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Dunno about the bass, but the auto-generated subtitles leave a bit to be desired... 😳

Greetings from Glasgow 🙂

So new to Rayman towers is this early 00s Epiphone Embassy Standard IV. Basically a Thunderbird in a more manageable shape, I grabbed it for a very bargain price, not expecting much I’ll be honest. Well how wrong I was, after the usual setup/cleanup, replaced the very average Jin Ho tuners with Hipshots, then fitted it with Roto flats, it’s a stonker. Beautiful blue/green translucent finish, it has been sat on a wall unplayed since it was bought new nearly 20yrs ago apparently. Lovely action, nice honk, NICE dubby lows with a little top end zing, nice. I’ve gone from two basses to 7 in a very short space of time….. and with another (new) Epiphone Newport on it’s way, there’ll be 8 here, and that’s enough (of course it is 😒). Happy days.

'Twas! So here's the crack. The previous owner was an interesting chap by all accounts... A Glaswegian who originally played double bass in the pit band at The London Palladium throughout the 50s and 60s, backing EVERYONE. He moved to Bermuda in the early 70s, where he bought this new from Music City in Hamilton on the island for... $315. He then gigged it relentlessly as a member of the house band in the Princess Hotel. After he retired, he returned to Glasgow and sadly passed away last year... hence it ending up in auction. We drove up to Glasgow this morning to collect it - we're staying up here for a couple of days so I haven't been able to plug it in yet. That'll have to wait. So far, so very good. Medium weight, resonant, balances perfectly. Original case. Came with bridge cover, manual, some old (proper) tort picks and some really old-school cables. I've popped the neck.. it's a B neck, very clean in the neck cavity. There's a replaced screw on one of the tuners. I suspect it's had a refret - no surprise as it's probably thousands of gigs in. I haven't taken their guard off yet as I don't have decent tools with me, so that'll have to wait. Hopefully no surprises under there. I'll do an NBD thread when I've had more time to tinker...

It was buried with him in 1966.

Yep, I’m in on this too, love my JMJ, strung it with regular scale Elixir steel rounds and it sings. A lot easier on my back due to it being lighter than my other basses, but also due to the shorter scale making the playing position easier. Am considering a tort pickguard….

I don't see a serious problem here and I certainly wouldn't take a drill to your bass. The lack of metal to metal contact - especially with flats - is unlikely to have any discernible impact on your tone (has happened to me with other basses). Furthermore, if it really narks you, you can shave the silks back with a razor blade to uncover the metal for full contact with bridge saddles. The silks are largely there for cosmetic purposes, as I understand it, hence some manufacturers don't bother with them

Here is an EP fully recorded with my Leduc Maurad 6 for its very typical sound, agressive and defined : https://kwaidanrockband.bandcamp.com/album/secret-paradise Have a good listening ! 🤘

Stephen from LFSys arranged for me to try out one of his LfSys Monaco speakers, so here’s a rather belated review. The Monaco at home and directly compared to my Mesa Subway Ultralite 12 using an Ashdown ABM 600 Evo IV and a Genzler Magellan 800. Basses were passive P Bass with TI Flats AND A Sandberg California VM4 with D’addario NYXL’s. Tried out in a 4m x 4m room with solid walls, an acoustically treated wooden floor with a large central carpet square. The speakers were positioned side by side in free space (Mesa “Portrait orientation” to better match Monaco). I found the following; 1) Mesa noticeably quieter than Monaco 2) Monaco more bass presence and punch than Mesa 3) Mesa more mid-range presence than Monaco 4) Monaco had better note definition in the low ranges -particularly up to 5th fret on E and A strings (using flat EQ settings on both speakers) 5) Slight upper mid-range emphasis with the Mesa but not with the Monaco 6) The Monaco seems to have slightly less forward mid-range than the Mesa. 7) Via The Monaco the Sandberg’s mid frequency “honk” is tamed a little, making it sound a little more P-Bass-like - but much clearer 😎 The Mesa is brighter and more mid-range focussed - the Sandberg mid-range “Honk” is back when using the Mesa. 9) The Monaco has a fuller bass response than the Mesa 10) Putting the Monaco on the small tilt stand makes only minor differences to the sound – a little clearer perhaps but nothing significant. 11) The Mesa benefits from being on the small tilt stand which tightens up the bass and makes everything easier to hear. 12) The Sandberg has roundwound strings so there some string noise BUT this is present to the same extent with both speakers. I like the size, and the light weight - very handy and manoeuvrable. The Monaco seems well built and the top handle does NOT get in the way of the Genzler nor the Ashdown (which overlaps the speaker but the feet locate on the top of the Monaco so no problem). Nice Speaker and at home, if I had to choose between them for a “complete” home speaker the Monaco would win. Part 2 - The Monaco at a 3hour rehearsal. We are a loud 4 piece, and a single Monaco was used to replace a 2xVanderkley EXT112 stack. In this context the Monaco was insufficiently loud and I didn’t feel sufficiently bold to crank it to excessive levels on the amp which was being presented with an 8 Ohm load rather than the 4Ohm Vanderkley stack. However, despite the lack of that familiar bass “hit” associated with the inability to hear what I’m actually playing, the opposite seems to be the case with the Monaco. Less trouser flap but more information about which notes are being played. Very odd, but good! After an hour, I added one of my Vanderley EXT 112's (set up beneath the Monaco). This combination sounded great. Very full and certainly "better" than 2 VDK EXT 112’s. Very punchy and very easy to hear without being "in yer face" - a kind of magical property and somehow the opposite of what I usually find i.e. I'm plenty loud enough in the mix, but I can't hear what I'm playing! There was very good sound dispersion around the rehearsal space - I could hear what I was doing throughout the room which is not the case when using the Vanderkleys alone – where off axis and relatively close to the speaker there is a noticeable decline in volume. I haven't compared the Mesa's directly in this regard, but I have noticed a similar property in the past, so I'd be confident that the same would hold true. For context I had a Barefaced Big Baby 2 a few years back and, from memory, I’d say the Monaco is a more coherent speaker with a “better” low frequency response. Certainly, in terms of hearing more of what’s being played, the Monaco seems noticeably better. As per the Monaco, a single BB2 was not loud enough, so I used it in the same way as the Monaco, - a single VDK with BB2 on top. This combination was OK, but not better than 2 VDKs. So going for 2 BB2’s to replace the 2 Vanderkleys would probably not have been a worthwhile (or inexpensive) move. I prefer the overall sound of the Monaco to the BB2 as the former produces a surprisingly punchy bass for its size without being “boomy”. It is a more articulate and coherent speaker - you can really hear what you're doing. I suspect that the design really does pay dividends in terms of hearing what is being played, and, in moderately loud bands (particularly with PA support in bigger venues) I’d say that a single Monaco would be more likely to be used successfully than a single BB2, VDK EXT 112 or a Mesa Subway Lite 1x12. In a louder setting, I think two Monaco’s might be needed. Overall, the Monaco is a great moderately sized speaker. It’s very even across the frequencies, it’s punchy and it really is easy to hear what you’re playing, whether standing right in front of it or at some distance. It has a fuller sound than the Mesa 12inch and I strongly prefer it to a BB2. It’s light, easy to shift and well designed and built. So, big “thank you” to Stephen and LFSys and I hope business (and its growing range) gets the success it deserves and I’m sorry I took so long to produce this review!!

I got a bit of stick on the FB Mustang owners group for posting this, although it may not say Fender or Squier on the headstock (neither do Nash or whoever else makes a ‘Stangalike), but no one can deny its inspiration and most folk were supportive with their likes. Therefore, here’s my recently acquired Harley Benton Mustang type. It’s really not bad at all and not just for the money. The neck and pickups aren’t as good as the JMJ and I prefer the slab body of that bass, but the upper access is something FMIC could take a lead from.

He who cannot not be named has it. He has done a bit of work to disguise it though -

Alexandra Burke's version of Hallelujah. Rips all the fragility from the song and turns it into a big, belting power ballad. Someone obviously didn't care for music...

My two G&L's, I've had the 2500 for about 12 years, bought second hand and the only bass I had gigged with in that time, until I got the LB a couple of months ago. I had an L1505 many years ago and have always regretted selling it, this is the only picture I have of it.

Once attended a 'new to me' jamnight in town. Sempt like a nice bunch, albeit a little cliquey, but no more than average. I'd taken my little Status Streamline that I had at the time and met up with a few guys I'd played with at other jams. A few minutes after getting there a worse for wear 'rock dude' came up and asked/semi demanded to use my bass as he hadn't brought one....he struggled with understanding a polite no but eventually got the message when a less polite response was made. Apparently this wasn't cool at this jamnight and a bass was produced from behind the bar (one of those JD whiskey bottle shaped things) and I was then the a$$hole. Redemption came a few minutes into his session as he alcoholically stumbled and the bass crashed to the concrete.....I didn't need to say anything.

I’ve just fallen off the wagon after 15 weeks - a very nice dark grey Musicman 2004 Bongo 4 is on its way via Reverb. Yes, I have sinned, but how can something so wrong feel so right?

Not quite a NBD rather a New Bass 3 weeks ago day... but in that time I have been playing this wonderful bass non stop, it's got that wonderful sound I want and it feels just incredible, it's such a joy. I got it from BassDirect recently as part of their shipment of 5 basses from Sleek Elite in Japan, this model has Hajime Hirose's sig in it and was completed 1 day before my birthday in feb this year! So... meant to be as they say. Here's my cheesy mugshot in BassDirect picking it up; The top on the bass is book matched Rosewood and while it looks quite dark in the photo above there is so much grain pattern to admire; The fngerboard is Macassar Ebony and It has a matching book matched rosewood headstock The body is two pieces of swamp ash and the neck is 3 piece maple I took some photos of the top in today's gorgeous sunshine too, so as well as showing dust and some lacquer swirling it shows how holographic the grain on this bass is I'm really happy with the bass, it sounds killer, had it at 1 band practice and the bass lifted everything in the room it's so clear with huge lows and so much mix cut.

Something that didn't say "Fender " on the headstock. Lots of luthiers will build you something comparable for less.

That may be my favoutite subtitle error of all time.

Hi Charlie! Yes, tradeoffs and design decisions... By the way, folks, Passinwind is the guy who sucked me into this rabbit hole! I don't know whether to love or hate him!

😎

yep its 4. and it takes some practice to engage. It's a lighter touch than you might think. I love how the forum jumps in and helps answer the questions posted. You guys are awesome.

I’d agree with what Clarky has said. I’ve experienced similar with silks sitting over the saddle and never been able to hear anything negative with sound (though that could be my dodgy ears). May be a daft question but have you removed the bridge at all to see whether there are other holes drilled closer to the back of the bass? Probably a long shot, but might be worth a look?

I found this sorting through some bits and bobs at the yesterday. Fairly certain it came off a 70s Precision (though doesn’t have the extended intonation screw on the G so probably mid/late 70s). It needs a bit of a clean up (it’s rusty) but if it’s the sort of thing you’re after then drop me a line and I’ll get it over to you…

LOL! No such views at our local Waitrose today.... On a slightly more serious note, I saw that image on FB earlier and thought, imagine the sh*tstorm if that had been a naked woman as opposed to a guy. I'm all for admiring beauty, but I feel a tiny bit awkward at the double standard. End of diversion. On a thoroughly serious note – my, is Waitrose expensive these days.

That's a good interview. I'm a big fan of Barrington

No it's for my country rock singing denim clad altar ego Dale. He can't have too much denim.

The Music Inn in Nottingham have agreed to donate something for the raffle - not sure what yet, but they're lovely people whatever: https://www.themusicinn.co.uk/

Pay on the door, £10.

I lent my bass out a few weeks ago. It was to Martin Turner though (ex-Wishbone Ash), who had travelled 100 miles or so to a gig without his bass. Luckily I have a Thunderbird and was not too far away... Oh, and I hung around to make sure he took care of it... and buy me dinner too

I’m sure we have more than two pages worth of Mustang players on Bc? I’ve seen loads taking up the JMJ recently. Here’s my modified 66 because I haven’t added it yet!

I'm juggling three projects at the moment, two guitars and a bass. Today I did some work on the "Double Denim" bass. I glued an old pair of jeans (deemed too tatty for the charity shop to sell, except to me) onto the body and headstock using pva . I then put a double layer of masking tape around the edge and checked that it was level... Then I poured the resin. It's darker than I thought but who knows what it will look like on the finished bass Now we wait....

That's awful! Hysterical, but awful!

Not necessarily. The kit may be designed to switch on/ off etc on successive momentary switch events. Eg most fx pedals use a momentary switch which toggles the fx on/off via a bit of hardware logic. See a schematic of eg a boss fx pedal.

What the dickens did that sound like..???

It's a keeper!

No issues here playing pub gigs with most of the volume coming from the amp behind me. I need to get quite close to the amp to get feedback, and in my experience it requires coaxing out of the bass - it won't just squeal at you with no warning, it's like a slow build up.

If you have some face melting distortion going through it in a cramped rehearsal room it can feedback. I've not had feedback problems with mine on gigs because I don't have my stage amp at huge volumes and don't put high gain distortion on. I do use it with fuzz but if you're controlling volumes and distances to the amp then you're fine. The JC is a superb gigging bass. Nice and light, lovely feel and you know what you're getting from it sound-wise. It can sound muddy on some settings but with flats on mine is nice, big, thick, old-school bassy, such a solid tone that I don't bother using effects on some tracks just because I'm enjoying the raw bass tone so much.

https://www.ebay.co.uk/itm/385538505153?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=Wzfez89KQFa&sssrc=2047675&ssuid=b67waN--Sji&widget_ver=artemis&media=COPY

I've just discovered a lovely feature. With the signal split you can move between path A and path B with the dynamics of your playing. The sensitivity is fully customisable as are the relative levels of each path. It's so clever. Hit the strings harder down goes one path and up comes the other. Soften your touch and the process reverses. Get it just so and they blend.

My 76 jazz is pretty much my #1. my first car was a dyane too !