Leaderboard

Not my first new (to me) bass, but first time I’ve done a NBD post. For some reason I’ve never owned a precision, but like many people (and posts I’ve read on here would seem to bear this out), I’ve been precision-curious for some time. I played one of these Squiers recently in our local music shop (Just Music in Berlin) and although I was impressed by the instrument itself, the snob in me couldn’t square the €500+ asking price with the name on the headstock. I know, I know… However, my interest was piqued enough to begin to look around. I read a couple of posts in that other bass forum about people getting good deals in Thomann’s Black Friday sale so I had a look and saw they had a B-stock for €322 (about £295), which felt like a decent price - ordered last Friday, turned up today. The only B-stockness I can detect is that the plastic film has been taken off the (very shiny!) pickguard, pickups and tuners (if they do that on Squiers). The worst I could say is that the silica sachet had broken so the box was full of little balls of silicon - I wondered why the package sounded like it had one of those rain shower things in it… Anyway, there’s not a mark on the bass, and it was more than reasonably playable out of the box, though I guess whoever had it previously might have adjusted it. Even the intonation was OK. I always imagined I’d get the archetypal 3TS with maple neck precision if I ever got one - this is clearly not that, but I like it! The blue is very deep and rich, with a nice subtle sparkle. The fretboard is a great colour for not being rosewood and the blocks are very nicely done. In fact, I’m impressed by the fit and finish overall. Yes, I can tell the materials aren’t as top drawer as some basses I’ve got, but it is extremely well put together - no gaps, no crackles, nothing misaligned, no shonky frets. My bass collection is quite eclectic (there’s a 4003 and a Höfner Club Ignition in there), so I’m not sure how to evaluate the playing experience, but the action is fine, the neck not too much of a handful, and I can get round on it OK. I’ve only played it through a little MarkBass 801 so far, but it sounds good to me. My plan is to put some Roto 88s on it for some authentic vintage thump - the supplied Fender rounds are great, but not what I bought this for. So, there we are - if you’re after this sort of thing this could be the one for you. And anticipating the usual question, and with the usual apology for the quality, here are a couple of snaps.

Do you make enough money to live on? Professional, if not, amateur. Some professionals are average players, some amateurs are amazing.

Finished!

Probably more about their contacts and how easily they get on with other people.

As if playing a bass didn't make one extra sexy already, you mean?! I'm slowly getting to grips with using the index and middle - it will come (or so I'm assured!). I'm trying to avoid a pick for the most part, but I'm open to it if it proves absolutely necessary. The thirty song thing is hard work but really enjoyable - we have a list of about a hundred that we're slowly working through and will probably feel ready to gig at around that magic thirty. I'm the world's worst guitarist, so nobody loses out if I move to four strings. I actually already feel more capable as a bass player than a guitarist (as well as much sexier....). Thanks for all of the welcoming comments, everyone. They are very much appreciated and I consider myself properly enabled!

Those three strands of professional bassist all require slightly different skill sets (FWIW most full time musicians that I know have to take lots of different sorts of work to survive). If you want to do theatre work/cruise ship stuff etc then being a decent reader is a must, some sessions require reading but many require fast ears and a broad knowledge of what to play in different styles. TAB does not exist in the professional world. Covers band work is probably the most easy to get into, but you need to memorise a lot of tunes (50-100ish to begin with) and be able to transpose them into different keys at short notice if you want to be able to dep with different bands. Being able to do backing vocals makes you way more employable. In general, professional players across the board tend to have a great sense of rhythm, decent ears, and have learned enough tunes over the years to be able to improvise a suitable bassline when asked to do so. You don't need tons of technical proficiency or slap bass pyrotechnics to get plenty of gigs and as long as your gear works well it doesn't matter how much it costs. It's true that a lot of work comes from your network, but it's not all down to being a people person; knowing the right people gets you the gig, knowing the right stuff means you keep getting called for that gig (and people think of you when they need a bassist for something else...).

Just finished a review of my 2020 EB Stingray Special HH. This video was a lot of fun to make, even with the fretbuzz from extreme temperature changes

Well the NYE gig was a bit of a surprise. Usually it can be a ‘Larry letdown’ but on this occasion it was pretty good with the crowd in good sorts and lots of dancers in both sets. It was a ticket do but there was just over 100 present and the vast majority stayed until the new year. Just one gig in January for me (on the 7th) then a bit of a break while I have biopsies and what not.

Are you plucking in James Jamerson fashion using just your index finger? Alternating using your index and middle fingers to pluck would spread the damage S'manth x

It's certainly about who you are. In Guy Pratt's book My Bass And Other Animals he explains about his connections with David Gilmour and Madonna. DG told him good bass players are ten a penny but he wanted someone with wit. When Guy went round to audition he wasn't asked to play bass but try Roger Waters vocals for Run Like Hell. He got the gig. Madonna phoned him up and he had to make her laugh. He can't remember what he said. He got the gig. As we know Guy is an awesome bassist too.

For what it’s worth here’s my pre cbs 63P they actually look lighter than they are in this picture. I did have a few minor mishaps when I first got it. Plenty of playing and no problem anymore 😄

Good stuff. This is them fitted to mine.

Same issue here. I use small white 'letraset' type transfers over the original dots from this chap https://www.rosetteguitarproducts.com/new-page-2 I have a thumb on back of neck style of playing so I don't rub them off but if you grip your neck like a baseball bat then I'm not sure this solution would be a long term one!

Teaming up with my Schecter 2019 Riot Aurora Burst to give me an amazing pair of basses. Bought right at the end of last year (with a significant discount) so doesn't count as a 2023 purchase. She feels very light, the neck is super thin which is how I like it. I will say, not impressed with the luminescence of the side dots but I knew that was likely an issue before I threw down the money and it's not really a big deal. There's clearly a lot going on with the pickups and tone sculpting options and that's going to take some time learning but from the 40 minutes I spent playing her tonight, she's lovely.

Doggystylin - snoop dogg

Hello all, Not only am I new to Basschat, I'm new to the bass in general. I've been a (cruddy) guitar mangler for years, mostly playing old-school stoner rock and metal, but have recently grown up and bought a bass to play in a covers band. The learning curve is steep but I'm having a lot of fun (even if my right index finger thinks it's being cheese-gratered). I've joined Basschat mainly so that I'll have like-minded folk to cry to when I can't play something. I don't know if it's the done thing to go on about my gear in this area of the forum, so I'll keep it brief: Fender Player Precision, old Korean Squier Jazz, Eden 500w head and 2x15 cab. Thanks for having me!

Nurse! Ricky's at it again.

Well here's mine! A dance of compressors and distortion pedals, but I've decided to run the Darkglass B7k into the ThorpyFX Fat General compressor clone which is working great as I'm always into evening out my clean and distorted signals... 5 outputs from my Harley Benton power supply, 5 pedals, all snug and tidy with flat patch cables from EBS... I should be (and am) a happy boy, but ah, I could squeeze in an octaver or something with the Nano Plus, couldn't I? Ander.

New year then, we did a new year gig in a working mens club, where there is normally quite a crowd (and there was a crowd too). We did 9:15-10:30 10:45-11:45 and 12:05 to 12:30, so quite long overall. Couldn't get the sound good, which is odd as I normally can at this venue. it didn't seem very loud but was feeding back if I went up. No idea why, although I also had a problem with the Saxophone, its level was way down. Overall apart from that it wasn't bad, the audience was good, and even though we brought in loads of tracks we hadn't done in a while to mix things up, there weren't any major issues. This was the last gig with the last guitarist. He wanted to leave (again) and gave us a deadline of this year, so despite asking he was going, so we auditioned and got a new guy, then just after we got him has now changed his mind and wants to go back. Its made things a bit awkward and I was having issues with it, but after this gig, setting up, breaking down with the 3 of us while he stood and chatted, I remember that I was quite happy with it! Paid very well, seemed to go well but for some reason, it wasn't my favourite gig, although no idea why.

More things.... don't forget y'all that this isn't a thread just for me, post your own joinery in here 😉

Ever the tightwad, I bought a sheet of cheap self-adhesive luminous paper and attacked it with a hole punch. I then emptied out the bits and used them. A bit clunky but it worked for a while.

It seems odd that it's a B250 as that's a linear pot, so not very good for volume control (the sensitivity of the ear has a logarithmic response). Although the schematic for the B4 shows it as a B500: Unless this is one of the revamped B4s (Element?) in which case looking at Bartolini's circuit diagrams might be more useful.

I have used these on basses with poor dot visibility https://glowtec.co.uk/product/starglow-fret-finders/

I think you should just sell me the bass👍😂

Count me in for the list of interested basschatters waiting to see your 8" build. Always aamazing stuff you crew publish

Within these hallowed halls, at least, you are famous..! (Well, it's a start. ...)

Not our best, however I'll post anyway. New Years Eve at The Barley Pop. https://m.facebook.com/story.php?story_fbid=1149239815962581&id=100000222668845&sfnsn=mo&mibextid=RUbZ1f Blue

I got into this from necessity, luthiers were non existent in the 1970s rural Herefordshire boonies - so as a 14 year old I had to sort my own basses out beyond basic (later I was a Physicist/Engineer and have the do stuff myself mindset). These days I use a straight edge to get the neck flat before doing anything (an aluminium bar that I flatted true). After that a Chris Alsop diamond file (glued my own handle on) and follow the sharpie pen and flatten advice on many youtube videos. My early crowning tool was made by putting wet & dry on top of a good fret, sanding a groove into some beech - et voila a crowning tool. It worked as well (more youtube magic), these days I use the Alsop tool. Those steps plus polishing have sorted out all but one of my (many) basses. For the more difficult bass (slight neck twist?) I made a flat notched bar section (get the neck straight before fret levelling) and a flat long box section (for fret levelling). Total cost £15? plus some time. I can't sort everything out myself, on the two really high value guitars I have owned and could not get right, I resorted to proper luthier setups resulting in proper results.

I was bored. So, I decided to refinish one of my Jazz Basses. Nitrocellulose lacquer used. I'm quite pleased with the end result.

Thanks Marrtthebass. It's a great sounding room. Daryl

Your in my prayers Martt. 🙏 Daryl

I’ve gone for one as well but in black with maple board. Mine only had a two conductor pickup lead but I got a local luthier/pickup maker to convert it to a 4 conductor lead and he potted it as well (originally it was very noisy). I wired it for parallel/single coil/series switching using a 3 position DPDT. I understand the FSRs have a 4 conductor lead as standard, so you may not have to mod the pickup. It’s quite easy to drill the control plate to take the DPDT between the pots. Be warned the control cavity is really tight. I bought full size CTS pots only to find they wouldn’t fit. I had to use Alpha mini pots instead. Wiring it all up with the DPDT switch was like keyhole surgery! I also shielded the cavities with copper tape as they hadn’t even used graphite paint. It was worth the effort though: it sounds great and there is a real difference in tone between the 3 switching options. The OEM pickup is surprisingly good (to my ears). The only other mod I made was fitting a Fender high mass bridge, which was a drop in fit and helps a bit with the balance on a strap. The OEM machine heads are pretty good, so I am sticking with them until they play up. I now have an excellent, easy playing and great sounding bass. The neck is perfect me. Feels great and I love the unfinished feel. No sprouting frets, or rough ends. The medium scale almost seems easier to play than a 30”. All this for £180 (stock), plus about £60 for the parts. This is a real bargain IMO; so much better made than Squier Affinity offerings of old. This is what it looks like with the switch fitted.

I "upgraded" some hard to see side dots using an ultra fine tipped UniBall POSCA paint based marker pen, they are inexpensive and available in a variety of colours: https://www.amazon.co.uk/Uni-Ball-Posca-PC1-MR-Bullet-Marker/dp/B0046ZAH9E It has worked well, seems to stay on and as it is water based should come off (with a bit of elbow grease) if I ever want. S'manth x

You need to have drive, determination and the ability to put all your waking time into being a musician - whether that is actually playing or doing all the background work and networking that is going to get you noticed by people you hope will give you work. In many ways technical ability (so long as you have attained a certain competent standard) on your chosen instrument is less important than being the sort of person people want to be musically involved with and the ability to say yes to any new opportunity no matter when or where it is (so long as it doesn't conflict with something else you've already said yes to).

So long as it looks right to go with the rest of the bass and it is structurally sufficient, I really don't care what the fingerboard is made out of.

I think it's the more usual position! However, I preferred Youth-era - possibly because they were sparser and groovier...

It's Nice When It's Up ～ Back Door Decidedly Dodgy Double Entendres 🙇🏼‍♂️

From what I’ve seen of professional musicians for one def the ability to get on with people and be easy to work with, the others are hard working and just being fortunate. There are plenty of people out there who are just as good to on with, can play just as good and who have good gear. The trick is finding a whole band made up of such individuals and very importantly having something to offer.

I use a Warwick Gnome in my gigbag and a handheld 1x6 for this purpose. The 1x6 is about the size (but not the shape) of a briefcase but is home built. The design is here - BasschatHouse Jam Micro Cab I've also built a 1x8 for a friend which was remarkably competent. I could put that up as a design if you were interested

If the replacement is needed for that actual K&M stand then get in touch with them IME they are very good with able to supply spares for their stands.