NancyJohnson

I forgot to include Sire/Marcus Miller basses. Boom.

For the first time in perhaps 25 years, I've packed everything away, not a bass, amp or cabinet out. Honestly don't have the inertia to do band stuff, it's like herding cats. I feel like I'm pretty much done. The little corner if the extension where I used to set stuff up? Might put a woodburner in.

I have no issues this whatsoever. Quirkier the better. My point was more about 'do we really need another budget Jazz Bass on the market?'. You could go to eBay, Marketplace, Gumtree and (arguably) pick up an equally (or better) specced Jazz bass for £500-600, Fender badged included. You can get a new budget Squier/Sadowsky/Markbass/HB/Bass Centre/Eastcoast JBs for well under this, all of which carry more kudos than HB. My take? Brutal as this may sound, the BTW model will be gone in a year or 18 months tops. They'll be discounted to clear by next summer. Nice experiment, thank you and goodnight.

I enjoy the BTW You Tube channel and can understand this desire to work with a manufacturer to produce a signature model, but raise the question as to why they feel it's necessary to bring another Jazz styled bass into a marketplace that's already full of them. Players here will make all the usual points about the hardware, the weight, the electrics, the nut width and (ooh) the tonewoods, but let's face it 99.9% of guys here (me included) couldn't recognise ash from alder or Wilkinson tuners from Gotoh unless they could read the name stamped on them.

Here we go. Quality good, nice fit, lightweight, padded and supportive in the right places. Only downsides are the latch on the right is a little on the wonk (but closes without any issue) and the other is that it absolutely reeks of the manufacturing process; smells like this stuff we use to keep the shower clean, very vinegary. I'm sure it'll subside.

Despite not being remotely into the Rolling Stones, I do have a soft spot for Keith Richards. Been reading this afternoon and have been going through the solo albums. I'm currently on an excellent bootleg of a radio broadcast of the Winos live in Boston in 1993. So good.

Perhaps it's just the way I'm wired, but when someone says they're hideous, it just makes me love them even more.

Triple post. FFS.

Triple post.

Thread resurrection. Following my recent Hoppus-esque Modern Prometheus build, I'm in need of another case. With Tourtech cases (or whatever they're called now) seemingly unavailable anywhere, I've pulled the trigger on a Thomann ABS case. £79 delivered. It's not going to see anywhere near the action of the the Tourtech cases, so it should be fine. Will report back. I was thinking about buying a Ritter Bern gigbag, but the ABS makes for easier storage.

I've loved the Spectors I've owned (four) and I still own a EuroX, but my fear for Spector is that their business model is fast aping Fender and it's diluting its position in the marketplace ('Coming May 2027, the Fender Vintera III range, exactly the same as the Vintera I, but now it's III, innit?'). While I appreciate over the years there's been the occasional movement away from the NS body line, the market just seems to be saturated with variations on (more or less) the same design with models suffixed with LT/LX/LE, offered in different colours, pickup and preamp configurations. Obviously I realise that (like Fender) the company needs to continually mix things up to keep the range fresh and to stay in business, but as Gary says these new models are possibly just replacements for a discounted line...how different are they from these and ultimately does it make any difference?

What constitutes a woody tone? It's impossible to just go, 'just finger pluck a Fender Jazz with flats and push it through an Ampeg B-15,' because this alone isn't wholly how tone is done. You could give this set up to ten different bass players and you'd get ten different tonal results. There's dozens/hundreds of threads here from people going, 'how do I sound like <insert bassist name here>?' As @snorkie635 said, your opinion on what sounds woody would probably be somewhat different to someone else's opinion. What do you want to sound like?

I re-ripped a load of Smashing Pumpkins stuff to FLAC over the last few days, so am working through the back catalogue. Oddly cohesive, to be honest, even the wife hasn't bellyached about it.

Company I worked at for ten years ran a Paul Smith line. Wristwatches. Made in China, hideously overpriced, garishly designed, same innards/movements as the products we used to put into Argos for £20.00 a pop. People are stupid.

Many years ago I owned a Gibson Grabber G3, although you wouldn't really know I'd owned one, there's just one photo of me using it at a gig in Twickenham (incidentally just minutes before being approached by an A&R guy from Polydor). I would certainly say I had several almost-Fawlty moments with it. I'd settled on the G3 being my primary workhorse as my other bass at the time was a Travis Bean, which based on my general on-stage acrobatics was waaaay too heavy. Honestly no idea where the G3 came from, I bought it obviously, but beyond that, nada. When I was playing at home, it was fine. When we were rehearsing, fine. Soundcheck, fine. Come gig-time, it always seemed to be a crackly cutting out mess. We were recording in Surbiton - on Polydor's ££ - and when the tape was rolling it did the same. It just seemed to know when it was required to behave and just played up. In a studio in Fulham I actually lobbed it across the room, then used the owner's Jazz bass. Never did get to the bottom of the issue. I wonder where it is now?

I am curious here and I'm asking an open question. I currently own a Mike Lull NRT5 with an upscaled body size, photo below. To be honest, it rarely sees the light of day and I have considered moving it on, BUT, I've also been hankering for another 12-string. I've approached Spencer at Lull in an effort to (perhaps) commission a 12-string neck (understandably, he declined), so this begs the question about the feasibility of whether I could get a neck made for it - the guy at ETS seems to have a bit of a waiting list so far as the two part bridge goes, so @Basvarken is a bolt-on retrofitted neck something that is doable?

I'll admit I'm fascinated with the neck construction here.

I can't see Gibson getting their panties in a twist about JA playing the T4, I mean, realistically it's just a bass, they might as well come after me as well!

I did just pop Spencer a quick message about converting and he's come back saying Gibson took umbrage so the bridge manufacturer isn't working with them at the moment. Anyhow, I freaking love the Hamer!

I just did a little bit of jizz. I may have posted elsewhere, but there was one on the marketplace here a while back; I think it was advertised at £1,800. We were having some build work done and I simply couldn't pull the funds together at such short notice. I think about that bass every day. I've also recently been giving some consideration in getting a 12-string neck/bridge made for my Lull NRT5. That could be quite special.

Well, mine is beautiful. No gaps.

The D&G are a bit fuller tonally with the pickup orientation reversed. It's not tons, but it is better to my ears.

Seriously, just buy a neck from a Chinese seller on eBay. I've recently picked up Jazz/slim profile and Precision/chunky necks. Both around £80.00. Both great.

Having just put together a Hoppus Jazz/Precision thing, I'd have taken the opportunity to reverse the pickup. Nudging the D&G element towards the neck definitely helps things tonally.