bassbiscuits

I've been having a few shoulder problems since the start of the year, after exactly 30 years of playing bass, and realised i finally needed a lighter instrument. Bit sad to see my two great, but heavy (for me) Fenders go as part of the deal to get this, but i couldn't afford it otherwise. So having gone to Bass Direct for the afternoon and trying out more or less everything lightweight there, i came away with a Mike Lull PJ4, in baby blue semi transparent over a lightweight swamp ash body, rosewood board, Lindy Fralin P/J set etc. Wow what can i say? I'd done a bit of homework on these beforehand, and while my Fenders probably beat it in terms of sheer massive thud, the Lull is so articulate, well balanced and ergonomically fantastic, that it was hard to say no. The Fralins sound lovely too. I keep picking it up for a noodle and being surprised all over again by how light and just playable it is. Can't wait to gig it. I've still got my very old Fender and an Epi Jack Casady, which are both under 3.8kg, but this one weighs in at just 3.5kg. That's more or less the same weight as my Strat and lighter than my Bernie Marsden PRS. Insane. My phone has decided to pack up so i can't email any pics to attach, but here it is from the Bass Direct website. http://www.bassdirect.co.uk/bass_guitar_specialists/Mike_Lull_PJ4_Baby_Blue_Burst.html I do hope it turns out to be a keeper. I've only had it two days so not had a chance to gig yet, and my month old baby is keeping me from even cranking it up at the mo, but if it turns out to be as good as I hope then my shoulders will thank me for it, even if my wallet doesn't...

[quote name='Lenny B' timestamp='1472771808' post='3124223'] It's all about Live After Death - that was the first Maiden album I heard, never heard better than that [/quote] This ^^

Ah man Steve Harris is the dogs. I can't say I listen to Maiden a great deal now, but as a teenager I was mesmerised by them - can probably play the whole Live After Death album even now! Great bassist - some of it doesn't seem hard until you play it and realise how consistent and nonstop pummelling his basslines are. I met him once at the national music show in Birmingham in 1997 and was so star struck I couldn't say anything as he signed my Rotosound flyer. Ahh happy days...

Brilliant - looks great! I know a good luthier in Leicester but probably a bit out of your way.

Sorry you're right - I misread the original point. Yeah mine does have four patent numbers beneath the big black Fender headstock logo.

Flats are cool, but it took me a while to warm to them. Now they give me the best sound ever on a precision bass. I've always used stainless steel rounds but used some Rotosound flats a few years ago which were ok but a bit uninspiring. I swapped back to rounds and my bass came to life again! But lately I've been using a set of Labella Deep Talkin Bass flats I got secondhand on Basschat, and they're perfect for a fat precision bass sound. Not half as dead and thuddy as you might fear - just full and fat and smooth, but with good attack and bite with a pick, without sounding thin. Best strings Ive ever used.

My 1970 P bass doesn't have a serial number beneath the headstock logo - it's on the neck plate. But there are corresponding part numbers on the neck socket, pots, pickups. I think headstock serial numbers came in at about 1976 onwards. But yeah some pics would get us to the bottom of it!

looks like its gone mouldy

Aerosmith and AC/DC.

Ive played a couple of JV Fenders but ended up getting a USA one. Why? Well I really liked the idea of a cool, bit more vintage MIJ bass. I've got a MIJ strat of no particular pedigree from the mid 1990s and it's lovely. The JVs I played were all pretty nice - but with the asking price being the same as for a secondhand USA Fender, they just weren't quite as good. The newer USA Fender just felt like a better quality all round bass. Saying that I've played my mate's JV precision with Lindy Fralin pickups and it's a peach. Just not sure they're worth the £700-£800 price tag they often command these days.

I'd pop it along to a guitar repairer/music shop if i was you. Getting it playing right is a combination of neck relief, height adjustment on the bridge, the way the nut is cut and whether or not the frets are perfectly level. Often on a standard factory set up these things aren't quite right. Trying to get a perfectly straight neck with no bow at all isn't necessarily the answer - all mine have got a bow to some extent, because they need one for the strings to vibrate cleanly. String tension will play a part in your set up, but it isn't the answer by itself. Take it to someone who knows what they're doing.

[quote name='stuckinthepod' timestamp='1472044761' post='3117958'] The gunk keeps the funk [/quote] Ha ha yeah but you wouldn't say that if you had to go anywhere near this one! Glad to report that four days in on the bicarb it's certainly a lot fresher. Might stick it on the decking outside if the weather stays good.

Ive got a set of Aguilar hot jazz pickups which make for the fattest jazz I've ever heard. But a few friends have got basses with Lindy Fralins in and they've been amazing! As the other guys have said tho, check the pickup height. I had a set up and my P bass pickups were set too low. I tweaked them and suddenly it all came to life!

Right - slightly odd question but one that's been nagging me. How much of the weight of a modern poly finished bass, like a Fender etc, is the paintwork itself? I know nitro finishes are often super thin, but most poly/lacquer finishes are pretty thick. I wonder how much weight could taken off a bass by refinishing it in nitro. I'm not about to hack into mine, but it did make wonder wheather the weight difference involved would be significant...

My mate plays an Epiphone 1961 reissue Casino, and I played them side by side over the weekend. His has a much rounder full neck profile, but in terms of sound they're very much in the same ballpark. Cool!

Cheers Ezbass - yeah maybe the Bigbsy is the way to go - they definitely look cooler! I will have to be careful from the feedback side tho you're right - when i do gig on guitar, we play quite a lot on small stages in pubs etc, so i'll have to be wary of howling! Can't wait to gig it tho.

Sorry to resurrect this old thread, but I did a load of recording this weekend using my old 1970 P with Labella flats on it. Suddenly it all makes sense. Last time I recorded with this same band I ended up using a jazz bass with round wounds on a tune because it sounded nice and clear at the time. But listening back to the end result, it wasn't the sound I'd have chosen at all. This time, with the P and flats, it sounded great. Fat and smooth and really distinct in the mix. I already knew that's how flats perform, but ive ever really captured it properly, or really 'got them' as a result. But man, I'm converted. For recording, I can't think of a better version of my sound to commit to tape. Just a bit gutted that first song doesn't have my flatwound sound on it now. Bummer!

If you're really stressed, try taking a moment to just calmly visualise what you want from the gig - seeing it going well, being enjoyable and fun, and you getting back in your car at the end happy knowing you've had a good gig. Sounds simple, and it is, but it just gives you time to calm your mind and stop any worries just escalating needlessly. Not everyone gets the chance to gig, and someday we'll be too old to want to bother, so just don't forget to enjoy it!

One of my hard cases has been smelling a bit off lately - probably caused by a sweaty damp leather strap or such like stashed after a gig at some point in the past. My missus suggested sprinkling bicarbonate of soda in the case, leaving it for a few days and then hoovering it out. Anyone tried this, or know of any other methods worth trying?

My missus is to pushchairs what I am to basses - she can name the make and model after a quick glance at 20 paces, and we've got more than we need. So she's pretty chilled about my instruments - she likes me playing (except if she can't hear the telly or is trying to concentrate on something else) Her parents taught music at their local school in Norfolk, and their house is cluttered with all sorts of instruments in cases, so she's never hassled me about them!

Over a few pints recently with my brother (who is also a guitarist) we ended up talking about what sort of instruments we haven't got, and what we'd get if we didn't have our current gear. I realised the thing i was missing was a hollowbody, preferably with a Bigsby trem and P90s, to give me a completely different take on guitar to my regular guitarist who's a Tele/strat man. So anyway, I ended up with this Epiphone. Its Chinese-built, but with some decent upgrades such as USA Gibson P90s, Switchcraft pots/switch, Grover machine heads etc. Ok it hasn't got a Bigsby - there is/was a version with a Bigsby, but they're hard to come by, so i went for the trapeze tailpiece with a view to get a Bigsby fitted if i decide I really need it. It sounds great - I loved P90s on a Gibson SG Classic I had some years back, and paired with the hollow body there's a real range from sparkly jangle at low gain, to a real roar at higher gain levels. The very top of the dusty end isn't brilliantly accessible - beyond about the 16th fret its gets a bit tricky, but its probably not what you'd choose for shredding. That said, add a bit of gain and you get some serious grit and sparkly harmonics for those Billy Gibbons-esque bends lower down the neck. I love the dark blue / black burst finish as well - i've got enough three-tone sunburst guitars to last a lifetime, and I think this deep dark blue looks awesome. The set up off the peg was pretty decent, but I took it for a quick set up by the local guy here, who's done a great job. The neck is described as D profile, which is quite slim and easy to play, and obviously being hollow its super lightweight, which is great for me as I've got an ongoing dodgy shoulder. Be interesting to hear it alongside my guitarist's Fenders - should cover a good bit of sonic ground between us. Hopefully gigging it soon thru my Fender Hot Rod Deluxe, and hoping for a righteous tone....

I've broken strings a few times on bass, using my fingers or a pick. I think at the time it was due to some wear and tear on the bridge saddles, which meant a rough surface in contact with the strings. It can also happen if you use older strings which you've boiled more than a few times - i don't think its very good for them other than to get you out of an emergency! Anyway, I gently sanded the saddle surface, buy new strings rather than boiling old ones, and I now haven't broken a string in about 10 years.

In general I never take a spare bass to a gig - i just make sure that the one i'm taking is working and maintained properly. I've broken strings live before now on rare occasions, but i've just managed to restring it quickly with an old, pre-stretched string with minimum delay to the gig (i.e. make sure the next tune has a long guitar/piano intro, or the singer can do some banter!) Can't be arsed carrying extra gear unless absolutely necessary. Recently gigged in Poland but only had room to take one bass, so made sure it was a good one!