Maude

Is this J v P when isolating due to coronavirus. If so then definitely enjoy a J at home before you get back in a band situation and it gets lost in the mix.

Uh oh! £500 new is even more tempting. I still don't need one though........... or do I? 😁

I agree, black wouldn't be my first choice but it seemed a very good price, or is that all they make now? I'm sure they were nearer £500 s/h when I properly considered one.

Just watched a black JCB finish on ebay for £354 including a gig bag, condition described as used, but only just. Apparently virtually unmarked. I was very tempted as I've always fancied one but I just don't need it so let it go.

You can have synth fun with a bass. Every now and then I have a listen to this to remind myself that a bit of commitment to your instrument never hurts. Damn youngsters with their commitment. 😁 Using a Source Audio Hot Hand on bass.

I'd like to know if there is a way but I fear latency will always be an issue on any internet based link up.

It's the chirpiest song about an STD I know. 😄

Not particularly tricky but it's a fun little bassline to play. We're adding The Lambrettas version of Poison Ivy to the setlist.

As far as I was aware it's a term normally reserved for electronic/dance music, particularly dubstep. Commonly the bass, and possibly drums, is held back for a verse or a section and then comes back in with a blast. But if we're just going for tracks were the bass injects energy into the track then I'll put the live version of Sabotage in. The song does stop and come back in with bass so it's kind of there. 🙂

Definitely not a traditional P tone, but rather Trad P's lairy brother who's always spoiling for a fight. 🍺 D'you spill my pint?

Bazgidarz! Beautiful pieces of art and I do appreciate that companies aren't just doing fender clones, but not for me.

I don't have a use for them but these two came up on a local(ish) Facebook group for a fiver each. I'm guessing these are the older, better constructed type?

The PBXN is an animal at a very good price. I have one in a P and a pair in a J. I've never really clicked with J basses but a pair of JBXNs with a series switch and that J is a brute now.

As long as it's not a nitro finish, I've used good old 3M double sided tape, the foam type that's about a mil thick, not the 'glue on a roll' really thin one, with good results. The wooden makeshift one stayed on my 4005 for six months of gigging before I made a clear acrylic one. Left no residue or damage. The surface area of the thumbrest that is in contact with the tape, the better it'll work. So possibly the hollow plastic type thumbrest won't stay put as long. No harm in trying though.

You'll still need to lightly key the surface to spray another (matt or satin) finish. If you're keying the surface then just leave it it once keyed.

Not being able to see it in person I couldn't say but if the sunburst finish is lacquered over then scotching (or wirewool, light sandpaper or whatever you want to use) will just take the gloss off the lacquer and not touch the sunburst underneath. If, like a lot of doublebasses, the coloured varnish just ends at the top and bottom of the neck then scotching will remove some of the coloured finish, leaving a sharper transition between paint and natural. My bet would be that it's completely lacquered in but I wouldn't want to say without seeing it.

I'll just copy in what I posted in the 'notable deaths' thread. I just sadly heard of Kennys passing and although I'm no fan of the genre at all, he had a voice that I always found strangely comforting. Even if the subject matter was very dark (Ruby, Don't Take Your Love To Town) his voice would put me in a warm place. Rest in peace Mr. Rogers.

As well as a broken bass neck, wait 'til you find your clothes, your boots and your motorcycle gone!

You must've missed my post 😆 Seventy quid for my go to electric and acoustic combined. I've even just taken a photo of the exotic beauties. 🙂

I love doing Nite Club, it's such a fun song to play, especially the middle 8 (16, 20 or whatever it is 🤔) where there's those little fills right up around the 19th fret and all the octave runs. Hard to believe really that Horace pretty much learnt to play in that band. Still not sure if he was a natural genius or just had no real idea what notes to play 😁 Sorry, getting a bit fanboi now.

I wish 😁 I reckon I'm about 80-90% there in playing it as JE does on the original. We're a Mod/Ska/Northern Soul band and we have a decent following who know the songs inside out so I need to be on the money. For songs like The Real Me it's a pain cos they know when I'm busking it (and my pride makes me try to get it right) but it's great cos for most of our set the bass is leading the way and our crowds do notice it. 🙂

If it's writing or practicing at home then the first bass I always pick up is, bizarrely, my Aria P that cost £40. It's got a Quarter Pounder pickup and Chromes on it and it just sounds and feels lovely. If I can't be bothered to plug in then it'll be the £30 Harley Benton 'deko' acoustic. I don't own any megabucks basses but I do have lots of far more expensive 'better' basses but they're either in cases or at our rehearsal room so the cheapo sisters get used every time.

In our acoustic (but amped up) band I have to play Rio on doublebass, and I'm sure we do it even faster than it's supposed to be. At a gig I'll glance at the setlist, see it's next and just think 'oh fook, here we go'. 😁

Try humming the theme tune to Last Of The Summer Wine in your head while your guitarist starts the intro, that should completely ruin any chance of getting it right. In a band a long time ago I used to play Last Of The Summer Wine instead of the proper bassline to wind up the singer/guitarist.

The toughest one we do has to be The Real Me by The Who, not too bad if I busk it a bit but nail the important runs in the verses, but a lot of people in our audiences expect it to be bang on all the way through as they've seen the opening scene to Quadrophenia so many times they know every bit. But I'm not sure Entwistle ever played it the same twice. That said, the one that I've balls'd up with the most frequency is the bass breakdown in Special Brew by Bad Manners. It's not difficult at all and in rehearsal, or at any other time, I can just play it without thinking, but for some reason my mind goes blank whenever we gig it. I think it's because we do it at the end of a medley starting with Chasing Cars (of all things) which starts slow but gets skanked up, flows into Lip Up Fatty and then into Special Brew, and I have the whole medley to start thinking, 'oh shite, I can't remember that bass part', and we all know what happens when you start thinking.