uk_lefty

I've sold quite a bit on Reverb and never used Packlink, haven't had an issue with payment at all. I always put the tracking number (usually Royal Mail) in as a matter of habit and record keeping though so I don't know if this is the payment trigger or not. I'd guess whoever you send with will give you some kind of tracking.

At a respectable price too. This on the other hand... Hofner 500/1 Selmer Bass, Left Handed 1963 - Sunburst https://reverb.com/item/72591935?utm_source=android-app&utm_medium=android-share&utm_campaign=listing&utm_content=72591935 It doesn't actually say it was Sir Paul's...

One of the songs I grew up on, my Mum absolutely loved this (still does). I bought her a Dylan cassette one birthday as I was starting to get into music myself only to be told that she hates everything about him, but likes other people singing his songs!! I don't necessarily agree but I see where she's coming from. Anyhow, this is the first thing I think of for Bob Dylan covers. https://youtu.be/qcwP2ulxDdY

More use them than you probably know, some are just better at hiding their notes! In the old band where the set barely changed in five years I'd write out the chords for tricky parts in the odd song or two on the set list so I could follow that. Having the iPad on my mic stand isn't great for stage presence. It's good for prompting me but on photos we are often looking at the iPads, probably a lot more than we realise. We are all conscious of it and trying to rest but it's not easy. We try to make sure we have new songs every time we go back to a venue, and we keep things fresh just for ourselves. My old brain struggles with it!

For me when joining a band a few years back I made loads of notes of the chords for the song (after checking which off the list were original key) and got my chords off ultimate guitar or something similar. One A4 sheet per song. For my band there's two song types, riff based ones where I learn a riff by muscle memory and use some chord notes as prompts in case I get lost and need to get back on track, and "chord songs" where I need to just follow the chord changes and keep the rhythm. It really helps with song structure too. Over time I've learned most and the notes become a distraction on stage, something you look at just because it's there (I have an iPad on my mic stand). But with a set list of nearly 100 songs and changing it up regularly it's impossible to remember it all perfectly including song structure. In my previous band only the singer had notes on stage and the drummer and guitarist used to say that was unprofessional. Needless to say it took us a lot longer to get songs gig ready with everyone having to learn their parts and we had more mishaps at gigs with song structures being a bit trickier to get everyone going in the same direction.

Used to have a five string ash body, maple board V7 1st gen and it was fantastic. Being left handed Sire really provide for us lefties, it was a great bass and the preamp is so easy to use. The passive tone was great too. I only sold it because I felt guilty after spending big on a US Stingray. I then got a V9 five string with Ebony board and flame maple top. I called it "the wedding bass" because I mainly used it for functions. It was a bit heavy but sounded excellent. Again, got rid because I had other instruments coming in (a Fender US Jazz). It's odd how I've not stuck with one for more than a year because I really, really rate them. I'm tempted by a P5 because I want a P bass and I know I'd be getting a lot for the money....

I don't think you'll get a MusicMan tone I'm afraid. If you want a MusicMan perhaps restore the bass as best you can and sell it to fund a MusicMan? Fender Japanese basses fetch good money so if you replace the loom and get it firing nicely with the stock pickups you should get a good price for it.

I suppose it depends on how you present the songs. What I mean by that is are you trying to play them close to the original style? If so then if the band has a more "cabaret" / family friendly / Butlins vibe (none of that is meant disrespectfully) then you can carry it off. If you all wear denim and leather and take yourselves too seriously then it could look like out of touch blokes trying to play a few songs to be "down with the kids" before going back to their own era. It could all work. The Butlins comment is not meant as a criticism, one of my favourite local bands does that sort of thing brilliantly and they top the bill for festivals and get loads of work out of it.

She's a stunner! Bet you can shake some bums out of pews with that! Lovely finish on it. I really like the styling on these with the big pickup magnets and chunky bridges, they look non Fender enough without looking wrong.

Nice!!!!!

I recently got a Microbass II. I really like the sound and all the options I have with the pedal. There are some drawbacks but they're outweighed by how easy it is to get a fantastic sound from the pedal. My query though is this... I like the sound on channel A. If I want to kick in A+B to get a thicker sound with some tube drive the volume boost is huge. Is there a way to manage the volume between the two channels? I've fiddled around and not cracked it. This is one of the few drawbacks of this pedal, that the tube drive is a small button rather than a foot switch, I think that would have helped.

I've used Ernie Ball chromes and Thomastiks. Personally I really really don't like either. But I do like Fender flats, Maruszczyk flats, and the super high tension Rotosound Steve Harris signature flats. We are all different. You can read whatever opinions here but best way to find out is to try for yourself with your gear and your playing style. Maybe see if there's some used flats up for sale on here?

Is Temu just a new name for what used to be Wish.com, purveyor of absolutely awful Chinese tat?

They look fantastic. I don't usually like green basses but that P works.

Moving Pictures is an album I've listened to a bit but not for ages. I think that says it all for me. I don't dislike Rush, but even with some of the technical brilliance required to play their songs I'm not sure what I would do if a band started playing that in a pub gig, dance? Stand still and stare at the bassists fingers? Silently nod along to the beat?

Last two festivals I've played: First one, didn't bother taking an amp. As the first band on I didn't want to be asked to loan it out, so I went MXR DI pedal straight to PA and it sounded great. There were huge subs so I had to roll off the bass more than usual but that was ok. Second festival I asked one of the sound guys if I could DI from my pedal. A look of fear came across his face, we were delayed by a lightning strike elsewhere on site so I don't think there was time to faff around... I had to DI from the provided Line 6 Lowdown and it was absolute dog turd. All low end mush with no definition, even kicking in my fuzz pedal did next to nothing to alter the sound. Next time, I'm not asking, I'm just plugging the XLR into my pedal. Easier to get forgiveness than permission. In short, always have at least a DI pedal you know and trust because festival backline can be absolute rubbish.

Great to read a review of these! Getting myself a lefty fretless Stingray seems to be impossible, might have to be a Sandberg or Maruszczyk special order...

Hi everyone. One of my amps has a tweeter that hisses. I know it's only the tweeter because when I turn off the tweeter there is no hissing. It's an older amp with dials that crackle a little. Does this sound like an easy fix? I don't want to spend a lot on it but I would like to get it sorted so there's no defects.

Thanks for the inputs. End of school year (I have two kids, I'm not a teacher thankfully!!) And busy work period has prevented me starting it up with any gusto. I find it so hit and miss, I post some poor quality photos of a not so special bass and get great response, a gig video or two, or I copy the more popular bass hashtags and get next to zilch. A recent video I put up had over 500 views allegedly but I think that's B.S. Anyhow, if anyone fancies seeing some left handed basses occasionally or how many cabs fit in the boot of a Volvo estate feel free to look me up! RR_on_bass

Had exactly the same thing!! Took about a year of "PETE FFS WILL YOU STOP PLAYING THE MELODY FROM THE NEXT F'ING SONG JUST BEFORE WE PLAY IT???!!!" at gigs, rehearsals, on band WhatsApp group to eventually get through to him. It's worse than constant tuning of guitars and pedal b*ggery creating dead time between songs. Just don't do it. Doing stuff from a different genre too is just weird. I'm not allowed to play 80's riffs in soundcheck in case anyone gets the wrong impression about our 2000's indie and pop-goes-rock band. Which makes sense, really.

I've not had it long and now ended up on holiday.... I prefer the tube drive on the EBS, it's a bit more natural. I've not got my head around the EQ yet whereas the amp is straightforward.

My amps are.... Ashdown ABM600 head with 2x Pro Neo 1x 15" cabs. This is my main gigging amp, sometimes I only take one cab. I recently acquired a 100w SWR WorkingPro wedge combo that also acts as a monitor on stage. I needed a stage monitor and I've lusted after that super clean SWR sound for ages so I got it off BC. Positive Grid Spark practice amp. This is for nothing more than playing in my office. It's ok as a bass amp but really better for guitar. My gigging "backup" isn't the SWR, it's an EBS Microbass ii DI pedal, so if the amp goes pop I can XLR to the PA. Or I can XLR to the PA and not bring an amp which is good for festivals where we need a quick turnaround. Or I can XLR to the PA and run the amp and cab through another output for stage volume. Or I can use the Microbass as an FX pedal into the amp input and DI from the amp. Lots of options.

Personally I used the RM500 head and matching cabs before. Very, very good amp which can do a bit of everything. The ABM series IMO has much more authority to the sound. The cabs on particular are definitely a step up, I know because I had both my RM and ABM cabs at the same time for a short period. I'd say the non Neo ABM cabs are closest to the big, hefty old school sound but the Neo's definitely are not far off and a fraction of the size and weight. I use 2x 15s, they fit side by side in the boot of my car with room to spare (ok it's a Volvo estate...) and are a doddle to carry one handed.

I've had mine quite a while now, some learnings to share... If others in your band use the same system then it's important you don't rush connecting the bug to the base unit. Wait for the bass unit to show the green light. In some venues this can take what seems like an age but if you rush you'll crossover with your bandmates and have bass coming through their guitar amps. To recharge it don't rely on the base unit. Use a mains plug into the little usb thing, far more effective. Learned from painful experience. Be careful when setting your bass down into a stand with the bug still attached. Enjoy the freedom of not having a cable.

One day I'll just stop... One day. Added an EBS Microbass ii yesterday and put all the other pedals into a loop. I might go ampless a lot more now so having this pedal and the ability to loop the others into it gives me a lot more control. I also moved the Limiter/ Enhancer to the end of the chain rather than first, which I'm not sure about yet, giving it some trial and error. I swapped out the Marshall Guvnor for a Jackhammer and I think it will stay that way. The Guvnor was really good for lead guitar style tones but the Jackhammer is a lot more usable and can switch from overdrive to distortion. The AMT Bass wah might go soon, I like bass wah but I'm hardly using it at all. The Joyo Analogue Delay and Marshall Vibratrem were good, cheap additions, and for some synthy songs give me a little extra texture and sound fantastic with fretless. The Darkglass Fuzz remains as ever, absolutely fantastic. It's probably my favourite pedal. I experimented with a Marshall Regenerator which has six modulation types onboard but I ended up preferring my TC Corona for bass at least.