty much anything, even fairly major (by my standards) building work.

Bargain if you were local though. It's a local bargain for local people. There's nothing for you here! 😄

It's just wood & wire, whether it's a £100 Harley Benton or a Fodera worth more than your house. Quite happy & confident doing setups, fret leveling/crowning, electronics (although a diagram can help!), truss rods etc. Initially from necessity based on having little cash & cheap basses, but I grew up with a can-do attitude to doing practical stuff, & quite enjoy it. Always been a little mystified by the hands-off attitude many have - although we do live in a culture where people will cheerfully pay £100 plus for a 'qualified mechanic' to pump up the tyres and tighten the cables on their pushbikes!

Lovely, and a jazz neck 👍

Absolutely, why don't reviews do more playing in the mix, a little pointless otherwise.

Don’t buy that for your jazz bass

No problem!...i just have to stay away from my computer at all costs , whilst i'm isolating just after being paid. Help.

Basses are not complicated at all, your comparisons are very wide of the mark.

I play sitting down for all gigs now, I used to stand up for bigger gigs but also had to think about keeping my balance/not falling over (due to disability). I use a K&M drum throne with a back and foot rest, no one in the bands that I play in or have played have questioned it. In the end its the music and enjoyment that counts.

Here it is. Good things - was nearly in tune and setup well straight out the box. It is very well finished - the neck in particular is lovely. Not so good things - It is a wee bit heavy, tuners don't look best quality, colour is slightly more orange than I expected (butterscotch blonde). Haven't plugged it in yet so don't know what it sounds like.