Kiwi

Sei make the best wooden necks in the business IMO. And the flame maple/wenge necks sound particularly nice. I was sorely tempted by a black four in a similar spec many years ago. Seems like yours has a couple of body cracks though?!

@ped can probably advise.

Vox do a model called the HDC77 which is similar: GC is safe BTW, I've used three browsers to access GC and they've all been fine. Feel free to ignore the warnings. I'm looking forward to seeing how you approach the carved top. Gibson use laminates which are vacuum glued into shape over a mould.

So much this. It's my experience of using samples generally. The amount of time that auditioning hundreds to find one that makes you go 'ooh'.

It's a direct consequence of two things: 1) The neck is made from very stiff maple...possibly too stiff (it happens). 2) The neck pocket may also be well designed, making for an overall rigid and vibrant structure 3) The maple body may be too dense I'd put money on it probably being number three given the other aspects can be applied to other Fender Jazz basses which don't have the issues you describe. Using maple isn't always bad but it's very variable and for the cheaper models manufacturers will be less discerning in the wood they use. I have an all maple Spector and a strat with a maple body and both are fine instruments. But they use soft maple, not rock maple. Here are some suggestions: 1) If you don't need to slap, try half wound strings. 2) You could try putting a veneer of softer wood like mahogany under the bridge. This will loosen the acoustic coupling between the strings and instrument, making it less efficient at transferring (dampening) higher and lower frequencies. You'll need to adjust the string height to compensate for the raised bridge so if you like super low action it might not be feasible. 3) You could replace the bridge with something more vintage in design, for example bent steel rather than cast for example. The lower mass will transmit string energy less efficiently. 4) You could also install Bartolini 'darker' flavoured pickups and use a SWR SM400 amp to sweeten things up a bit (this combo is great with bright graphite necks in my experience).

Love it, particulary the singer - is that you as well? Or is it Rod Stewart...? Hmmmmm.

It's on reverb too, speaking of which did anyone spot this sacrilege? https://reverb.com/item/40657110-1985-yamaha-japan-bb-5000-5-string-neckthrough-broad-bass-w-emg-s-black?utm_source=android-app&utm_medium=android-share&utm_campaign=listing&utm_content=40657110

Yeah I know. BUT it's a great dance track and I'm surprised it took them so long to do one. In some ways I think they missed their calling in the noughties, more tracks like this this could have kept them relevant. However, admittedly, it's not exactly had the music press raving.

I wish Symantec was easier to uninstall than it is. In some cases, you need to download a special tool from an independent supplier to free the PC from the clutches of it's code. A bit like a virus. Kaspersky is leagues better.

Danelectro FAB Tone. It's a guitar pedal but it has one of the rawest, hottest, tightest distortions for bass I've ever heard. No muddiness at all.

Mostly wood plus bridge single coil pickup. The bass is almost entirely made from mahogany and I believe the fingerboard is some kind of composite or resin unless that's one of the originals, in which case it'll be rosewood. The single coil pickup adds some focus.

https://www.ebay.com/itm/301864544359 Fender have been offering the chrome on brass scratchplate for quite some time.

I deleted my post as I hadn't read earlier comments. Sorry.

We still do, mainly because they were fantastic value

Thanks guys, I have a couple of fEARless F112 cabs that do the trick and am pretty happy with them so far although they're not as light as the Barefaced equivalents.

I've not owned one but I've played through a couple. The light weight is a revelation. I'm not convinced on the cabs being transparent tonally, I can hear differences in the high end but Alex definitely maximises efficiency and the tonal differences between BF cabs and alternatives are not going to add up to much in the on stage mix. I don't own one because Alex has never been keen on tilt back cabs. I like tilt back because it helps to avoid most of my monitoring blasting past my knees.

I'm thinking something similar. By the time everything's set up and trouble shot, I've lost the inspiration. Tascam digital workstations are interesting me atm too but a drum box that can play slightly ahead and behind the best would be great.

How about this?

Prince was phenomenally versatile. I am a huge fan of his improvised live jams. His guitar didn't really inspire me though. Alan Murphy on the other hand...

Unfortunately, there's no setting for the number of TLRT's in the forum software. There's nothing I can do at the moment to change it, I'm sorry.

I remember playing one of those back in the 80's in a local music shop. I'd never seen one before and, not being a fan of Westone at all as an owner, I was very impressed with how it sounded and played. It made me question even more the POS Westone I had at the time.

Well we're all going to hold our own opinions but when that boy was in the pocket live, he was letting it all hang out. In the studio he seems a little more reserved. Speaking of balancing restraint vs expression. This guy is chill but his fingers are doing the talking.

Still his finest moment, all that theory training is being put to work.