Rayman

Don't be going there, buy Alan's from the for sale section on here, superb bass. I had a rosewood board one in LP blue, Alan's is black/maple. Both of them had Aero's and I couldn't hear the difference. However, it is true that some rosewood boarded bass are darker sounding generally, and maple is brighter.

Mu - Jah Wobble. Massive Attack meets Robbie Shakespeare, what more could you want? Brilliant.

I had one of these, it was a great bass, superb range of tones from it, and excellent build quality too. I found the string tension a bit high for me strung through the body, so I reverted back to strung through the bridge and found it more comfortable, but then I like some flex in the strings, some don't. Any road up, top quality bass that, enjoy.

Yeah, I think it looks a bit like the ASAT too, but I think the ASAT [i]body[/i] is nice, it's the headstock I can't get on with. As far as this prototype MM is concerned, it looks really good to me. I'll look forward to developments.

Superb collection. I always fancied an Anigua Precision for some proper dub vibes.

You can't beat a nice 'ray......and that [i]is[/i] one. Good score.

I used Black Labels for a couple of years in a rock band, and loved them. They last ages, and keep a good punchy tone throughout. The only problem I had was that I found them quite abbrasive on the fingers, but you get used to that. They sounded great on a Thunderbird, Marcus Miller Jazz, Precision etc. I've ended up going back to EB Super Slinkys, because I just prefer the feel of them, and I like the tone. Just my preference.

Basses like this are possibly worth a few quid more to the fans of the players that used to own them. To everyone else this just sounds like a slightly tatty Precision. [i]If it was me[/i]...........I'd be buying an old Precision because I liked how it played/sounded/looked. I'm not precious about damage to any of my basses as long as they tick the aforementioned boxes, so dings and scrapes are not an issue to me if I like the instrument and the price reflects the condition. At the end of the day, Musical Youth are not one of the great names from musical history to me, so I wouldn't expect the bass to be marked up because of its history. However, if you [i]are[/i] a fan, and you like the bass, go for it, be happy. Just don't get starry eyed and ripped off.

Last minute disaster, won't be going after all.

Cheers Alun, yeah just found it.

What time are the doors open?

Lakland Skyline Darryl Jones, IMO best value for money at that price. Going in a slightly different direction tone wise, I think the Marcus Miller jazz is right up there too.

One of these for instance: [url="http://www.soundslive.co.uk/product.asp?id=9341"]http://www.soundslive.co.uk/product.asp?id=9341[/url] Check out that colour too, superb bass.

Depends how much you want to spend. A good Squier is hard to beat, and of course Mexican and Japanese Fenders too, if you can find a good one, they're often better than the US ones IMO. How much dosh are you talking about?

Massive Attack - Safe From Harm. Fairly simple bassline, but keep it up all the way through without loosing the time. Good practise.

Trevor Horn, yes. Fingers, pick, flats, rounds, blah blah...........whatever technique anyone has, if it sounds great, then they're doing it right, and that sounds great. Trev's a talented chap.

Session player, Trevor Barry. He's played with allsorts of folks like Bon Jovi and Celine Dion.

Another top gig last night, Derby Arms, Colne. Nice stage, pity there weren't more people though, maybe bonfire night kept a few away. First time really I've been able to crank the Pro 400 up to it's full potential. Standing in front of it, taking in some proper chest thumping tone was a real pleasure. Both the Stingray and the jazz sounded immense, and I think now I've found the perfect gigging combination with this setup, effect free tone, punchy and clear, but with some lovely thump too. I reckon with the 1x15 extension cab, taking the rig up to 500W, it'd be absolutely mega, so maybe I'll have a look around for the cab. I'm finding since the arrival of the amp, I'm using the EQ on the basses more too. I never really explored the pre on the ray before, prefering a flat setting and adjusting the amp. I've decided that I prefer to set the amp up for a general gig tone, and cutting and boosting highs and lows on the bass, it seems a more useable way in a live setting. Anyway, bring on the next one.