Burns-bass

That would have been a hell of a gig!

It’s lovely. Given the presence of the Rickenbacker it’s worth ensuring you have image rights for reproduction if it’s commercially for sale.

I think the transfer of production to the Far East has transformed the guitar industry. One of my first basses was an Aria Pro II The Cat Bass - and that thing still plays well to this day. It cost me £95 I think, and is a fantastic working and playing bass.

The font is ok, quite cool. It’s proper retro and so will actually work for a younger audience (no offence Steve!). when I work on video scripts and project ta you have to grab the audiences attention within a second or two - that’s no exaggeration. If it’s a music video then definitely start with some music! If it’s an instructional video then start with some cool licks. I’m not really a YouTube user for this sort of thing, so I can’t comment on the content really, but given the competition (and the production values of some of the other competitors) it’s worth trying to identify a niche where you offer value beyond those already out there and focus on that. Good luck with it!

The damage to the neck looks like either an existing imperfection in the wood or an over tightened bolt when being fitted. It would be difficult if not impossible to cause this damage by simply removing the neck. Regardless, there’s nothing in the warranty that sugggests you can’t remove the neck. http://www2.ibanez.com/support/warrantyterms

Brilliant book, really fascinating.

Err...

The point I’m making is that the instrument is there to make music. My 1966 for example isn’t all original, it’s had a new jack socket to ensure it’s playable. It’s been toured all across the U.K. and Europe, used for recording and even lent to friends. It sounds divine and plays that way too, but if it stopped being functional (truss rod break, needed a refret etc.) I’d get it done.

I think there’s a difference between appreciating vintage instruments and fetishising then. Take your typical Strad violin, and the original baroque neck will have been replaced on almost all of them, yet they’re still recognised as the pinnacle of the musical instrument world.

Thanks for the kind words. Authenticity isn’t subjective, it either is or isn’t authentic. I’ll wait and see what other people have to say, and hope they’re as constructive as we have all been.

It’s a loaded question and sure to stoke a lively debate. As someone who has owned literally hundreds of instruments - including some of the rare vintage Fenders you’re talking about - some of them (but not all) are genuinely beautiful instruments. As a result of scarcity, all original examples are very much in demand. It’s a search for authenticity I guess, and a vintage tone and feel. Personally I’ve never played a better instrument than the 1966 Jazz Bass I have. I couldn’t imagine anyone, including bespoke builders, able to create something like it, and I’ve owned or played many of the best. For example, I can’t understand why anyone would bother to collect first editions of books, but there’s a lovey market out there for it.

Appreciate the advice everyone. Now I just need to find a quiet half an hour to actually play the bloody thing.

These are exceptional instruments for the price, and something you can obviously upgrade without ruining any guilt or problems. I had a fretted 5 string which I have sold, and replaced with a fretless one. You need your tools to get a great set up from it, but once dialled in it’s a lovely bass, that’s very versatile for the price.

I’m still not entirely sure what to go for, but I figure I use Spirocores on all my uprights, so I’m going for them...

That’s great. I was thinking LaBella, but the Sire is string through body which they suggest doesn’t suit these strings as the bridge angle is too extreme. Hmm.

The question is whether you’re interested in learning a brand new instrument. An EUB isn’t like playing an electric bass upright, it involveslearning a whole new technique. Personally I have had a few EUBs and they’re really accessible way to attempt DB but ultimately they’re a poor imitation of the real thing (unless you spend a decent amount on something like an SLB or the others). As others suggest, take the time to go and play a few if you can. If you’re looking at this as a way to take up DB at some point in the future then just get a DB. There have been some fantastic deals on here.

Hi all, I have just received a lovely 5 string Marcus Miller fretless Sire, which is very nice. I want to replace the strings with a decent set of flats. Traditionally I’ve always used Rotosounds on my vintage Fenders, but I’m not sure how great their 5 string flats are. I play jazz, R&B, funk etc so I want something hardwearing and not too bright. I don’t mind a higher tension string as I play DB (primarily at the moment, it seems). Happy to spend what it costs (just re-string two DBs so anything under £150 is fine!) Happy to receive any recommendations from 5 stringers out there

Agreed, Paul is an absolute gentleman and I should say the set up wasn’t what I wanted as a weak wristed Jazz player, but may have been perfect for someone else. The set up is always personal to taste, but the bass construction is very high quality for an incredible price. And the sound of a fully carved bass blows me away...

Hi Mr Ace. it was definitely a wider bridge being needed as well as a few more modifications. When I bought it I spoke to some Bryant owners, players and Martin and all suggested budgeting a decent chunk for set up, so when I had to spend a few hundred (£600 including a pickup) it wasn’t a surprise. I don’t want to be too effusive, but Martin is a bit of a master when it comes to set up and getting a great sound out of a bass. The Bryant now sings beautifully. He’s lowered the nut, fixed the fingerboard and a few others bits. I basically said to do whatever the bass needed. Paul and I were talking and he’d agreed to build me what was going to be the last soloist model at a very reasonable price indeed. As it turns out he has built another since then. The craftsmanship is impressive for the price, and it plays and sounds wonderful. It’s the first instrument I’ve ever owned from new (bass or upright), and I’m delighted with it. He’s a lovely chap and we had a great time when I met Paul. He’s continuing a long tradition of unique people building great instruments.

Before anyone asks, this isn’t a for sale ad, this is for free...

Hello! The incredible Martin Penning has just set up my Bryant double bass. We agreed it needed a new bridge, so he fitted one. The Bryant fitted bridge wasn’t big enough and the adjusters were a little bit off Centre. Anyway, I have the old bridge but I don’t need it. If anyone would like it or can make use of it, just DM me and I’ll send it.

I know, it’s heresy isn’t it? I’ve calculated that I’ve owned hundreds of guitars, instruments, amps and pedals and I still use the same guitar I bought in 2003. The best thing about Basschat is that I’ve never lost a penny on my gear. So it’s a cost neutral indulgence, and I’ve got to meet some great people too. But, enough is enough! (Until next week)