neepheid

Warwick (Rockbag) do suitable ones - look for semi-hollow bass bags of theirs. I think they're intended to be used with their Starbass models, but I can confirm from experience that they also fit the Jack Casady. https://www.thomann.de/gb/rockbag_starline_hollowbody_e_bass_bag.htm - that's the one I had. There is a cheaper one but with commensurately less protection. My 20th Anniversary edition came with a gigbag. Frankly speaking I think all Jack Casady basses should be supplied with a gigbag - this is a £6-700 bass, not cheap by any stretch of the imagination and by providing the bag with the 20th Anniversary it just proves that they can do it when they can be bothered!

Correct - G&L Tributes get the same pickups as USA. MFD pickups are the hotness. The series part of OMG mode explains the output boost but the rest is crazy "less is more" relativistic tone witchcraft.

I'm glad you enjoyed it from afar then. If it's any consolation, I'm a pragmatic Jazz hater - if I saw a Jazz bass on fire, I'd put the fire out. Then I'd sell it and buy something else

Did you do your A/B comparison between the LB-100 and SB-1? Keen to hear someone's immediate thoughts with both of them in the same room, I'm working from memory here.

I'm glad you enjoy it. The Jazz bass does nothing for me, be it Custom Shop or bargain bin.

Really? You've noticed that most basses out there look like some variation of Leo's progeny? That's kinda like saying you've noticed most grass is green

I'm a bit grumbly, just finished sorting out my G&Ls. I did the Tribute LB-100 last month. The factory "shielding" was comical - it had some shielding paint daubed/smeared in there but it was bloody pointless, looks more like the bottom of a dried out puddle: Bloody awful job. It's now copper foiled and shield connected to ground - now whisper quiet in the RF room, I mean rehearsal room. What bothers me more is my G&L CLF L-1000. It was also hating the rehearsal room so I opened it up tonight and found... nothing but body colour. Not even a scrap of a suggestion of shielding. On a circa £1500 bass. Am I right to be a bit miffed at having to shield a bass myself at this price point? Or is it my fault for rehearsing in a room lit with ancient strip lights? Anyhoo, they're both done now so unless I've managed to screw up the soldering, I shouldn't have to go in there again. Was too annoyed to photograph the L-1000 before i started and I was too keen to reassemble and test to photograph my handiwork post copper foil application, sorry!

Mmm, blocks are always welcome. I wouldn't have even considered getting my G&L Tribute LB-100 if it didn't have them. If I'm being super picky my favourite is crown inlays, but blocks are a close second. Enjoy the bass!

My wife used to be a singing teacher so I asked her for some pointers. She suggested https://www.musicnotes.com/ https://www.sheetmusicdirect.com/ When you use the word "scores" it sounds like you mean notes rather than tab, or am I making an incorrect leap there?

I'm on my third JC Sig. I only ever sold them for financial reasons. Currently have the 20th Anniversary JC Sig and I hope I can keep hold of it this time!

Ahh, the never ending search for hidden meaning continues...

Then you'll get a Snickers, and if you complain then I'll eat it and you'll get nothing!

Not me, so I don't watch them, much less start threads about them

I wonder if they were backreferencing the 1968 Gretsch catalogue with that colourful text. Not as close as I thought looking at it again but that's what it initially reminded me of

Duh, Gus basses, synths and providing alternative views. Have you not been paying attention?

Am I the only one looking at this thinking the colours not particularly bold (apart from the shell pink) or particularly bright (apart from the shell pink)? Especially when placed next to the bold, bright text...

Bloody expensive hats, way out of my league.

Yup. Sucks.

I'm a lazy driver too. The only reason I don't go around town at 30 in top is because the car complains that it doesn't like it and displays an annoying arrow "suggesting" to me that I at least pop it back down to 4th. In my previous car (which was larger and had a bit more grunt) I used to glide around at 30 in 6th. It could do it and didn't give me jip for doing it. Also, well jell at the shottie of the 928 - a pinup car from my youth I'd love to have a go of. Your friend is wrong BTW - it's a grand tourer, so tour grandly in it - I don't need to hear it to know its got an engine. 40 in 2nd, what is he, 18?

I'm paranoid enough to think that people look at me and think "knob" whichever bass I take to the gig.

Or we could stop trying to describe bass tones like we're wine tasters and just drink the bloody stuff. My metaphor may have got lost somewhere on the way to the wine bottle.

All Epiphones are made in China these days. The Jack Casady Signature is a very good bass guitar - it was very good when it was made in South Korea and it's still very good now that it's made in China. Tiny sample set (3) but I've owned JC Sigs made in both countries and I found them to be equally good. There's a lot of anecdotal love for the Epiphone Thunderbird Vintage Pro - some prefer it over the USA Gibson Thunderbird, although that might say more about the current state of Gibson USA than the relative goodness of Epiphones... I'm willing to say that not one of us here has the statistical oversight to make blanket statements about any factory or country's output with any validity or integrity. Statisticians of the world, I'm sorry for p!ssing all over your craft. All we can do is evaluate each instrument which comes into our parochial little world on its own merits. Country of origin shouldn't even come into it because we're not qualified to make such statements. The instrument in your hand is either good or bad and can only accurately be discussed in isolation. I'm saying this for general comedic effect - this is not directed at the quoted user or anyone in particular so please don't jump on me. Dear guitar racists - show your working

This class of instrument simply costs more than I'm prepared to spend on a bass. Too much responsibility, too much to lose if something bad happens to it. I had a play of a friend's Ritter a few years back and as lovely as it was (with a finish so deep and lustrous I could have dived into it) I was too scared to breathe on it wrong to be able to enjoy it. Couldn't get it off me and safely back into his hands quick enough. Playing an instument shouldn't be that stressful

RIFF Megastore in Warsaw successfully navigated without gear acquisition. Instead went there with my wife and a mate (both of whom can play piano) and had a jolly good sing song in the digital piano department. Was complimented for my falsetto in Queen's "Somebody to Love". Did buy a spare set of D'addario XL 45-105 (consumables don't count, right?) - at £20 instead of the usual £25-30 back home it seemed rude not to

I own multiple basses (4) and deciding which one to play is in the same category of deciding which shirt to wear. Basses be bassy and they're all ones I like to play, having distilled my dislikes down into a concrete idea of what a bass should be to me. It's got nothing to do with "level" - I don't have to justify to anyone how I spend my disposable income, it's not a competition and I don't have to be a bass god to "deserve" to own multiple basses. They make me happy, and that's all that matters to me. Love, your friendly neighbourhood silly multiple bass owning weekend warrior