uk_lefty

Seconded! If you love the neck and feel of the bass, you don't use the active, why not supercharge the passive? I've got one of these genius looms in a very "cheap" but still good quality bass and it has taken it to an entirely different level. The electronics were weedy, really thin, and just upgrading the loom has made it a monster. A very musical monster. Sounds like you like the bass enough to rescue it. If it does only one sound, but you love that one sound, sort out the choking and keep loving the bass! No guarantee you will feel the same about any other bass.

Has anyone had custom ACS plugs made and can you confirm how far into the ear canal they go? I've had the cheap versions for a few years and really felt the benefit so decided to get a custom set made. I had the impressions done today and couldn't believe how far into my ear they went, if the earplugs go in like that they'll join together inside my head!

Love it that someone out there can reproduce those 80s MIJ body styles! Great project.

Kramer Striker five string fretless. The modifications from stock... Kiogon loom with the magic sauce that makes the cheap stock pickups world beaters. I'd like an epoxy type coating on the fretboard. Maybe some better quality woods in there, but really for a cheap bass this is still going almost twenty years since getting it and I have used it in every band I've been in. The headstock shape makes it a bit lairy and not suited for everything but having said that I think that's part of its charm. It really looks out of place at an acoustic blues gig. Especially when you've just been told "it's 12 bar blues in *whatever key* you'll be fine" and expected to play competently for a whole gig....

Rehearsal is absolutely essential. I get it when people have varying levels of commitment and different expectations but that's why you almost have to "interview" everyone before agreeing the line up. That's not to say it won't change over time but if everyone is honest that's step 1 done, getting everyone on the same page. Then for step 2 see who is just talking it up Vs who is doing the work, learning the songs, can play their instrument, etc. Sadly I've met so many people who talk the talk but really they just want to do a show and tell of their expensive gear instead of learning songs properly, then criticise others for not being able to rehearse because they're on holiday in two weeks' time. I've just joined a very good covers band. The "interview" on the phone lasted an hour, they got sent video and recordings then I did an audition, then a few weeks later an extended practice including learning a new song and some in different keys, waited another week for them to see others, then got the gig four or five weeks after the first phone call. I've got a set list for a gig on 10th December, each song with notes on whether it's in original key or of its a different version of the song, and I'm going to track my progress against these so we can plan what to practice. There's no way I'm turning up to busk through songs or try to figure it out in the room. Pressure is on, but I like the organisation of this outfit.

We would sack you but it's too much paperwork so... 😄

Here's the solution I've gone for... I've invested in an Ashdown ABM Neo 1x15 cab to have a better quality fifteen. When I only need one cab I'll use this and I'll get a Markbass wedge thingy. I'll keep hold of my upgraded Rootmaster fifteen for now. For the rare occasion I need two, yes they won't match exactly, but I'll have two fifteens available. If it turns out I don't need two cabs much if ever the Rootmaster will go. If they don't sound good together the Rootmaster will go and I'll get another ABM Neo fifteen. Thanks for all the advice everyone

When I started out twenty years ago I saw quite a few live rock bands using drum machines pretty effectively in place of a smelly pot basher. I'd guess these days the tech is better. Persevere until you can get a real one that works for you?

Thanks Phil. I'm looking for a "one size fits all" solution. I'm joining a new band that play larger venues where PA provision will be better than what I was previously used to, but I can also see me needing just my amp and no PA cover for smaller gigs. Good point on the drummer, I shall ask him. The rationale behind my choice of 15s or 4x10 was not scientifically informed. I like the sound of two fifteens having had it before. I don't like the sound of a single 2x10 or my fifteen with a 2x10, but I thought a good quality 4x10 would be a decent single cab solution. I don't find the single fifteen on its own very good but I've never angled it before.

Bill, I always value your advice whether it's on a thread of mine or someone else. Thank you, you've saved me from buying a 4x10. I never knew why I didn't care for them much but was seriously thinking to give it a go!

I run my Helix Stomp straight into the amp input. The only effect it doesn't like is a Trace Elliot IR so I made that block turn-off-able via footswitch. Easy.

What would work best for on stage sound.... A single 15inch cab on an angled stand? Two fifteens stacked A 4x10 I have a single fifteen already. I've had two fifteens in the past and loved the sound. I know I can't just sit the single fifteen on the floor and get clarity of high end on stage or in rehearsal. Looking for the best solution and advice, please.

It's all down to personal taste, but I'd say make sure you can see and feel one before committing. Some can look good online but up close are pretty poor. Best relic job I had was buying a 90s MIM Fender and just never ever putting it in a case and not being careful when dragging strings out the bridge.

I like it!!

I loved this film when I first saw it, then went out and bought tons of Leonard Cohen.

Warwick are one of the few brands who look after lefties quite well, though. I'm sure you could find a decent, used or new Warwick Thumb quite easily. A few months ago one went on eBay for £700, Bass Gallery had a nice one that recently sold and I think Bass Direct has one at the moment unless it's sold in the last week. If you search Reverb, keep viewing eBay and wait a bit you'll probably find one within a year or so. If it's a dream bass getting one within a year would be a good result, surely?

Totally this!!! I'm the same with films, I watched Blues Brothers for the first time about a year or two ago and all the cameo appearances and jokes must have been amazing beyond mind blowing when the film was fresh and new, but they set a bar for others to try to reach and or exceed.

I think there's loads of variance, from the big production brands like Fender who run a custom shop to the bespoke builders who only make to order. Not all Fender custom shop instruments are made to order, I've heard some retailers have to buy and stock X amount of "custom shop" instruments.... The only Fender custom shop bass I've ever held in my hands and played was ordered by an ex band mate who spent £2000ish and waited a year or two for it. They now cost around double that for those available in shops and the wait is probably longer if you want one built to your spec. It looked great it played.......... Ok. It wasn't for me, aside from the false ageing which looked good I couldn't really see where the money had gone.

No. I've only ever had lefty basses. Had I started out on a right handed bass I'd probably have stuck with them. Not ever flipping at right handed bass over, or wanting to, has probably saved me thousands over the years!

Red Hot Chillis at Knebworth 2012. No vocals coming through. Bought an official MP3 recording of the gig and the vocals were loud and clear on that.