Happy Jack

On more than one occasion, I haven't even been the best bass player in the band ...

With narrow-bodied instruments like my Kolstein Busetto (and my old KK and Ampeg BabyBasses) I've always found the solution lies in placing my left KNEE in the correct position, bracing the lower bout and preventing the bass from trying to spin around its axis.

Latest results from the James Webb Space Telescope suggest that Dark Sound makes up 97% of all the audio in the Universe.

The solution is obvious. We should all agree to stop listing gear in the Marketplace until the current glut of cheap, high-quality basses has been absorbed. What could possibly go wrong?

Number of frets: 25 or more Neck scale: Long Weight: 5.00kg Body material: Others Comedy gold ...

None of it matters as much as the WEIGHT!

I've not found a stereo signal from my keyboards to be particularly useful but if you're using lots of FX (chorus & flanging especially) then I imagine it makes quite a difference. I have a decent selection of Radial boxes including the classic JMI and a couple of Stagebugs, but on the rare occasions I want to send a stereo signal I actually use https://www.gear4music.com/PA-DJ-and-Lighting/SubZero-Dual-Passive-DI-Box/2SYK?origin=product-ads&gclid=Cj0KCQjwhL6pBhDjARIsAGx8D58OdPZMphVNgmLel6sMA0e21pntD4efOOJehMyvkACu7S3ulLNLeDkaAkQ2EALw_wcB It works absolutely fine, is smaller and lighter than a JMI, has the Stereo/Mono flick switch, and is WAY cheaper.

I have big, clumsy fingers and an agricutural playing style. I can cope with 18mm, I find 17.5mm right on the edge, and anything narrower than that is a problem. Can I still play? Yes, of course, but I can't play like me. String spacing at the nut is far less important, especially when I'm playing a fiver, because I'm usually playing around 5th/7th fret interspersed with open strings and runs. If I was playing fancy riffs using the first couple of frets (why would I want to do that?) then I imagine I'd feel differently about it.

Nor me, Chris, but IME (which of course is nowhere near as extensive as yours) then, all else being equal, a 35" scale low B tends to feel and sound better (for a given value of "better") than a 34" or a 33". When I had a Dingwall, I adored the feel of the 37" low B ... it was the 'hi-fi' modern sound of the bass that I couldn't get along with.

??? No idea what you're talking about. As usual. What a load of bollocks. And ... blocked. Bye Bye.

Precisely, You've hit the nail on the head, as always. Musicians creating 'perfect' music in a 'perfect environment' using a virtual digital studio, knowing that the sound will never be re-created live, is absolutely fine for many people; in fact, it was The Beatles more than any other band that started us down that road. But some of us prefer to hear (and to play) 'real' music where we play it in real time alongside other musicians who feel the same way. You should try it ... you might like it.

AFAIK the 465 was a significant upgrade on the 315 & 325, which are the only SGC fivers I've owned. I imagine that fed through into a better neck too.

I agree with the 19mm string spacing but I also find a 35" scale length improves things generally on a fiver. YMMV The Lakland Skyline series are decent value (the huge premium for the USA models I think is unjustified) but you should also check out Mike Lull basses, which have the benefit of being quite lightweight. IME converting a successful 4-string design into a fiver doesn't always work. I've been known on Basschat for 16+ years as a champion of SGC Nanyo Bass Collection basses, but every fiver I've had from them (and that's three at the last count) had a rubbish flobadob B-string. Sometimes it does of course ... my frontline bass in my covers band is a Rickenbacker 4003s5 and the B on that is lovely, despite being 'only' a 33" scale.

Feeling the love here, guys. 😂 Disparaging The Beatles has been a thing for as long as I can remember. Some think it makes them sound cool, some think it makes them sound clever, occasionally it really is just a matter of taste. And in the end, the love you take is equal to the love you make. 💋

I always look for the 'weasel words'. When a guitar dealer says "the rest of the parts appear original" [my emphasis] then I know I'm being lied to.

Yeh, phat horns sound way better than thin horns.

12 o'clock throughout, and only tweak stuff if I really need to. It doesn't matter; nobody is listening anyway. 🙄

It's music, Woody, but not as we know it ...

This advert just popped up in my Facebook feed. I am NOT affiliated with these people, this is NOT a recommendation, I do NOT know anything about them, but this is a perennial topic on BC so if someone else wants to give them a try, I'd be interested to hear how it went ...

There's nowt wrong with Behringer powered cabs as long as you don't believe their numbers. If they claim 1000W then just assume they're actually putting out 250W each and you'll not go far wrong. In a room that size, 2x250W tops should be way more than you need. Rather than worrying about overall power, you'll probably need to concentrate on getting the EQ right.

So basically, because jazz.

So to recap, the body and neck have been ruined, and all original parts swopped out except the bridge and the control knobs, but he still wants nearly £2k for it? Just as a matter of interest, after all those ... ahem ... "modifications" how exactly can you prove that this even started life as a Rickenbacker rather than an Ibanez or a Greco?

Yes, but what a trick ...