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Hiya all. I'm struck down with Covid so it gives me time to update you about one of my new purchases. Don't really know much about these other than what I have been able to sift through on line. Was wondering if anyone here has any more info they could add to? I have had a few vintage Fenders before (late 60's early and late 70's) All been nice but moved them all on in bass lust. I saw this going fairly cheaply locally and always wanted a natural finish P bass and like the vintage vibe, so couldn't resist. From what I understand this could be a 73/74 model going from the old Greco logo on the headstock. Not sure what the wood is, not any ash that I have seen before, it's sandwiched with a layer of maple. The good and bad, My Luthier had to cut it a new nut, he rounded and filed the fret edges (it had been re- fretted at some point) The pots he said had been changed as well as the pickups, no idea what they are now. The input jack he also changed and other than that it's good to go now. He said it's well crafted and has a really nice neck. Haven't tried it in anger yet, but plays nice and has promise. One I don't mind taking to the rougher gigs. Thanks for reading.

That's a nice old thing! I think it's a PB-380, and as the 'Gneco' logo suggests, 1973 or earlier. Pickups, scratchplate & controls are non-original, and I'm on the fence about whether or not the body's had a refin - would not be surprised if there were traces of sunburst in the cavities. Anyway, the top row of catalogues here are for the correct era, all showing burst/rosewood PB380s. Fun nerd fact - as with most Japanese home-market instruments, the model number reflects the original retail price in Yen - as prices increase over the years, the model numbers change to match. Here's a Reverb listing for an unmodified PB-380, showing the original scratchplate, knobs & the interesting type of pickup it probably had. https://reverb.com/uk/item/40379321-greco-precision-bass-pb-380n-1973-sunburst-rare-pickup-japan-import

With the current state of play in Ukraine and the fast rising fuel prices. I'd be looking at one of these...

It's a funny old world isn't it? Whenever this debate starts there are always two groups of people who dive in. Those who read proper music and demean those who can't and those who play by ear and look down upon anyone who can't pick out a bass line, note perfect from just listening. The implication is always that people who rely upon tab and chord sheets aren't 'real' musicians and really shouldn't be trying. Surely tab is just a shorthand way of writing something down so it can be widely shared. A way in which we can say 'I don't know how to play that bit' 'how do you play it? I think it's great that someone I've never met has laboriously listened to a song over and over, written down what they think it is and then wants to share it with me. I've even put up a few tabs myself and I'm kind of delighted that despite the mistakes in them over 300,000 people have used them. (I had no idea until I just checked). So the question is Why are tabs always wrong?". Well are they? Always? Does that matter? What does wrong mean anyway? Is it wrong because there is a note missing, a root/fifth that is just written as a root? A bass line correctly transcribed from a live version because the recorded version is so heavily processed you can't really hear what the bassist does? How about when the bass is double tracked? Actually on that issue the sheet music if often 'wrong' even though it is written in conventional notation. It is frequently a simplification of something that has multiple tracks overlaid. Actually I'm kind of sad that Ultimate Guitar is getting so good with the official tabs. I quite liked looking at four or five different ways of playing an approximation of a bass line. I pretty much learned to play with tab and looking to see what other people have done with a song is still a really helpful way of getting a working line quickly. I've always played in bands and someone always wants me to learn something yesterday. I've not got a great ear and for me a short cut is something I use when I can. The band aren't interested in how I get there and they don't notice when I cut corners so long as I hit a root on the one and keep the rhythm going. Tab is just a useful way of writing stuff down. It helps some of us, if you are lucky enough to have had lessons and can read that's great, I wish I was one of you but I'm not and nor are most of us.

IMO, pretty much everything about the B6 is a better than the B3n. Unless you're fully wedded to the WYSIWYG stomp switches and knobs legacy design (in which case the G11 would suit you better...for a jump in cost), there's almost nothing I prefer on the B3n vs. the B6. B3n is smaller, if that matters. Both require a little tap-dancing to switch their "play modes" from stomp mode to bank/patch to memory. This could be improved for the B6. Tuner in the B6 is really fast and accurate, and much easier to read. Amp models, preamps and drives all sound improved: detail, depth, realism, feel. Things getting more realer. Some nice new additions to the preamps and amps that didn't exist on the B3n. If you like the SansAmp BDDI, you'll really like the B6 model. I like it more than when I actually HAD the BDDI. The B6 has the newer version modeled with Midrange control. Synth and pitch-based effects have taken a step up IMO. I'm finding that I like them more and can do more with them. On the B3n, this category was a real struggle. The synth sounds I'm getting now on the B6 are so much better than the B3 or B3n. 2 inputs w/dedicated switch and each with global EQ/Level is perfect for switching between 2 drastically different basses in live performance. Nice touch. XLR output. Yes, we get an XLR output. The level sent from XLR is NOT tied to the back panel volume knob, which is a smart move. This way, you have discrete volume control over the 1/4" (phones) output stage feed via the knob, while the XLR output remains static. Level to the XLR can be controlled by the input 1/input 2 global levels. DI output types: I thought this might be a little gimmicky, but the more I played with this feature, the more I got hooked on Tube-2 and Solid State-1 DI output types. Another nice final touch. Also, you have a bypass mode that leaves the DI type engaged, which is nice. USB recording/playback. On my computer, this was literally plug-and-play. Flawless. Touchscreen: so much easier to read, especially presets in Bank/Patch mode...big amber letters on a black background. I will say that swiping up/down and left/right on the touchscreen is a little less responsive than we've been accustomed to on smartphones. That said, it is no different than the response I get from my Mackie DM16 iPad mixer and Behringer XR 18 using my 2-in-1 laptop or iPad. A little patience and feel and it works fine. I'm used to it now. Looper: I'm not a looper guy, but if you are and looper time/capacity matter to you, the SD card slot solves this problem FX loop & Send/Return: Standard feature that comes in handy. Also, the discrete Send could be used alone to pull a feed before cab modeling to send to your stage amp. The discrete Return could be used as an additional input for an external source. On screen editing of FX blocks: in "effect board" mode, just touch the effect block you want to edit and up pops its controls, with adjustments made using the 4 knobs below. Again, easy-to-read factor is huge. Return to "effect board" mode by clicking the Mode switch, or back button on the screen. Pretty easy and intuitive. Now, on the CON side: 6 slots maximum, with 4 switches maximum. If I want to load up all 6 slots with effects, I'll only be able to switch 4 of them on/off. I could really use 2 more slots and 2 more switches. Oh well. DSP memory: some of the effects, preamps, amp models, etc. are very hungry for DSP. I find that sometimes I have to go with a lower preference effect in order to keep from going over 100% DSP. It's manageable, but 20% more DSP would go a long way. PLAY MODE switches: Switching from EFFECT BOARD (stompbox mode) to Bank/Patch (individual preset mode) to MEMORY (bank of 4 preset patches) to LOOPER is awkward for quick changes. Not a dealbreaker as I don't have a ton of different presets (they all can fit into 2 or maybe 3 banks). I can see it being a pain in the derrière though, if you regularly want to change patches and access effects in stompbox mode. Size: the pedal is big for a Zoom pedal...bigger than the G5n I use. I may need to carry it in its own case rather than stuffed in my gig bag.

A few months before I even flirted with playing bass, I was getting into very different music to that i'd grown up with (hard rock/grunge) and bought on recommendation 'Dream Theater - Live Scenes from New York' in ~2001/2002. On bass, was John Myung, sporting a rather immense looking 6 blue string bass. I was utterly blown away by how well he played and sounded, and am still a Dream Theater fan today. A year or so later I got into bass, and my parents gave me a very generous £500 budget for a 21st birthday present, that ended up as a Yamaha RBX775 in Flat Blue, because it looks a bit like the RBX6JM, but it was cheaper. The years went by, and I still have it - just defretted and refinished (red goat leather, yes really). Anyway - late 2020, I see an RBXJM2 in Plum Pearl appear locally on Facebook market, for a decent price. I really wanted that turquoise RBX6JM, but this was the next best thing. It was a little messy, but i've replaced the rusty pickup and it's now sounding great - it's a 6 string Stingray at heart. April 2021, I see an RBX6JM in Turquoise appear on FB market, at a good price ! Quickly I message the seller...he replies fast. It sold 30 minutes ago to someone in Europe, but they hadn't paid yet. I offered a cash deal the next day (a drive to Bristol for me), alas he honourably sold it to the first buyer, after they paid him the next day _ don't begrudge it, but I was gutted for the sake of half an hour. OK - well i'll find another one ! The Bass Gallery had 2 on their website, both at £999. This is by far the most expensive i've ever seen these basses, gave them a call and they wouldn't budge more than £100 on price, I wasn't going to be robbed, so held out. eBay alerts, daily checks of the big (and small) websites second hand sections, online pawn brokers..... nothing. *10 months of checking daily later* Friday PM, I load up eBay on the morning catch up of newly listed items, scroll... scroll... oh man. A turquoise RBX6JM, at the right price, I contacted the seller and saved a few quid buying it outside eBay, it took a little while longer than expected to arrive. But it did, along with a genuine fitted Yamaha hard case (never seen one of these before) Behold - the bucket lister.

A few changes since last time! Si

Definitely not a flaw in my opinion. However, definitely a design choice that is worth considering if it is for you if you like to have a bit of neck relief. If you pick up a Vigier and think 'that is nice, but I would like to add a bit more relief to the neck to accommodate my personal taste' then you are out of luck. That relief is not changing. The set relief is very minimal and is essentially 'almost but not quite' flat. If you do like it, then set ups are a doddle, set string height and you are pretty much ready to go. You only have to adjust the height when you change string gauges. In owning one Vigier for 17 years and another for 11 and living all over Scotland and touring etc, the necks have never warped or moved. You can also move from light low tension strings to heavy gauge high tension strings and the neck will not move (I done used both basses with completely different gauges and tensions and in different tunings). Instances of Vigier necks warping are so incredibly rare outside of anecdotal 'I heard about a player/I had a friend' forum posts with no corresponding evidence. I am sure that there have been Vigiers with warped necks but I think that they are very much anomalies rather than signs that the design is inherently problematic. There are enough Vigiers from the 80s about dead straight necks to demonstrate that.

Nail clippers

I might have accident just bought one of these VM2 Darkhawks (the b@stard child of a Nighthawk and a Grand Dark)

Hi guys! So I was in a music store in Madrid and they were selling the pedal at a really good price. I've always wanted one. The reviews in Youtube (the two or three...) were really good sounding, so I pulled the trigger. First impressions were not that good. One of the knobs was loose and did bounce. The switch is kinda weird at first. Now I got used to it and it is fine. It's soft, but you have to pull it hard. It's difficult to explain, but it's fine. This is my main complain with Ashdown. I love them, but their products usually have some minor flaws that make them look "cheap". And they make really good products. Anyway, soundwise the pedal was...ok. I was kind of dissapointed. Yesterday was my second day of playing with it and I spend much more time with it. I fixed the bouncing know and now it is perfect. Soundwise... it changed my mind. I am not used to adjusting different eq bands and that is why I was dissapointed. But when you learn how it works, it sounds incredibly good. BassTheWorld said that it was a similar concept to Darkglass but with a different sound. And I completely agree. It is more old school than the Darkglass (which I prefer). The options with the Triple Shot are impressive. You can get so many different sounds... So far, my favourite setting is distorting a little bit the bass and the treble, leaving the mids clean. But I'm just getting started. The only feature I miss is an Master Volume. I know it stands out of the concept of the pedal, but there is a signal increase when switching on/off. I will integrate in the FX loop of my HX Stomp so it is not really an issue for me, but I wanted to mention it. I'd like to make some sound clips (I have to make sound clips for the Ashdown OriginAL) and I'd love to try the Velvet Compressor. I wanted also the Studio Compressor, but I can't have both!!

I turned 21 in 2005. I had a mortgage, was living with the mother of my first child… when I turned 21, my mum and dad - who I’ve battled with, but have been incredibly supportive of my musical endeavours asked me what I wanted. ”Musicman Bongo” And they gave me £800. So I put the rest to it and I got one of the early bongos. They didn’t come with a case originally. i took a case…but was later informed it was a £120 optional extra 😕 Returned it. Anyhow, 4 years later - my partner wrote her car off and quit her job on the same day when we had a brand new baby…so a massive bass sale began. @LukeFRCand @Etienne got some basses… the Bongo went, at a huge loss… they weren’t popular at all at the time. now I’m 37, the “brand new baby” is a 13 year old bass playing emo. Its time found the same age, spec, colour… It’s in Northern Ireland. i debate a flight. And then I remember my good mate @briansbrewis in Derry. and here’s where a person shows their worth. A message last night to Bri. “Yeah it’s near me, I know him - let me work on it” and nothing…for a bit. this afternoon “I’ve gone out for a drive…here it is…got £150 knocked off and I’ll get it ready to ship…” it’s in his lounge. He’s bought the bloody bass! What an absolute hero - Bri is no middleman…he is the man. I never in a million years expected him to do this - I thought he was going to talk the guy into shipping the bass (listing was collection only) I cannot express my thanks enough (I’ve paid him back - financially at least.) A depressing thing is that I don’t have any pictures of me with my original bongo. Anyhow - Publicly, thank you Brian.

I recall that both Modulus (or at least Geoff Gould) and Status had both confirmed that the necks didn't need truss rods nor were the truss rods really effective in terms of inducing or reducing relief. Both were brought in following customer demand after years of making basses without them. Do they need them? Not really, I don't think. My Bogart doesn't have one, nor did my Zon or any of the Status basses I've owned. Shame about Vigier though. The days of their most iconic instruments are behind them, no matter how good their wooden necks were. The classic recipe to me was the full carbon graphite neck. I doubt they sold in the numbers to warrant any interest from someone who could build them under licence. They will always be a part of the technical explosion of the 80's to me, when all these builders were coming up with their own designs and innovations to get away from the hokey, run of the mill Fender-look stuff.

If it’s jazz day I’ll add this

Playing in a great band with good musicians is what makes it all worth while. For me there are no downsides to playing bass. I can't think of doing anything better.

I guess much depends on what you want? Was it all just an itch you wanted to scratch? You've been in the band a year. It's, I guess, a reasonably popular band on the local circuit, based on what you say. In many cases, that's it. If you don't enjoy the gigging that most of the people (on here) do, then progressing is going to be tough. As you aim to 'move up the ranks', you will be competing with (possibly) players with more ability, or experience. Much of anybody's progress is down to luck. I was playing in a similar band, based in Brighton, and was playing at a bonfire night gig. Afterwards, a couple of guys came up and asked if I'd like to do some sessions on bass for a forthcoming Pretty Things LP. I said yes, and was eventually asked to go on the road. That led to lots of other opportunities. Now I'm not putting myself forward as anything special. My own progress arose from doing exactly the sort of gigs you are doing now and I was in the right place at the right time.

I prefer to carry a goose tap. I like to get a little more honk in the mix.

It’s been a while since I’ve checked in here… current pedalboard has been through a journey recently. Covers gigs starting to kick in again has necessitated the need for a lot of 80’s synth tones through funk to some garage rock. Here’s where we’re at so far…

Volvo 240 estate. I've got a 1989 version, £500, goes forever, never breakdown, no onboard computers to go wrong, volvo still make all the spares and great for those IKEA trips as well!

I can't improve much on @jimfistanswer. Everything sounds better and editing with the touch screen is great. As far as only switching four out of six pedals on and off is concerned I don't see this as an issue for me given that almost any board I'm likely to use will have a couple of always on effects. Having said that it would be great if two effects could be simultaneously switched with one switch. I could do this on my HXFX.

Got this lovely Fender Reggie Hamilton 5er from a nice guy in Austria! They seem quite rare and black especially but I’ve been after a 5 string PJ bass for a while. Not sure about the tortoiseshell pickguard, so I’ve asked “Tiny Tone” to do a 3 ply black one (BWB). First impressions are that the tonal versatility is huge! Using the P pickup in isolation and you’d be hard pressed not to think it was a P Bass and blending in the J gives a more balanced/modern tone. It sounds equally good in passive mode which is selected via a push button. Oh and it only weighs 3.7kg!!! I’ll take some better pics when the pickguard returns, but meanwhile here’s a quick one next to my Shuker! any other Reggie Hamilton owners out there…..?

I was on a business trip near Swansea today and as I sometimes do, decided to see if there was anything for sale in the local area. There was; a super condition Hohner Jack Bass from 1988 that was virtually on my way home. I of course had to go and see it as I'd lusted after one of these for the best part of 30 years. Where I was at school, just over the other side of a dual carriageway that backed on to to our sports fields was a guitar shop where I spent many a lunch break. They had a Jack Bass in a dark natural finish that I used to make a beeline for every time I went there. God it was lovely and I always dreamt of owning it one day but it was way out of my price range (which was approximately £0-£2). This would've been the early 90's I guess and I've held a candle for these Jacks ever since, so when I saw this one advertised for a very good price in remarkable condition with (unbelievably) a working preamp and (even more unbelievably) a battery cover I was caught hook line and sinker. It even came with a case. The only thing that could've made it better for me was if it were in the dark natural finish. It needs a set up and a new set of strings but it's fabulous. It's one of least expensive basses I've ever bought but definitely in my top three basses I've always wanted to own. In fact, I'd go as far to say it's my number one bass I always wanted, sentimental fool that I am.

11 years ago I took up bass. I am very unmusical so it's been a slow and often depressing grind to achieve competence. What carried me through was the unwavering obsession of Getting in a Band. Finally, a year ago, I got there. I was given the bass chair in one of the better regional rock and blues band in my area. Yay. YAY! But now, goal finally achieved, I'm finding the same music, the same band mates (all of whom are great BTW), the same hassle getting gigs, then playing the same music to more or less drunk people in the same pubs. And a question: So - where do I go from here? I am fully expecting considerable abuse for this post ("kin ell, you're in a gigging band and you're wingeing!"), but I'm also hoping to harvest some positive thoughts from those who've been down this route as to what carried them on into the future.

Such a good looking bass. Congratulations, I hope you're both very happy together 💐

I love a story with a happy ending.

Classy, very classy.

Incoming replacement for the Deluxe Bass Big Muff:

For me gigging is the whole reason I play bass. If I gave up gigging I’d drop the bass like a hot potato and play guitar!

Apart from the occasional private reggae party or studio get together I’ve got no intentions of joining any bands, I’ve had 2 offers lately but declined, I just can’t commit or be bothered to lug my stuff around London, I’m happy enough just doing what I’m doing these days 🙂

I currently play semi acoustic originals with two mates I really get on with. The songs are (to me) really great, I get genuine pleasure from being part of it and look forward to playing to more audiences. If it wasn't enjoyable, I wouldn't do it. Maybe find something that gives you that feeling?

I got mine from gigink and they even sent me a spare in mirror finish. Let me know if interested.

Yup. You are right in thinking. Either such a box or a phone or tablet with an app that makes sound. Especially for Apple units, the amount of synths, organs, pianos etc is staggering. As to the physical connection, it depends on the MIDI Out of the keyboard as well as on the MIDI In on the thing that makes the sound. I don't remember all the specifics, but a USB MIDI Out to an Apple unit is very simple with the Apple USB-to-Lightning or USB-to-30pin adapter. I seem to remember you need to do more to get a DIN MIDI Out to work with an Apple unit, but my memory is hazy. Probably a DIN to USB box. Maybe someone else knows exactly. Of course, DIN to DIN MIDI is simple if you get a box like the Miditech.

Exactly! I have a running list of B6 wishes and the assignment of a switch to 2 slots was on that list. For example, I like to put a limiter after an envelope filter to tame the transients, and being able to switch both on/off with one button would be great. I also noticed on Guitar Lab, the Effects Pool shows 71% of memory used for effects residing in the unit. This means there's another 29% left for additional effects and whatnot, so there's room for Zoom to add amps & effects.

A request from Talkbass, this is the Alphonso Johnson's bass part from the tune 'Black Market' from the 1976 Weather Report album of the same name. I am not entirely satisfied with the transcription as there is a clash in the mix between Johnson's bass and Joe Zawinul's synth part. Johnson's bass is busier and more creative but it is sometimes rendered inaudible by what is going on around it. Not a complete transcription but a lot of it is there and you certainly get a sense that Johnson was the equal of his successor, something that I have thought since first hearing these albums at the time. https://bilbosbassbites.co.uk/black-market-weather-report/

Nice. @Bassassin would be your man here. I bought a mid 70s Antoria P bass copy last year that someone, at some point, had fitted with a '75 Fender pickup. It is fabulous. The neck is incredible.

If I had to pick out my 10 favourite albums of all time I would guess at least half of them would be classified as being written by people who weren’t “real” musicians. Totally agree with you. Whatever format helps someone get into music and learn how to write a song is fine. Not everyone can be Jaco or Yngwie Malmsteen. Thankfully.

Quick teaser of the look of the test bed currently... The black knobs were just what I had laying around. I kind of like them though, oddly. The pickup ring covers are temporary as well until we see what I do with the test bed. Somebody had done something crazy with the previous string retainer, so we had to invent one of our own to cover the strange diagonal alignment of it. I like it.

I have the LucyDreamer. The lower gain I leave on a mild valve-like break up, which sounds lovely with a P-bass. The higher gain setting then ends up as a distortion setting, it is like having 2 pedals in one. If you open up the back you can adjust the difference in gain between the two; I haven't bothered as the factory setting suits my needs. I am a Jam pedals fan boy.

Great riddim from sound Iration , dub seal

My reasons initially were to lose the brittle high end that I am not keen on and also lose the rough feel of rounds. But key to my total immersion in flats was finding the right ones for me. Not all flats are created equal. My epiphany was trying TI Flats which, for me, have it all. They are bright but not brittle, smooth but not glassy and I love the low tension.