stewblack

1. Hellraiser by Sweet. First tune to send me. I must have been about 10. Played it as loud as I could, came round on the sofa after leaping about the room, possessed. The music literally reached inside me and threw me around. It's the same high I still look for now onstage. 2. Johnny The Fox by Thin Lizzy. The lyrics fascinated me, the bass grabbed me, the voice and guitars had me. I clearly remember listening to it for the first time. Still love it. 3. Going Underground by The Jam. Heard it in the car bring driven to a family wedding by my parents. Radio 1 round table. From the very first chords I knew I was in love. Spent that weekend just counting down the time before I could go buy it at our local record shop. Still thrills me.

They look good, interesting to see how they feel and sound. Wish Ashdown nothing but the best with this venture. Those of you who prefer different shapes have plenty of other options from other manufacturers. For me, the budget doesn't stretch to 1K basses, but in a while there might be a second hand one I can afford. Looking forward to a review from a Basschatter.

Just realised I'm sharing pictures when we can just share the patch itself DURRRR Here is my Double Wah so called because, well, it's obvious really. Double Wah.zb1f

SH = short headstock when you choose fingerboard

Have to say, if you'd had this made but then decided to sell it for say 750 I'd be tempted

Been playing around with a bunch of different wah options on the B1 Four. Thought I'd start to share. The Bass A-Wah on this series of Zoom pedals is definitely an upgrade on previous iterations. More liquid, very simple to set. I used the HPF set at 50 and then a compressor as the first 2 in line - set those up how you prefer or leave them it doesn't matter, then the Ba Octave, Bass A-Wah and the PEQ at the end as the sound was thinner than the bypassed signal so I fattened the very bottom.

I learned it note for note and the low harmony. Band decided they didn't want to play it. Still, it was fun to learn.

Flat night, stormy weather keeping a few at home I guess. Band leader decided bass and drums are too loud (based on unsolicited opinions of random drunks from previous gigs) so myself and drummer play so quietly that I'm not sure the audience even realised there was a band there. A gigs a gig and I'll play for anyone who'll pay me, but honestly it is nice to be able to hear yourself. Gawd only knows what the crowd listened to. Distorted vocals and self indulgent noise widdly diddly. Poor barstewards

Lovely story. You and your brother play together?

Good shout.

The odd thing is, if it's a simple repair why not get it fixed then sell it?

I should add another important exception to the rule, I always stick to the original bassline if it was written by a master. The day I think I can come up with better than Jamerson, Osborn, Kaye, Entwistle, Watt-Roy or Thomas is the day I need sectioning.

As others have said, it depends. I'm too busy in too many bands to put myself under the pressure of learning everything note for note. However there are some songs which have distinct recognisable bass parts; which parts I learn verbatim. Also some tunes are carried by a repeated, distinctive line. That gets learned and played as per the original. However, in two of my bands I don't think I have ever played the same song the same way twice! It's great fun that way, much more creative and a seat of the pants experience which I love.