such

I'll most probably come. Not a big gearhead, so I'll just bring along my Fender Marcus and a couple of pedals, Cali76, Aguilar Tone Hammer, Joyo American.

I want to do this but with a 5 string, and I think I can source an SR5 OLP body. Does anyone know if the OPLs have the same neck pocket dimensions as MusicMan?

thank you! Great work as always.

I did indeed noodle on Grangur's Warwicks as guys grooved on stage with Tim The Drummer, but so did Ordep, and to be frank, that fretless Streamer seemed to be better intonated in his hands

[quote name='seashell' timestamp='1435146101' post='2805896'] Great pics as always, Sylvia :-) [/quote] agreed!

[quote name='Sibob' timestamp='1434911172' post='2803799'] . I do believe Jacks Mike Lull was the most photographed bass of the day [/quote] Guilty... [IMG]http://i60.tinypic.com/2ywiez8.jpg[/IMG]

and That Lull with me [IMG]http://i60.tinypic.com/2ywiez8.jpg[/IMG]

well, if the slot that the nut sits in is perfectly level etc, it can be done that way. One has to be prepared for working on individual string slots though IME.

I've done two and add +1 to what's been said above. If I can add - I tightened my trussrod to add quite a bit of tension for the time of defretting - I'm not sure if there's any science behind it but I felt like it should "open" the fret slots up a little and make them come out easier. Then, make the neck as straight as possible for the sanding and planing of the fingerboard. I'd use a longish radiused sanding block for that.

It's a Rebop.

[quote name='Happy Jack' timestamp='1434393419' post='2799196'] This came up during the presentation from D'Addario at the Herts Bass Bash yesterday. The rep (Andrew) made most of the points covered in the dozen posts above, but mentioned IIRC that D'Addario believe that through-body stringing makes broken strings more likely. It links back to the break angle, of course. [/quote] I brought up my observation that stringing through the body kills the strings quicker. My frame of reference in not very wide, as it was only two basses (early 2000s MIA Jazz and a Polish handmade no-name J5), but I tend to use the same strings most of the time and my body chemistry as well as my playing technique are rather gentle and over the years I noticed a VERY consistent pattern of my strings' life span and their different stages of aging. It takes me about two weeks to get some zing out of the ProSteels, then about two months of nice warm, growly, balanced, well defined tone. Then it starts to deaden up, and after a wash I get another month of the same. While strung through the body, both the initial zingy period and the growly period would be shorter almost by half. Then the wash wouldn't help much. Don't know the science behind it, but we all know that if you bend a metal thing and then straighten it back, it won't be as strong at that point anymore. Just my little insight that's worth as much as it costs.

I think mid-90s. Seen some ash Prolines from that era, and my guess is that all Corvettes were called ProLine until some point, then ash and bubinga became Standard and the flamed maple body ones were introduced and inherited the ProLine nickname. But my understanding always was that the bubinga bodied Corvettes were also introduced around the same time, so this might be from some sort of a transition/overlap period; or maybe just the trussrod cover was swapped at some point? Either way, it is a bubinga Corvette. In recent years it became even more confusing, with Pro Series being made overseas while Standard was made in Germany (and the specs were the same), then I think this year they moved the Pro Series production back to Germany again.

please do! not this month though

[quote name='gary mac' timestamp='1434381467' post='2799055'] Exactly what I thought plus it was mine. [/quote] I cannot get over how gorgeous it is, Gary. A dot&bound 66 is my lifelong dream.

I use these, in 5.5 and 3m lengths, in black and tweed colours: http://www.amazon.co.uk/Fender-Custom-18-6ft-guitar-cable/dp/B005PNXLPS/ Had few of them for 4 years now and I'm yet to experience a problem.

Me too! Massive thanks to the awesome photo team

yeah, should have been a blind test; but then the entertainment value of the event and, later, the videos, could suffer. Next year, let's do this (or whatever test/comparison/presentation we come up with) behind the curtain, with the camera there as well, and the audio signal recorded via DI to audio interface - the subtleties might not be picked up by a distant microphone. The blind test would have prevented the cognitive dissonance that some guys might have had: "ok, that clearly sounded better, but this is a worn sunburst from the sixties, how can I not vote for it?", or "...but this is a pre-EB" etc

For me the difference between the precisions was the most subtle, with the maple boarded one being slightly more aggressive. So, Lozz, I don't think you made a mistake buying that bass although I voted rosewood in that case, as it sounded more like a sound I'd try to coax out of a P in my applications. About the Stingrays, I totally agree with Jack, same sentiments. I wasn't impartial about the jazzes, as the maple one was mine, still being as honest as I could possibly be, I thought it sounded better. Brighter, sure, but also growlier. I still hesitated voting for it as the competitor was a dot&binding '66, my lifelong dream. Felt like a blasphemy Maybe playing behind the curtain wouldn't have been such a bad idea after all. The camera could be there as well for the videos not to be boring. Anyways, awesome to have that experiment, thanks guys!

nice to meet everyone. Congrats to the winners of the raffle! Personally, I'm very happy with my prize, which is the "Plectrum technique" book. Some nice gear to drool over - I was particularly in love with Jack's Lull T-Bird (which I had a photoshoot with ) and the fretless Wal, which sadly was a leftie. Oh, and the '66 jazz of course, that was paired against my Marcus in the fretboard contest, but didn't sound as nice. NO, it didn't. Big thank you to everyone who contributed to the event being so enjoyable.

[quote name='Stingray5' timestamp='1434273428' post='2798133'] Looking forward to seeing everyone today but I'm afraid I'll have to leave my gear at home. As previously mentioned, I had some recent back problems and although things feel very much better now, I'd rather not risk lugging instruments and amps etc., particularly as I have some gigs looming in the next couple of weeks. Apologies to such, who requested I bring the Westones. Maybe the South East Bass Bash? :-) [/quote] No worries man, health comes first!

leaving the house soon! Come to think of it, I don't know how my username would be pronounced. So I'm Marcin, or Martin if easier. Do the mods have magic powers to change one's nickname? See you soon guys.

totally understandable Bassman Sam, sad to hear it. I neglected my parents for a couple of years and was kind of shocked how much that time can change your dear ones when you don't see them. Trying to catch up and keep up now. Give your mum lots of love.

I don't know, I've only ever tried the basses that Adrian and Sławek brought to LBGS 2014 and 2015, and well, they felt, sounded and looked absolutely gorgeous. I'm vaguely planning to order one once I've come up with a more exact idea of what I want (and with the funds too). Early in my playing career I also owned a custom (if basic) bass made by the same luthiers and workshop in Nowy Targ under a different brand. It was a rather modern - although passive - instrument with 24 frets, J/twin-J setup, beautiful flamed/quartersawn maple neck and pau ferro fretboard. The hardware and pickups were a bit uninspiring, but I wanted to keep the cost down, so went with no-names while ordering. The wood and built quality were absolutely stunning though. Sad story, the headstock all but snapped off after a bad fall, and being an uninformed young fella, I sold the body and hardware/pickups instead of getting the neck repaired. Also, quite a few more pro friends used Mensfeld (the brand at that time) basses back then, usually higher and more expensive models, and they were nothing short of spectacular. Mind you, the company also sold very cheap, all-black entry-level metal guitars and basses that were selling by hundreds and influence the way many people remember the brand. I wouldn't (and won't) hesitate to have another one built by those guys, but this time I'll make sure to specify the hardware and electronics to my exact taste so there's absolutely nothing I don't care for about the bass.

Grzegorz Brzęczyszczykiewicz haha Adrian Maruszczyk is not quite as extreme as that, although it has the scary SZCZ as well.

the Yamaha does not have active pickups; it has passive pickups and active EQ, which is, roughly, a similar setup to what the Lakland has. Not sure what J&B SB2 is; do you mean G&L by chance? For that price ball-park, I would definitely go second hand. You can find a *proper* old Yamaha for that kind of money. To mix it up more, if must be new, I'd recommend a Cort GB4 I think it's called now, it's been called GB94 before. I've had one and loved it, it's still in my avatar. Made in the same factory as that Lakland, also with Hipshot Ultralite tuners, better pickups (Seymour Duncan Basslines), better bridge (heavy chunk of brass with quick release slots) etc.