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As most people on this forum probably have, I've been on a bit of a Bass owning journey to try and figure out exactly what I want in a Bass. 9 Basses in I've finally followed the crowd and gone for my first Precision - not only that, I've gone for probably the most cliche looking one (I figured that if I'm going to be un-original and 'classic/traditional' then I might as well fully embrace it!) It's a 'Crafted in Japan' 2006. Relatively lightweight at 3.9kg. My early impression is that I like it. Good tones, no unwanted hum or rattles or cracking pots, fairly low action, comfortable, looks good - the colours kind of look like what I imagine the Bass sound to look like, and it has some nice natural aging which seems to fit well this type of Bass. Compared to other Precisions: I tried a lot of Squier/Player and US Precisions over the last few weeks and I'd say that they do generally fit with their price-points: Squier can be fine but you can tell certain things are done on the cheap, Player/MIM are good - particularly the new ones, but Japanese Precisions are better as things like the neck seems nicer wood and the fretboard wood is more consistent and everything feels like it is a bit more solid and fixed in place better and little things like the strings being in better alignment with the fretboard markers, US ones - some second hand ones haven't been very good at all (heavy, crackly pots, loose pickips, pickguard not fitting perfectly) but a US AVRI was the best of all the Precisions I tried (although cost about £700 more than this CIJ I got). A couple of issues with Precisions in general: Not to argue with Lord Leo's choices but going from my previous headless Bass to a Precision the headstock now seems ridiculously large/heavy for something that is at the furthest point from the pivot point - it's exactly where you want to keep things as light as possible but there seems to be no effort in the Precision headstock design to do so (I'll probably get some lightweight tuners, but that big lump of headstock wood is still going to annoy me! i.e. if the G tuner was moved to face downwards from where the 'Fender' logo is couldn't about 3" of the end of the headstock be removed?). And the old Precision bridge isn't great - the saddles can shift about a bit (the E or G moving outwards) and the saddle grub-screws seems to be waiting to slice my wrists! Easy enought to get a new bridge though. One question: What is the extra screw on the back of the headstock for? I'd always assumed it's the other side of the string tree, but it isn't, it seems unnecessary:

Maybe they're actually out practicing rather than us here sitting talking about it 🤣

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I recently attended the most excellent Big Fat South West Bass Bash, a most excellent event! When you consider female bassist, for instance this very short list: Carole Kaye Esperanza Emily Spalding Gail Ann Dorsey Gail Greenwood Johnette Napolitano Julia Hoffer Kim Deal Kim Gordon Paz Lenchatin Suzi Quattro Tina Weymouth And SO many more!!! There are a lot of us about! I was shocked to find I was the only gal bash basher at the event! Now given basses tend to be heavy as f*ck and with frets that are miles apart it may be a challenge, but. .. I'd love to hear who you consider great female bass players ... and I would especially love to hear from any female bass player here on BC? It's not about dissing the gents (Who here on BC are amongst the most lovely folks in existence), it's about discussing the approaches to how best to manage these huge instruments for those of use with lighter frames in a way that makes people sit up and beg for more!!!!! S'manth xxx

I apologise because I forgot about this, but for @Reggaebass and @Nail Soup and anyone who might have been interested, the finished record sounds like this: and the B-side is like this: It got released as a limited edition 5” lathe cut which plays at 45rpm. Not compatible with all turntables (particularly automatic ones) but it sounds fine on mine. I know people tend to moan about lathe cuts not being super hi-fi, or how mastering in mono is a waste of time in this day and age, or whatever, but they can laugh at how basic it sounds or cry into their half-speed mastered Steely Dan reissues for all I care. 😂 DJs have already played it in clubs, it made a profit on the first day of release and as long as it makes folks do monkey dancing when it comes out of a big sound system I’m happy. A label in the UK has already sent off the masters for a vinyl follow up, so... job done 👍 If anyone has doubts or second thoughts about whether or not what they’ve recorded is good enough to release, don’t sweat it just do it. Go with your instincts and crack on. Don’t fret about whether or not your music sounds ‘pro’ enough. It probably is. Just put it out there. And keep doing it. Anyhow. Hope everyone’s doing alright and looking after themselves. All the best to yers!

And so, I present to you the 'Maybe Not A Lull But Just Look At That Colour!' or, just in case the splendid Lull team have been following the thread, 'Maybe Not A Lull But Just Look At That Color!'

After the recent complaints about the numerous inaccuracies on their website, bass direct have decided to rebrand themselves.

Unlike Mr Presley I recommend plugging it into an amp before strolling through a busy bar/ club

Definitely add Tal Wilkenfeld to this list, and have a listen to her most recent album which is tremendous. I'd suggest Kinga Głyk as well, well worth checking out on YouTube.

I’d add Tal Wilkenfield, Rhonda Smith, Ida Neilson and Juna Serita to the list.

I took this in as a PX trade. A Maruszczyk Elwood 5a. Wasn't even sure if I was going to keep it but I was interested in the pickup config as I sort of missed my Ray but also tended to use a Jazz on the neck PU 90% of the time. I know nothing about these basses other than what I see mentioned on here. If I'm honest, I'm mighty impressed. Can't fault the craftmanship and finish. Neck is a little chunkier than I like but I'll get used to it. So yesterday, I gave it a bit of an outing with a couple of muso mates as I'd only tinkled around with "at home" volumes. Don't know why I didn't try these before now. It has the tone I've been looking for for ages now. I'm sure I've owned other basses that would have achieved it too but I had no idea how to find it. This was sort of "plug & play" if you like. I'm hooked. It's a keeper. Seems to deliver everything I need from a bass.

Got my two shorties. Slowly giving up my long scales..Sandberg for sale shortly! JMJ Mustang And fresh off the boat today... Fender Junior Jazz Bass

Whilst I disagree with a man of your stature with some degree of trepidation @walshy, I'm going to. Saying the Precision does only trick is like saying a Ferrari only does one trick, going very fast. But.....: 2. Looks damn fine 3. Says something profound about the taste of the owner 4. Makes the world a better place by simply existing I make that four tricks. There are no doubt more 👍

This thread needs more Sunburst+tort+rw Precisions! Here's my '73

First appropriate gig after I collect it will be in a small pub in Slough (The Wheatsheaf) on Saturday 29th October. Expect photos to follow ...

Cannot forget Thomann's own Julia Hofer.....

Agreed. I also realised the secret of contentment. Its not being wealthy or having lots of shiny new stuff, or being "Successful". It's small pleasures, like a good coffee and a pastry, learning a tricky song, Mortimer and Whitehouse, walking the dog on a frosty morning, the latest photo of my grand daughter. Its about realising that however little I have, it's enough for for me.

I've finally found my perfect path in life...............retirement. Nothing beats it. I'm my own boss, i arrange my day around me, no stress, no worries, no complaints from those above or below me. I do have to plan when i have my coffee and that's another benefit .............. i can have coffeee whenever i like. Dave

ooh, this is very nice!!

I have had the cab for about two weeks, but was asked to keep quiet until the official launch at the South West Bass Bash. The cab is from Low Frequency Systems, the Silverstone, website https://LFSys.co.uk Low Frequency Systems is the new company set up by @stevie of this parish, and the Silverstone is a development of the Basschat BC112 MK3 that many of us built. Make no mistake, this is a significant improvement. So what is the difference? I could talk about the technical stuff, but I am sure others would do a far better job than me. So I will just write my impressions of the cabinet and field any questions I can. Firstly, the aesthetics of the cabinet are unique. The coloured baffle (British Racing Green) Seems to be an homage to a well known Dutch maker. However, that is where the similarity to any other cabinet ends. You can see the development from the original BC112 MK3. It is the same size and retains the large round handle at the top. The punched steel grille is fairly transparent, allowing a good view of the port, the horn and the 12” driver. The other five sides of the cabinet are beautifully finished in a unique shade of grey. I believe that was one of the hardest design choices, there being 49 other shades to choose from. We all know that looks are not everything, but then they are a major factor in any purchase. On to how it performs. Here I have to declare an interest, @stevie is a friend, I have had access to early versions of the Silverstone and have gigged the BC112 MK3 that I built for a good few years now. Like the BC112 MK3, the Silverstone is Full Range Flat Response (FRFR) so the tonal balance is very good, no lumps and bumps, peaks & troughs. Despite the fact that there is a high frequency driver, the usual fizz and tizz from a cheap Piezo is missing. As with its forebear, the horn that handles the high frequencies is mounted vertically, and the result is that the mid and treble frequencies are projected towards your ears, no need to tilt the cabinet. The horn has a wide angle in both directions, meaning that your bandmates will hear you clearly. My first outing with the cab was strange, we set up as normal, and I was too loud. So I adjusted the volume and was all set. However, when the singer went to the front of house during sound check, he could not hear me and asked me to turn up. The result was a good onstage sound and a happy band. I use mine with a Zoom b1Four and this is ideal for use with a Helix or other modelling multi-effects unit. There are lighter cabs out there, it was designed with sound as the number one priority and quality neodymium drivers are not feather-light, but it is an easy one hand lift for a 70-year-old. It is still a lightweight cabinet, though. The handle is big and comfortable, meaning you can carry it without bashing your leg. The protective cabinet corners are stackable in case you want to use two, although most people would be happy with just one. Now I have to start saving as there will be a 10" in the New Year. Glad to answer any questions.

Hello. I've not posted on here for several years (kids, job etc) but have just got a new bass so thought I'd put something up as im always interested reading others NBDs. I tested this against a 40th anniversary vintage squier in the shop but for me the sire was hands down nicer to play, and a bit cheaper. I've not owned a load of basses(think this is my 4th, over the last 30 yrs or so) and none of them have been expensive ones but the neck is certainly the nicest I've ever felt. I marginally preferred the look of the squier but thought the sire looks much better in the flesh than in pictures (but have included a rubbish pic in any event 😉). In my limited experience id say it sounds a bit brighter than tje stereotypical p bass sound but still sounds good to me. I play in a church and thought it fit in well tonally when playing with the band with the tone about halfway. I noticed its a bit lower output than my squier VM Jazz. Im pleased with it and think its good value for money.

Just finished repairing a serious crack on a Corvette $$ headstock. The crack was barely noticeable when I purchased it. In fact I only noticed it when removing the tuners to repair the scratches on the front of the headstock. When I removed the tuner though, I saw that there was a significant chunk of wood that was coming away from the headstock. That actually made the repair easier and more effective though as it allowed me to lift up the chunk and inject wood glue using a syringe - this allowed the glue to impregnate the area fully thus affecting a complete repair. After clamping the area and allowing 24hrs for the glue to cure, I sanded back the whole rear of the headstock to remove any glue residue and smooth out the area. After that it was time for melted Warwick wax to reapply the finish. Then a few coats of non-melted wax and the repair was complete.

We had a display of the various Bass Chat designs and other builds at the South West Bass Bash this Sunday. The biggest interest was around the tiny cabs. My House Jam 6 created the usual stir but this little fella created the most interest. It's a single 8" speaker I designed and built with @Chienmortbb to match his souped up Ashdown After 8. The size and shape is a copy of their dimensions but this little chap will handle 200W and produces a very significant amount of bass and sounds like a much bigger cab. People at the bash generally loved the sound and I'm contemplating doing this as another Bass Chat design. It did work really well with double bass as well, many thanks to @TheRev for trying it out for me I was amazed at the interest in the little cabs (nobody paid any attention at all to the lightweight 15 I'd taken along) but I guess other people have the same needs as me. Something small to practice with at home and portable enough to use for semi acoustic work and to drag along to open mic nights and even the odd rehearsal. There aren't a lot of options of commercial cabs this small that sound grown up. This one is roughly a 30cm cube. For home practice this sounds like a much bigger speaker and it would take you easily up to the volume of the average jazz band or a drummer with a compact kit. If there is a load of interest I'll build a second one and put it here with a set of plans for anyone to copy. It's probably a weekend build and would cost you maybe £100. I'd welcome comments from anyone at the bash who tried it or listened to it.

Este was made for the slug-in-place-of-guitar photoshop

For me any musician who's sole income is from playing bass is a professional musician. They dont need to be making millions but enough to live on. Dave

+1 for Gramma Pad. Used it for years on a hundreds of stages = zero issues.

Do you know what? I'm not even sure which band it was. Time it seems does heal. I'm in much better bands now.

Not talking about musical ability, I would agree with you on that. But let us consider some evidence. Big South West Bash Bash - One female bassist (me) Demographics on BC Research (Check google scholar) Sex and Gender are not the same, but often women are smaller and less physically strong and basses tend to be large and heavy. And there are cultural differences to account for https://en.wikipedia.org/wiki/Male_privilege And the timeless S'manth x

There you go. It's one of my Bitsa projects. Aftermarket flame maple one piece Jazz neck, care of @sunfish back in 2018 Alder body from Northwest Guitars Fender Hi-mass bridge Di Marzio Split P Pups @KiOgon Loom Vintage US Fender tuners Fender Flats Single ply pickguard

Surprised more people don't have one as their avatar.

I do remember those Fender Jazz Bass Specials, they were gorgeous basses. Fender originally released the first fretless bass as a Precision with a maple or rosewood board in the 70's but I'd be happy with a Mexican or Japanese re-issue now. I actually have the Mexican Fender 70's FSR Precision which on its own is amazing but I got Shuker to make me a maple fretless neck for it and it is a thing of beauty

Pedalboard update. Signal splitting shenanigans - into the EQ and back for clean low end, mixed with the RAT to taste for my main overdrive/distortion tone. Into the 850 fuzz for DOOM. Then the chorus and delay in the FX loop. The behringer will be replaced with a boss GEB7 when I can afford/find a cheap used one. The 850 fuzz is in danger of being replaced with a different mini big muff type thing at some point - can be hard to dial in a tone for bass on the ibanez. I play my Precision through this into a Darkglass head which provides my "clean" tone, which also has some hair on it using the built in VMT circuit. It sounds frankly insane for not very much money.

I found another pic

.....tried it, I can see why no-one does it anymore!

Probably not as well known as some but it’s worth checking out Olivia Davina, she is the bass player in the Dubbeez, such a good player

It's an extra strap button that were on Fender basses in the 60s I think. Here's Elvis using the strap button in this location:

Laura Lee of Khruangbin - plays some brilliant grooves.

Tal Wilkenfeld is AMAZING!

Two excellent female bass players who I always seek out are Meshell Ndegeocello and Yolanda Charles. Both great players, lovely feel and touch. Well worth digging out tracks with them on - Meshell in particular is a prolific solo artist too.

Gigging in the 90s Gigging in the 20s 'Gigging' in Morocco. 😃

This. I’m Precision nuts, love them and am happy playing any Precision and my faves are the 2013-16 US Standards, but as there are so many different models available get the one your hands like the most. I hit on my faves by trial & error over a period of a good few years. And a thank you to @Jonesy for such fine comments, very pleasant of you!

Especiallly under disco lights.

You clearly haven't seen my flesh ... 😱

Not mine, but worth posting here: