ezbass

If you’re going to replace so many parts, maybe it’s worth moving it on and getting something else. If it didn’t require routing, I would have said that Nordstrand Big Singles would be a great upgrade, but it’s probably simpler to get an Ibanez or similar with them already in.

Godzilla - Blue Oyster Cult

It's easy for a neck pickup or P bass tone to become lost in a dense mix that includes keys. This is where a J bass blend control favouring the bridge pickup, or a Stingray come into their own. I have found this even playing along to tracks at home. When I played in a keys heavy, 80s band, my solution was to use my J and MM types as described. There is another solution of course...

Tony Butler's bass tone was so much a part of the BC sound, which was sadly missing when I saw them last year, despite Scott Whitley using a P bass.

Smash it Up - The Damned

The Gap - Thompson Twins

Ace of Spades - Mötorhead

Hoedown - Aaron Copeland

Ah, that old chestnut . A lovely brace of basses to be sure.

I’ve recently fallen for the allure of the blue bass.

Love Poole! You can walk for miles on the beaches all the way to, and beyond, Bournemouth in one direction and, using the ferry, to Swanage and beyond in the opposite direction. Different strokes and all that.

Ooh, that is nice. I would suggest a trip to Dorset, but it’s going to be mental down there with Easter holidaymakers at the moment.

The Future's So Bright, I Gotta Wear Shades - Timbuk 3

Sleep That Burns - BeBop Deluxe (yes, I'm doing 'that' again )

Set The Controls For The Heart Of The Sun - Pink Floyd

I’m obviously quite emotional today as it’s suddenly got very misty in here - again.

Been Caught Stealing - Jane’s Addiction

Well, that’s me welling up.

Learn to Fly - Foos

They Don’t Know About Us - Tracy Ullman

I saw the current version (at least it was then) of Big Country last year. It now takes two people to cover what Stuart used to do, a testament to his talent. I remember being shocked when I heard that he’d killed himself, as I also did with Chris Cornell. Hearing them now, often makes me sad.

The looks are challenging for sure, it seems like it needs to be a bit fatter in the bouts, but that’s what you get by having an interchangeable guitar and bass body shape I guess. However, once on the knee or strap, it all kind of makes sense. That stretched body stops it feeling toylike (something that the SS ‘Ray does on the knee for me, it’s fine on a strap) and the left hand positions feel natural and fall easily to hand. My right hand falls just on the edge of the scratch plate, midway between p/up and bridge. Because of the shape, the slab body sits fine for me, without any digging in and my plucking arm rests nicely on the edge without discomfort. If I sound like a rabid fanboy, it’s because all of the perceived shortcomings actually seem to be positives (beware the ramblings of the recently converted ). However, upper fret access is an issue and the lack of just one more fret annoys me (albeit for just one song), although the amount of time I spend up there is very rare and I can only cite 2 songs from my old set list that I would actually need to be up there. Replacing the neck plate with a rounded off one and taking a file to the neck join would improve matters dramatically but, for the amount of times I need that access, can I be bothered? EDIT: For reference, I’m 6 foot tall and medium build.

Ernie Ball Cobalt Flats have a far more more lively sound than traditional flats. I have them on all my basses except one.

Looking forward to seeing some photos of your collection.