neepheid

In an ever more crowded marketplace, I wonder how they're going to get on. The Low Rider "Fenderbird" is kinda interesting but everything else is very derivative - P, J and more than a whiff of Reverend when it comes to the Saint (cheeky name?) and at that price point there's going to be a lot of competition. I wish them well, but I just wonder if the market wants/needs yet another P and J clone for a grand a pop. Also if I've got a grand to blow, I'd rather just get a Reverend than Ashdown's Saint. Have you seen that purpleburst 3 pickup Triad model? Phwoar!

It's a democracy - everyone pitches in ideas and we give them a go. Everyone has a veto but no one uses it selfishly. I would be delighted if I never play Don't Stop Believing ever again - but by golly people seem to love singing along to it so I take the "what's best for the band" stance and smile through the boredom I suggested something to the band super early on in my tenure (second or third rehearsal, hadn't even played a gig yet) and it's been in the set ever since. All going well so far. Apart from the guitarist's pathological hatred of Oasis which leads him to "forget" that we know Some Might Say. If it gets requested he grudgingly complies though, customer is king!

Hi folks I have a bass which took a nasty hit in transit and is looking like this: Any tips on how to mitigate this? I use the word "mitigate" because I'm not suggesting for one minute I've got the skills to do an invisible repair What I've got so far is a) superglue down the bit of finish on the top which is threatening to come off and then b) fill void by bulding up layers of something, But what? Humbrol paint? Nail varnish? Gluboost? Or should I remove all loose finish and then work up to a solid edge? Leaves a lot more area to fill... All ideas welcome. Matt

Fair enough, my bad for skim reading and going off on a "chunky as a general term" tangent. Yes, It's chunky for a Thunderbird neck. Carry on...

Chunky? Play a G&L Tribute L-2000 and then tell me the Classic Pro's neck is chunky

I only have unfounded opinions on these, but I'll share them. It's the previous EB in a new body shape. Heaving owned one of those (4 string) I report that it's a perfectly acceptable bass. The pickups make a decent sound. The coil splits make a small difference to the sound but whether or not it's enough to get the end user excited enough to use them is another matter. Me, I wasn't that bothered about it. What really disappointed me about the EBs you're referring to (apart from continuing this ridiculous, confusing nomenclature) was just how meh it looks. Although it made some people want to put caustic soda in their eyes at least the previous EB was trying to be something. I do think the trans black ones were best looking of the bunch. IMO Gibson are at their best when they're doing their idiosyncratic thing. This EB looks like it could have been made by anyone, anywhere. I'm sure it's a perfectly competent bass, but for me merely competent isn't enough reason to get one. Don't pay attention to any of this subjective bullpat of course, but you asked for opinions, so there you go

"Better" is a subjective term but I remember seeing Muse in February 2000 in a wee venue called Glow 303 in Aberdeen. Soulwax were the support and I preferred them to be honest. Memories of a Casio guitar shaped synth thing and the whole crowd going C-A-S-I-O! Then Muse came on, they might have been amazing but they were far too loud for the venue to the point where I wanted to leave. So I did before blood started coming out of my ears. I was 23 at the time, so it wasn't an age thing, it was actively, nastily loud in there. Soulwax 1, Muse 0

One of my band members doesn't do social media and doesn't have a smartphone. Thankfully he reads emails!

As found on probably 95% of rear routed basses - that's an unfortunate thing to get annoyed about

I'm interested in your battery choice - specifically how do you mount them? I had a quick look but can only find single battery boxes. I am using EMGs and because I'm loathe to make even more holes in my Les Paul there only really is space in the control cavity for a single 9V battery. At the moment I'm using a simple metal clip screwed to the side wall of the cavity to mount my single 9V battery with a regular connector clip and it just sits side on over the pots. Edit - found a dual battery mount with a deeper search -- https://www.ebay.co.uk/itm/2-Battery-Box-Holder-Case-2-x-23A-A23-23-A-Cell-Size-Type-24V-with-6-leads-/371759703917 Also, what's the life like on these batteries versus 9V ones? Further edit - I personally don't have a problem with how EMGs sound at 9V and neither do either of my bands (in fact they tend to comment on how beefy the bass sounds) but I'm always keen to try new things (especially if there are side benefits like longer battery life and even beefier sound) Cheers Matt

Noticed someone mention the GIbson Midtown - just as an FYI it's not really a semi-hollow in the strictest sense - it's a solid chambered body with a solid top, more like weight saving than a true semi-hollow in terms of construction (as in separate formed sides, back and top with/without centre block). I had one, it was OK but I didn't gel with it and sold it on. Mind you, if the Spectorcore is in the mix (which I have had a go on and was very impressed with the sound, particularly from the piezo) then I guess this distinction is moot, as it'll be the same construction type. /pedantic geek mode off/

Epiphone Jack Casady FTW. I'm about to acquire my third (paying it up in January). Stupidly sold my first one when I was buying/trying lots of different basses, sold the second one for financial reasons. I regret selling both, but that pain is dulled by the fact that the one I will receive next month is the 20th Anniversary special edition. What can I say about the bass? Long scale, great core sound, flexibility with the impedance selector, looks fantastic in any of the finishes, is well put together, is a true signature bass (in that Jack Casady uses the very same product live that you or I can buy in a shop, "no ringers" as the man himself has said), light because of the mostly hollow body, can have fun with feedback if you want to because of that. Downsides? The bridge is the admittedly sucky Gibson 3 point bridge. I love my Gibsons but there's no love here for that bridge. Well, no bass is perfect, right? ;) But this is one bass I keep coming back to.

I haven't, but that's because I like switches and I don't like bridge pickups

Mmm, stealthy.

Quick and dirty pic of my BB434 from Wed night. It acquitted itself well at band practice. Very happy with the sound, the ergonomics and the fit/finish. Would probably put beefier strings on it, the stock ones seem a little thin for my tastes but that's not the bass's fault. A lot of bass for £299, that's for sure.

I'm picking it up next Wednesday on pay day

No worries, and there are way worse ways to fry your brain So yeah, I think it's a bargain and now that I've secured mine, you can fill your boots! Been a while since I had a (fretted) BB - looking forward to having one back in the collection once again!

Are you sure? Are you sure you're not thinking of the previous 424? Didn't the 434 only come out last year? How can it be end of line? I just searched for the 434 and no-one else Google lists is selling for less than £400 (and I just doublechecked and that £400 is a returned item being sold as refurb). Most of the usual suspects (GAK, Dawsons, Coda, G4M, Guitar Guitar) are selling it for £450.

Anyone looking for a BB434 at an temptingly low price? Kenny's Music is selling black ones for the relatively small sum of £299 - normal price is in the £400-450 mark. My preference was for the teal blue one but at this price I was willing to compromise https://www.kennysmusic.co.uk/yamaha-bb-434-4-string-bass-guitar-black

For me, hands down it has to be my RedSub BT5110 "Ibanez Promethean in disguise" combo amp. I bought it 6 and a half years ago for 300 notes (and yes, the Harley Benton badged one which was available around the same time was even cheaper but wasn't available when I was looking). What can I say? It's been rock solid. It has got a right royal beasting (filling our rehearsal room with bass using its single 1x10) nearly every week for 6 years. I had only one minor issue with it a couple of years ago - a faulty headphone jack (would make the amp randomly mute because it acted like something was plugged into it) which I replaced myself and have had no bother since. Built like a tank (chunky, ply cabinet), really flexible with the removable head, aux in jack, DI and footswitch (not something I use often - 2 channel can mute and switch in out the "colour" control which I never use), more than powerful enough for my requirements (250W in the combo, 500W with 4 ohm load). I don't even mind about the cost cutting (no pre/post DI, screw in third foot to angle up the cab instead of the Promethean's built in pop up stand, somewhat fiddly thumbscrews to remove the head from the combo). This is easily the best bass related purchase I ever made. You couldn't hire something this good for the <£50 a year it has cost me.

Sorry, I'm late to this discussion - the Jack Casady fits in a Body Glove Series One bass gig bag. Not the easiest gig bag to find, but it fits.

The lack of physical substance is one of the main things I like about the JC. I had a Fender Starcaster a while back. What a heavy wee short scale that was - the centre block was maybe a concrete block I also had a Guild Starfire a long time ago, I don't remember it being so bad. I've never worried about the physical integrity of the JC, it's just a bit weird when you first start playing it - particularly when one is used to 12lb+ slabs of Gibson maple

My normal postion is the 250, the jump to 500 is definitely noticeable in terms of both output and growl. I find the differences between the 50 and the 250 to be more subtle, defintely there but mostly undetectable in a full on band sound. Regarding feedback, I can deliberately get my JC to feedback if my amp's up high and I'm 10-20cm away from a 250W 1x10 combo. The feedback is slow building and to my ears, not unpleasant. Used it occasionally as a rock 'n' roll ending to a song for giggles, but there are probably more musical uses for it Can't really tell you about the neck. I like a chunky neck so it hasn't bothered me so much so that I haven't noticed what you describe. Extra room for error with those string bends?

+1 for the Epiphone Jack Casady. I'm on my second, after selling the first one then regretting it. On your point about quality - Gibson's woes have nothing to do with Epiphone - being made in China/Korea and far away from the USA. Also bear in mind that the Jack Casady is arguably Epiphone's top of the line bass, so they want to impress you, they want them to be the best that they put out. Worth pointing out that Jack Casady himself uses stock basses straight from the factory ("no ringers" as he put it in an interview) - it would be a real shame if the knuckleheads in America who seem hell bent on grinding the company into dust put you off this excellent bass. Bear in mind that the JC is almost completely hollow, no centre block. It's super light and will feedback, if you want it to. But stay a respectful distance away from your amp and you'll be fine

I had a B402-A six years ago. Kinda wish I hadn't got rid of it. I found that it sounded great on its own but got a bit lost in a live environment. Wish I knew then what I know now about EQing etc. It was just so creamy smooth sounding. I would guess the passive B301/302 might be a bit easier to make heard over a band ruckus. Can't fault the ergonomics or the build quality. I'm sure the passive B301/302 are no different in that respect. And they're certainly different looking to most other things out there.