Cato

I was just wondering how many of these 'not so good' singers are pitching their performance to suit the music but are secretly a lot more polished on the sly. Maybe Lemmy actually had an amazing soul voice that he never recorded? Maybe Barney from Napalm Death has a clandestine lovely smooth jazz voice that we've never heard?

Ironically the Beastie Boys were all really proficient instrumentalists. First I saw them live back at Glastonbury in the 90s I was absolutely jaw dropped when they got to the part of the show when they transformed themselves into a double bass/guitar/drums jazzy trio. By the time I saw them again in the 2000s they'd gotten even better and a fair chunk of the show saw them performing various (mostly) instrumental album tracks from their back catalogue as a full band with additional musicians.

This is the greatest music video that will ever be made.

I'd heard a few Arlo Parks tunes on the radio, all very polished musical accompaniment with highly processed vocals in a similar vein to Billie Eilish, so I was quite surprised to come across this strip backed live set and discover that behind the processing is a very pleasant natural voice.

There's been a couple of times that I thought I was playing something the same as it was on the original record, only to realise a fair bit later on listening to the original again that I wasn't.

Does the P at the bridge overcome the problem with some passive PJs where the J is noticably quieter than the P?

Fair enough. It'd be ususual to see one on a bass, although I've noticed that Serek have started using their own version of a P90 on some of their shortscales. I can't think of any other examples.

Very nice looking bass. Is that a p90 in there or just a single coil in a big casing?

Aren't Danos made from some sort of lightweight composite material rather than solid wood? There's a possibility that it might not hold the screws too well on a different type of bridge. @Maude modded one a while back He might have some insight into how feasible it is.

My Washburn Status has some sort of carbon fibre wrap over a wooden core. Not sure if actual Statuses are solid carbon fibre.

You might want to check whether it uses double ball end strings or standard strings clamped behind the nut. There's less options on the market for double ball end end strings but there's stil a reasonable amount of choice. Some headless basses, like my Washburn Status, can accomodate both types of string, but the grub screw clamp on the A string on mine wore out/broke years ago, so that's maybe something to look out for.

I have an organically growing pedal arrangement on the floor in the guitar room. Started off with a Zoom B1on, which because I found the looper function so useful/so much fun got upgraded to a Helix Stomp + Boss RC 30 looper. Just added my 20 year old Cry Baby Wah to the end of the chain and would like to add a dedicated volume/wah for the Stomp and a Strymon reverb unit in the near future. Oh and a Beat Buddy or equivalent to take over drum duties from the somewhat basic beats on the RC30.

To be honest I fast forwarded through most of the sax stuff because it was drowning out the bass on my tablet speakers.

Nice bass solo at 4:50.

I follow the drums. If the drums are losing time or slightly erratic I'll still try and follow the drums. At that point things get messy. So, I suppose what I'm saying is, that it's always the drummer's fault.

Sounds like a bass. Mission accomplished.

With specific regard to changing bridges I suspect that increased sustain is something that's easy for manufacturers to claim precisely because they know that unless you record before and after samples, it's not actualy an easy thing to test and most bass players have probably never really investigated how much their instrument sustains prior to fitting the new bridge anyway.

I changed out the BBOT on a Jazz bass for a Babicz. Much as I like the Babicz for it's engineering, functionality and complete lack of sharp edges, I have to say I didn't notice any glaring differences or improvements in the tone, sustian or overall playability of the bass after I fitted it. YMMV.

Ah, my mistake, I thought it had been rereleased with the new run of 50s P basses.

A couple of years ago the last run of LPB Classic Vibes were selling used on ebay for a shade more than their original asking price. I was tempted then and I'm more tempted now. Edit: Though it's a bit academic as I can't see anywhere in the UK that has LPB in stock.

They've never been that easy to get hold of in the UK . G & L have become a bit more prominent in the UK over the last couple of years, especially the tribute stuff but for whatever reason the US made ASATs still don't seem to make it this far in any kind of numbers.

I quite fancy one of these

There's also probably a bit of a double whammy. Production stopped at many factories earlier in the year but there was apparently also a global boom in guitar sales during lockdown, depleting existing stocks https://routenote.com/blog/fenders-best-year-yet-shows-people-picking-up-instruments-more-than-ever-in-2020/ I've been window shopping the big online music stores a fair bit recently and it's noticeable just how many instruments listed on their websites are currently out of stock.

The Ritter was on display in a jewellers somewhere in the US for a quarter of a million dollars, no idea if it ever sold. Presumably most of it's value was in the precious stones, metals and bits of fossilised mammoth, so if it never sold those could have been stripped and sold seperately, vastly reducing the financial loss.

I'm sure that they exist but I can't really picture a 'modern' bass like an Ibanez or a Yamaha looking good reliced, even though they've both been making electric basses for long enough for there to be some genuinely worn examples in circulation. I think we may have reached 'peak' relicing a couple of years ago, it seems to be here to stay but it doesn't seem as prevalent as it was. Roasted maple necks seem to be the new 'big thing' fashion wise.