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From the top: 1978 1985 1994 2012 And below, last weekend at sunny South Shields Amphitheatre 29/6/24

Mine 😍

Long story as to the why and the how, but very happy nonetheless. Original 1971 in all it's glory, weighs slightly less than the Titanic but is a joy, plays like butter and sounds like the Precision sound in your head. Bought for s very specific project that I'm now very glad I chose 👍

Well, what can I say? I love it. The Barefaced 10" sound is where it's at for me. Each of these amps sound better to me through this cab than they do through my Super Compact. I like the way they are warm and coloured. It's also very punchy and the bottom end doesn't dominate like it can with the 12"s. I'm very very happy with it. Three gigs to come this month too. Interestingly it's the first cab I have played the Bergantino through which has made me want to keep it over the others. After the last hour of A/B/C testing, the Bergantino is going on the next gig with me as the main amp. I suppose I had better withdraw it from the classifieds then! @shug you will love these. It ain't small though, it's the same size as a Super Twin, just not quite as deep. But the wheels and multiple handle options make it quite easy to move around. Well chuffed, Rob

It's here! Looks fab. I will try to give it a whizz this afternoon. Rob

Bloody marvelous. It makes all of these amps sound bloody marvelous. To be fair, I could take any of these amps on a gig a smile the whole night. There's a complexity in the Bergantino I haven't really heard properly until now though, so I'm interested to see how it goes on a gig. It really suits the cab, much more than it did the Super Compact, which I thought made it sound too bright and too deep all at the same time. Rob

Definitely, in my last band we used to see a lot of this, bands wanting to use full back-lines (often even asking to use guitars) as "they were travelling to the gig" - well none of the other bands lived at the venue so they must have been "travelling" as well, spending an hour on a "sound check" which actually turned out to be them rehearsing their set as they clearly never did this anywhere else, and as soon as they were at the venue their priorities were where`s the free beer rather than checking out the stage/PA/lighting/sound-man/areas to display merch etc. As one old-hand said, they weren`t bands, they were groups of blokes on a Saturday night out.

I made a little recording sound is mixed for smartphone speakers 💀 but you get the idea 😅

Well to resurrect an old thread, I did regret selling that modulus but kept a watch out from when I realised - back in 2017 - until 2 weeks ago when I spotted my very own bass up for sale in Some Neck guitars in Dublin. Guess what? We’re reunited and it feels so good…..

Hi ! I hope this is allowed. If anyone need custom/discontinued/hard to find knobs, I can 3D model and resin 3D print them. I've done it for Wal knobs, Aria knobs, Ibanez inspired knobs. Some 3D models : Some finished products pictures : Feel free to let me know if you want some

Hi guys and gals, Focusrite has sent me a free license of Baby Audio Comeback Kid, it is a very good delay plugin. The problem is that I bought it 2 years ago so this license is surplus. So if you are interested in the license please message me and I'll send it to you for FREEEEEEE!!!!

We Are The Champignons - Queen

If I had teeth like him I would be showing off all the time too

Tonewood == firewood

Something else to bear in mind is that note timbre will change according to which string you use to play a note. The A on the 10th fret of the B string will sound different to the 5th fret of the E string and to the open A, partly because of the character of the string and partly because of where you're plucking it relative to the speaking length of the string - if you pluck in the same place then the higher you're fretting, the closer you'll be to the centre of the speaking length, hence the less harmonic content you'll get. If you're playing short notes it won't be particularly noticeable but it's worth keeping in mind and experimenting with on sustained notes.

W sounds A bit Nonchalant when it comes to Keeping a band together. It sounds like Everything he does needs to Revolve around him!

Here they are!

Love this!..

My favourite Fretless 2EQ unlined Stingray

I've only just bought myself a bass (about 2 months ago) thinking it looked like the most fun way of trying to stave off dementia as I plummet into middle age. Loving it so far but I was going through various Youtubers to see how best to start with it. Then someone suggested I pick a song that I like the bassline to and find a tutorial an learn from there. I settled on Hit Me With Your Rhythm Stick and found the video below. In retrospect it's probably a bit too advanced for my first go at 'music' but it's definitely a fun journey. I thought I'd hit a goldmine with this guy but unfortunately there isn't too much on his channel that's as good as this for someone who wants to learn a specific tune. He has plenty of good stuff but I was hoping he'd have a hundred songs to learn in the same style ready and waiting for me to get into. Unfair of me really as it must have taken ages to go through the one song like this. Better ears than mine might tell me he's not that good but he sounds excellent to me.

South west corner of France covers a pretty big area. Where abouts are you?

Todays progress consisted of trimming all the veneer fillers back and sanding and sanding and sanding the fingerboard. There were a number of dips and high spots all over the board but now it’s nice and level and flat, and the fret line fillers are about as inconspicuous as I can make them. Next step will be building a jig to cut the fret end slot markers as I don’t trust myself to freehand these with the Dremel. I’ve saved all the sanding dust and I have a bottle of tru oil on order. Once that gets here I’ll be attempting @Andyjr1515 slurry and buff technique on the fingerboard.

I may well be the outlier here but over the 46 years that I’ve been playing I’ve taught myself to read and write musical notation. Unless a piece is very simple I tend to make a reasonably accurate transcription and learn it from that. One tip I picked up online was to start at the end and work backwards - that way you’re always moving into more familiar territory.

I collected a Nash P bass from @Skin Lewis yesterday lunchtime and thought I’d play it for the first set at yesterday’s gig in Bath. It sounded so good, I carried on til the end and my main bass became my spare. I can’t be the only one to get a new bass and gig it immediately surely?

You Can Corby Al - Paul Simon

😎

The x-over means the dry signal knob brings in a low-pass-filtered dry signal instead of a full range one. It basically brings on only the lower frequencies from your dry bass sound, which is often a better way to blend in with the wet (distorted) signal. To hear what it does, dial out the wet signal entirely and flip the toggle between the two positions.

Looking at Warwick website it appears your prayers may be answered. Not only Meteoexpress Modern’s in 4&5 string, also the MM, MM/J and Will Lee models too! Around the £1000 mark give or take £100 or so, so directly competing with the likes of the MIM Fender Player & Player Plus, Charvel San Dimas, Sire V10/P10 etc. I’ve got a couple of the Gen 1 MetroExpress’s now and have been blown away by how good they were for the money (but I paid sub £350 for both of them) however I still think these will be the best thing you can by new for a grand by a mile

Did anyone else misread the title (and still click on it)?

I think it's true what he says - it doesn't matter what anyone else thinks, as long as the player feels happy either way (like, 'this sounds warmer because it's rosewood!' or 'I just like the way this looks') then that's good. Same with our pedals - probably nobody else cares at all whether your envelope filter attack is adjustable or not. But in this day and age where everything is about convenience, similarity, efficiency and cost, I think we're lucky to have refuge in arguing about the nuances of something as minor as tonewoods, and if we feel empowered one way or the other, that's cool.

No, it’s a bitsa but a rather special one, trust me 👍

Guild Starfire I

A Kay. I wouldn't stake anything more valuable than a Polo mint on it, but I think they were also Teisco, and possibly sold as Top Twenty by Woolies.

The Jack Cassidy basses are wonderful. I’ve played them a couple of times and they’re just excellent instruments and good value for money.

What a way to go though. 😍

I've just quit my band today. Something had been annoying me and I mentioned it the other day. They got slightly arsey with me, accusing me of making ultimatums. I told that wasn't the case and I was willing to find a compromise position that would give us all a little bit of what we want and was given an emphatic "no". So I quit with no notice, leaving them in the lurch for two forthcoming gigs (which I'm not proud of, but I did my best to propose a compromise.) So instead of them getting some of what they wanted they now have 100% of nothing, and they're probably thinking of me as a band wrecker. But another door almost immediately opened, and I'm doing a few dates with a local country act. Not my thing, but more palatable than some of the pop pap I was having to play with the old outfit so it'll be w nice change of gear while I decide what to do longer term, ie, find another band, devote some time to home studio recording, maybe teaching, or whatever.

so got a thing and it’s great fun do want to add a mute switch maybe so I don’t have the bass going to foh when I’m not using the Vocoder got it to add some cool layers on BV

Is this more scab picking?

Fender/Overwater & Genzler/Barefaced

I called and asked them why they didn't go 3 x 3 and they couldn't give me an answer. When I asked them why they didn't at least go with a matching headstock, they hung up.

We often play Chase the Key so I have to be used to learning the shapes and moving

@NikNik

For the past two years since I took on a life of travelling most of my musical output has been jam nights and let me say they are categorically the most difficult and least rewarding musical endeavours one can do. Your points and takeaways are all valid but I would suggest you look at a different output. Since my last jam in Houston, Texas playing 12 bar blues for over an hour (keep that in mind as that’s the output, playing the same 3 chord shape in different places for over an hour), I got loads of compliments, but I absolutely fluffed a slow blues because it was that slow I thought something more complex was going on than just going to the 4th for the 2nd bar instead of a standard arrangement 🙄, drummer just crushed me afterwards by saying “I guess you don’t play the blues very much” Let me tell you, that stung, even though not 10 minutes earlier I had a an old proper bluesman tearing it up on hammond tell me those were some tasty licks, fist bumps from the drummer, lapsteel player come up between songs to tell me how great it sounded, yadda yadda And I’d nailed a more complex song earlier because the guitarist told me oh this has a flattened 5th in the turn around, whereas slow blues guitarist just half arsed counted off some of the changes occasionally. My outcome from that is I’m not doing jam nights anymore, I prefer a more controlled environments but my lifestyle doesn’t suit playing in a band. So I’m going to ‘hire’ some session musician friends and jam in a studio, this solves all my issues with jams and quite honestly gigs. Because everything you’ve mentioned for the night going wrong I’ve experienced. My biggest pet hate is we somehow seem to accept hearing ourselves or the band a luxury in the gigging world. Every pro musician will tell you the best was to learn is go out there and play with lots of people, but we assume that has to be in front of people, it doesn’t. You can go have a lesson with a drum teacher, guitar teacher, piano etc etc and basically pay to play with them for the hour. You don’t NEED a band and you don’t NEED to be going to jam nights but you do NEED to be playing with people, lots of ways to do that though 😉 My favourite thing to tell people from my Open Mic experiences (because you can imagine how many people want to play with you when you turn up with a double bass) Me: What key are we in Singer Songwriter: Erm well this string is down 2, this string up 4, these two doubled, then I’m capo’d 11 Me: Right What followed was a number of chord changes that would embarrass a prog musician as overplaying. The expectation that we can just follow this song they’ve been perfecting in their bedroom for the past 7 months when they don’t even know what they’re playing 👍🙄 Finally, don’t forget you’ll never struggle to find a gig as a bass player 😇