PatrickJ

Most of the J type basses, which is good as my custom is a J Bass type 😀. My top picks were the : - Fodera Emperor J (@1:57) - Sadowsky Satin Series Deluxe (@3:54) - Alemebic Custom J (@3:22) - Ken Smith BSR 5 (@4:32) - MTD 534-24 (@1:32) - Mayones Jabba Mala (@3:01) - Roscoe Century STD+ (@3:47) A couple I really disliked were the Status Kingbass and the Warwick Infitinity.

That's a great video. I listened back to the video with my eyes closed and made a note of the Basses I really liked. In some ways I wished I'd seen this befor ordering my custom, based on my analysis I may have made a few tweaks to the design. I have a lot of time for Scott, I know in the past few years his YiuTube videos have become full of annoying click bait but he's just playing the YouTube game and his paid content is really good.

I was hoping you had some insider information

The P looks alright, but by Skyline pricing does that mean they will be around the £1k region? Will they be built in the UK or Asia somewhere? I assume this being @Ashdown Engineering the pickups and electronics will be of their own design but any information on tonally how they'll be voiced, or details on woods, weight etc.?

I have a MXR Bass Octave Deluxe for sale for £90. PM if interested, I wouldn't have said the circuit was noisy but since I'm selling the pedal I suggest you look at impartial reviews Like Mr @Al KrowI bought an HX effects and am now using the Bass Octave effect included with that, I believe it's modelled after an EBS Octave pedal.

Michael League seems to rate them: "These are the most badass basses I've ever played in a studio context. Super warm, cut like a motherf*cker, and are a real joy to play." - Michael League I had a bit of GAS for the 40th anniversary edition PJ for a while, never got to play one though http://www.fbass.com/blog/article/82/40th-anniversary-pj/

I wasn't a member when the whole Rickenbacker thing happened. What constitutes a "fake", was it directly cloning the body and headstock shape? If so are these sufficiently different that they are not in infringement of any copyright. And if that's the case can they be bought and sold on this forum??

This is where being a consumer of music streaming services pays off somewhat. I really like the Chili's, but if I'm completely honest I can't think of a single album, including BSSM, where I like more than 2/3rds of the songs. Therefore I have a Chili's play list in Apple Music that just has the songs I like from each album including the post frusciante era, though I confess the Getaway only contributes 2 or 3 songs. I don't know why One Hot Minute gets such a bad rep, there's some really cool tunes on there and I like a lot of Navaro's playing and layering of guitars. A very different sound to John.

Stadium Arcadia grew on me. Hated it the first time I listened through, mainly because of Anthony Kiedis' vocals. Came back to it a few years later and enjoyed it more (mainly for frusciante's playing) though completely agree only about half the tracks appeal to me. I dumped them into my RHCP play list

This is kind of one of the questions I asked in my original post, the Fender sound tends to be described by era, for the Precision it's the 50's, 60's and 70's and for Jazz it's the 60's and 70's. However, from reading up various articles on vintage basses back in those days there were significant differences in the sound from any number of instruments made in the same year as there wasn't necessarily great consistency on how each pickup was wound. However, to generalise it seems to be: - 50's voiced: a warm, muddy tone - 60's voiced: a hollow, woody tone (whatever that means). The classic Jamerson soul, R&B, funk tone many chase. I believe this is what the EMG GZR's are based on, and countless others. - 70's a tighter, higher out put grundy tone. probably suited more to the rock player. I guess in the 80's and 90's Fender's endless cycle of re-issuing basses based on those era's started and so they didn't get their own unique voicings.

I'm sure it's a weird me thing, but I may as well have bought a fender if I'm going to retrospectively fit Fender OE parts into a non fender bass.

Love the design, great job @Ashdown Engineering

True, but remember - this is not just a bass place, it's a SAFE bass place. You can say what you like on here!

I adore JF's playing, I didn't mind Josh, there were plenty of good tracks on his RHCP albums, but John was the reason I first picked up a guitar. I do wonder how this will go though- He seems to have ongoing issues with performing live with that band and I thought that was a big reason why he quit second time round and why it all fell apart the first time. I'm sure I read that he just doesn't enjoy the playing live (something I can relate too).

Ended up posting her le by mistake. Apologies, not sure how it happened.

^^ this, I've never been a fan of multi effects before and I hated the Zoom B3 - I found it so difficult to use. I sold it and invested in a few good pedals, MXR, Darkglass etc. But recently on a semi-whim I picked up a Helix FX on a black Friday offer and have been mighty impressed. I'm now selling my individual pedals because it's covering what I used plus a heap more. There are a few Helix options, the FX and Stomp run around the £400 mark - which is about the same as 3-4 dedicated pedals (depending on what you go for). The stomp has amp / cab aims which would be useful if you're going straight to a desk or FOH. I went for the FX as it had more foot switches and if I need DI I'll take it from the amp head.

Doesn't look like Santa is bringing me a new Shuker for Christmas :(, at least not 2019

I've never been in a proper gigging band, where we go out regularly and get paid for doing so. Makes me wonder why contracts are not more common place. For me once you start gigging, and your paid it's more than just a hobby. I've also seen member of some bands clubbing together for PA's and Lighting rigs. Seems to me that it is not uncommon for things to fall apart and one band member getting screwed out of a paying gig (that's lost income) or losing their share of joint owned equipment. If I ever do get back into bands and we start gigging for money, I'll want some assurances.