neepheid

Next planned outing is hopefully to see SegaDeth on 1 May - they do covers of video game music. Here's a vid GTA on the PlayStation, oh yeah! I hope they do some Out Run. Magical Sound Shower FTW.

Perhaps it's an old skool bass which has solid tuner posts with the hole through them?

I voted for "close enough" and I don't mean that in a lazy way. Some of these songs are originally played by bass gods plural and I am nowhere near being even a single demi-god I'm not 'Arry and frankly speaking, getting to the end of Hallowed Be Thy Name having completed all sections in the right order (however I blundered through them) with my hands still attached to my wrists is an achievement in itself for me. Simpler lines, sure I like to nail them (I'd be really annoyed if I couldn't nail something like Foo Fighters "Learn to Fly" for example - not a slight on the song or the bassist, it's a nice line that suits the song but it isn't difficult) and I confess that I just make stuff up as I go along in the solo of Smoke on the Water. So really, I think I could have voted for "All of the above" if it was an option...

I cut my strings to suit - about 2-3" past the post. As I'm sure many people are painfully aware I have tended to own basses which have angled headstocks so the break angle over the nut is designed in and there's no need for many windings on the post, 2 is plenty for them to stay put. Also with 2 + 2 headstocks, I have to throw out about half of a new G string becase they're designed to accommodate 4 in line types otherwise I think I'd end up with 10 wraps on the tuner I've never done this bend then cut thing - I don't see the point in pre-bending it - it goes straight down the hole in the middle then gets bent round the corner at that time and start winding. Are all string holes in the tuners the same depth? I don't guess or measure, I plonk them in until they don't go down any more then bend and wind. I've never had a problem so until it becomes a problem I won't be changing how I do things.

Nice one. I like these modifications, they suit the bass very much visually and I know how good the EMG stuff is - I have 2x EMG-HB (an EMG-P in a guitar humbucker sized casing) and an EMG-BQC in my Epiphone Les Paul bass and I enjoy very much how it sounds. I wish I hadn't done it years ago before all the quick connect wiring came out - it's a bit of a rat's nest in there

I for one am glad they make it that way because I love chunky necks. I can't stand Jazz necks - I have no idea why Fender persist in offering such an iconic bass with a knitting needle for a neck Of course if it bothers you that much and you really want a tookay then seek out a USA G&L L-2000 - there are various neck options offered.

He's on a mission...

I did J already Your J is pretty awesome too though

Leo didn't get everything right the first time. This isn't 100% right either, but it's bloody good. I should know - owned 3, sold 2, regretted selling 2.

I wonder if they ask a plumber or a sparky for their NI number in order to get paid.

If you like how it sounds passive and even prefer it to active then you're right and just carry on how you're using it now. You do you.

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.