LukeFRC

I think I've just seen a video of him playing Mario on a white Herr Schwartz

makes me think of a dutch footballer - it looks great!

aw bless - I guess at least that guy in the video is happy.

That said switching to a passive P bass is a breath of fresh air!

Just a comment that in practice the ACG EQ1 is super easy to use - put the filters where you want, in practice resonance will either be off, full or the centre detent (and then tweaked from there) the set the treble frequency in such a way adding it doesn’t create a big high mids boost… then live you have the blend control for front or back pickup and the treble control for top end as you need it. It can be complex but I learned to tweak on The fly by ear and without looking at the knobs

updated the post with some words... No idea the Paignton is essentially the same bass headless and I think they started off with both models. I guess if you're making your own headless bridge they wanted to use it on both?

Basically the previous owner had bought this bass in 2021 and a load of other high end gear, had been working internationally so hardly touched it and then tragically died in his early. 30's, his widow was selling them off, there's not really a way to work out the prices of used LeFay as they aren't that common but I didn't quibble her asking price and it was the very max of my budget... and yeah she's lovely and very high end thing... I've never played a headless before, it sits a bit differently and there is definitely no headstock dive. The bass is simply a work of art.... like this is really high level of craftsmanship, the sculpting of the woods compared to say a Warwick thumb is another level - and it feels very much design led. Everything seems and feels thought through and there for a purpose rather than rushed quickest way to do something. The bridge is very sturdy ... and, maybe this is the cleaness of the tone, or just all headless bridges but tunes so easily. I've got an HX stomp and using the fine tuning mode the other basses take a bit of coaxing to get bang on... this just does it - it's crazy Padauk neck! Really easy to play, the widest point is a few mm below the top of the fretboard so it kinda starts to curve back in on itself. Anyway very easy to play. These things in the faux headstock. I will learn more about them when I need to change strings. one of my half thought-through ideas was to learn to make a neck and then make my own Padouk neck... safe to say if I ever installed frets I would not be even attempting them to look like this... it's crazy the top is gently curved and the back doesn't look bad either ... like crazy woodworking chops... and also the bits to the bridge pins - the mind boggles. But what I like (and I work as a designer) was I was playing it and thinking about how well it seemed thought out... someone else pointed out the crazy woodwork to me, it's not ostentatious craft for crafts sake, and also no coffee table wood on view... I like that. Another one of the back... This looks odd to me - there's nothing on the back of the headstock!! pointy grey/silver paint! woop How does it sound... so not like a fender at all.... it's really really clear and consistent all the way up and down, the low notes on the B string are clean and defined and feel in character. It was initially set up with super low action and straight neck, so I imagine I could do a Charles Berthould impression with tapping and slapping if I practiced for about 10 years and had any talent... tonally if I was trying to describe it it's in the same ballpark as Charles' Herr Schwartz - but played by an idiot. It's quite piano like in the way notes have clarity and it seems to reward playing melody and multiple notes at once... The preamp is really nice, volume, passive tone and the 6 position pickup selector (best described as: rear coil, parallel MM, parallel Jazz, front coil, series MM, series jazz) and then 2 band bass and treble boost only. The bass control is really nice, it adds a boost at about 80Hz but nothing below 30Hz - so none of the subby stuff, the high end boost is a nice high end boost. And then the 6 position control makes it sound like completely different instrument. So yeah, I feel a bit like a 17 year on their birthday old let loose on a Ferrari ... and the temperature of the house it previously lived in down south and my cold room the bass live in up north mean I need to tweak the setup, the bow on the neck isn't quite right at the moment. Like I said a 17 year old in a Ferrari!

I may as well start with this picture... 8-9 years ago I had Warwicks and other. though neck basses.... a early G&L L1000 I bought from Gareth (formally of this Parrish) made me realise there was something about the simple fender design that just works, ergonomically and in terms of sound. One of the Warwicks got traded for the Sadowsky metro Will Lee above, originally cos it would be easier to sell than the Warwick but then I got the Sadowsky home and played not much else for the next 2 years. It is phenomenal instrument... The Lakland 55-94 classic was a local find and my introduction to 5 strings, something about Bart pickups suit my playing style and it sounds great... It kinda can do jazz bass and stingray sounds and currently enjoys some Jazz flats. It has a East Uni-pre in it which I tuned while I had a borrowed a pre-EB Ray and although the pickup isn't quite in the right place I could get 90%+ of the way there with the tone if set the preamp right... But in my heart I'm a P bass guy so sold loads of stuff. and saved and waited and, I guess had custom built for me the Bravewood P bass (also in the picture) - It took about a year to build and in the mean time lots of other P bass style basses were catching my eye... including the early ESP Navigator stuff... (which I would still like to try), one I really wanted was one for sale in Oz with a beautiful solid Padauk neck and ash body, it looked lovely but wasn't cheap before VAT and import and pretty pricy after. But Padauk neck, that would be fun to try eh? Not many about right? With three basses, one covering a J type sound, one a J and stingray type sound and a P style, they are all Fender shaped objects and sound like Fenders... and it got me starting thinking about the 4th space on my bass stand being more modern sounding thing, Vigier, or Warwick or something graphite maybe? I had a long list of "would be fun to try" some obtainable, some one off instruments that I knew weren't going to be sold and a lot of stuff way out my price range... like Le Fay. Then a number of things happened. there was a lovely vintage Precision put on sale here for £lots. It was stunning and lovely... and I wanted it ... but out my price range… I got permission from the other half to buy, but it had sold, But I had green light to spend ££ A Le Fay capone popped up on Gumtree a 3 hrs drive away and I had a day off So I went and got it... more to come...

Finally managed to arrange the basses in the same room as the sofa… oh and so I don't forget I weighed them all... while I had them near the scales... Ibanez 4.4kg LeFay 4.29kg Lakland 4.28kg Sadowsky 4.0kg Bravewood 3.9kg

Or for different reverb effects?

You weren’t clicking personally with all the band, and then spent a day in the studio and bad comms meant they couldn’t get what they needed from you. I work in a creative industry (design) and if I went into a situation where I clashed slightly with some of the team and then spent a day in a studio and couldn’t produce the goods, or just as importantly as part of my job, work out what goods they wanted Ild probably not be invited back the next day either. so either you weren’t the right guy for them, or you might have been up to the job in terms of skills but didn’t have good enough professional relationships to make it work.

You weren’t clicking personally with all the band, and then spent a day in the studio and bad comms meant they couldn’t get what they needed from you. I work in a creative industry (design) and if I went into a situation where I clashed slightly with some of the team and then spent a day in a studio and couldn’t produce the goods, or just as importantly as part of my job, work out what goods they wanted Ild probably not be invited back the next day either. so either you weren’t the right guy for them, or you might have been up to the job in terms of skills but didn’t have good enough professional relationships to make it work.

That’s a reasonable amount of Pepsi

I bought a couple of jazz basses and still couldn’t play jazz - should I make a YouTube video to demonstrate?

I need to actually take some better pics of my Bravewood

Erm https://www.theverge.com/2021/7/8/22568356/volkswagen-bmw-daimler-emissions-cartel-fine-audi-porsche-eu

I have no idea what I’m looking at. You’ve stuck a little wooden thing to a big wooden thing to stop the little wooden thing bending before you stick it to the big wooden thing?

I now have a router table on my shopping list!

That looks awesome

If it helps - for the money that looks great as you got it - and I think you are going to make it even better!

Except about 4 string basses

I agree with Owen

Erm if you are the only worship leader does that leave you in charge? Can you start changing things thst might solve the problems… like pick the songs yourself, and give the bass guy some time off?

minor question - is the hornbeam in two bits or one?