Sean

From what I've been reading, yes, the VT deluxe we'll do that. If you add in a compressor, you're all the way there. I'd either buy a used comp here or go for an MXR Dynacomp M282. I had one. Small and quality. Designed for bass.

I use at least a .135 You can buy single D'Addario Nickel Round strings on Amazon. On my 34" scale Yamaha BB, standard B tuning, I use a .135 D'Add with a 4 string Legacy (Rotosound) 45-105 set. £11.30 + £14.99 + postage. Even though they are different brands, they don't feel any different. I couldn't live with any less than .135, there's just not enough fundamental there. I've got a .145 in the box but haven't felt the need to use it yet.

Hi Chris I switched to an HX Stomp for exactly this kind of versatility a few years ago. It's one of those things that I'd replace ASAP if I lost it. You can make recipes of effects and switch between them on the fly. Yours would be: 1. Standard 2. On/off Switch to Dub EQ 3. On/off compressor setting 1 to 2 4. On/off Boost There are lots of multi FX units that can do all that and much more for you. It's a matter of budget, footprint and how inclined you are to set it all up. Some have a computer interface, others are done through the unit. Most are fairly straightforward and once you've nailed it, unlike separates, you can save it and use it through the FX return of anyone's amp especially if you can toggle the pre-amp on/off. As an example, I have duplicates of all my patches set up, one with the amp and cab models switched on, one with the amp and cab off. That way I can use anyone's amp that has FX return or go DI. For home practise it also means I have my patches with the 400+ sounds without lugging the beast and a cab into the house.

It's all process and measurements. It can be taught. Experience helps as with anything. I've been doing it for decades. Unless there's some serious issue, 9/10 instruments can be made to play really well. I only charge materials.

@dave74200 How's it working out for you? Progress?

I went to see Marisa and the Moths at their first headline show at The Frog & Fiddle in Cheltenham. Never seen 'em before, I was taken along with some friends. What a show! I had seen Marisa singing a coupe of songs with Sophie Lloyd in Cardiff before Xmas. The bass player in M&tM is fab, does a solo acoustic guitar song as has such a strong gravelly country voice. https://www.marisaandthemoths.com/

That's not a Nirvana reunion by any stretch...

Interestingly, in Argentinian slang, Evri means scumbag.

Hi all I've got some strings left over from a 12-string set that I've opened today. I sold these on eBay ages ago and the buyer compalined about crushed packaging, so I took them back. Now, you can get a standard set of 45-100, add these and you've got the full 12-string set. They're out of the wrapper today and have no tarnish but tbf chaps, it's a gifthorse, "no money back, no guarantee" as the Only Fools theme would say. What I have here for just the cost of postage (RM 2nd £1.90) is: 2 x 18p 2 x 25w 2 x 35w 2 x 45w No photos, they're D'Addario strings.

That's the chip done. It's undetectable to the touch but you can see the faint scar.

I've been here a long time (since we jumped from Bassworld) and this is a top 10 BC post for me. This advice applies to anything. Whether it's Music, Spanish or Motorcycling, I'm always trying to learn from others to improve. Formal lessons, snippets of wisdom, exposure to new things, techniques, artists/experts etc. The best teachers will see what you need, they'll understand your need. They'll know that you're not someone who needs to understand the infinite depths of theory, they'll see that you might need to learn how to learn songs faster or how to simplify parts or to improve left hand technique so don't get RSI issues. The best "teacher" I ever had as a bass player, was a drummer I was in a band with who steered me so much, taught me so much about rhythm and feel and what we as a rhythm section should and could achieve. I'd never have worked that out without that guidance.

Today's practise session is going to be walking bass over Jazz Blues progressions. I'm really rusty but optimistic that it'll come back to me.

I love swapping out plectrums and using different gauges for different approaches. I received some Dunlop Gator .96mm yesterday, they feel lovely with the Spectors. I've been using Tortex "The Wedge" 0.88mm recently, they're just a bit pointier. Iron Gear delrin 1.25mm picks are fab too. 25p each plus P&P of course.

The Carpenters. Just incredible. I find it impossible to listen to many of their songs without blubbing. Her voice, the connection with times of my life, what happened to her, and the way she delivers that lyric, "what I got they used to call the blues" in context with her. The cover of Superstar that they did had so many layers with the tragic subject matter with the huge orchestral triumphant swells. I've always loved The Buggles' Video Killed the Radio Star and it's been rejected by every cover band I've ever proposed it for for 30 years or more so was over the moon to see it brilliantly covered by Those Damn Crows at their Cardiff Christmas show. In the spirit of this thread, I think ABBA is the one for me. It's up in the #1 slot with The Beatles for me.

Reading. Pick technique. Latin Rhythms.

Quite timely, I was doing a similar lesson last week from Scott D.

That's nice. What's the zippy bit on the back?

https://soundcloud.com/belowtheghost/sc-e4-h03?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing&si=246c89ce7b884ad4bbe7aa1cebe7c9ce

Here's three (one below) tracks recorded for comparison of the preamps. Same DAW settings used, same patch on HX Stomp - Gallien amp, Mesa 610 cab. Same pick. Also the E4LX is the Euro LX 4 with an adjustable TonePump for comparison. The big factor is the settings of the bass and treble knobs. I’ve tried to get them to similar settings.

I can't remember ever using Roto flats but based on your experience x8 I'd definitely give them a go. @Paddy777 what brand and gauge were giving problems?

I think it's all down to the string gauge and construction. The BBP35 can give you a great B with the right string. If it's string tension on the 34" scale that concerns you, I can recommend D'Addario Chromes in 45-132. I had a 34" scale Squier Jazz strung BEAD and it was good, based on how the BBP35 is constructed, it would probably be even better with that .132 TI Jazz flats do a .136 @£40, that would be interesting.

I've recorded a few classic basslines with it with the Tonepump in there and also the same lines and settings with the 2018 Zebra that has the adjustable Tonepump. I'll record them with this HAZ-03 later and we'll be able to compare. I'll also weigh the two later.

The seller of the Euro neglected to show this chip... ...but it's just lacquer and the wood isn't damaged. Although, I will say that it's deeper than it looks in the photo. it didn't have this chip when it was at Andy Baxter's a couple of years ago. This will be a job for a day when I'm in the mood; there are jobs that I love doing, like soldering, wiring, fret work, set ups, cleaning but filling cracks or chips and then doing all the grades of wet and dry sanding is tedious. The frets are in pretty good condition, no rocking and although there are some slight flat spots, I'm not going to do a fret level and reprofile, it's not ready for that yet.

There's been another Spector that's come into the collection recently. It's been mentioned in other threads and it's a bass that has changed hands a few times in the last few years. It's a 2003 Euro 4 in Trans Amber. It needs some TLC like a fret polish, fingerboard clean and oil (done) and it needs new pickup screws and strap buttons but that's just cosmetics. I removed the original non-adjustable Tonepump preamp yesterday and replaced it with a Hazlabs LHZ-03 that you can see here. Installation was enjoyable, went to plan and it all worked perfectly first time. I like logging everything, so you can see I've logged the fitting date on the back of the cavity cover. I've also folded up that QA card with the serial number and put it in there. With higher end, older instruments I think it's important for future owners to know some of history of what they've got.