Soledad

Given to me by a guitar maker some years ago (for something I was making). Sat in a drawer for a few years. It's used for accurately measuring and thicknessing instrument boards, tops in particular. Was a little sticky when I took it out the other day, have lubricated, it's a lot better. May need a small amount of new-owner fettling so it opens and closes smoothly. FREE to a maker - may request post as it weighs a bag o sugar or so.

Nice basses, a very focussed set list. 👍 And you'll find loads of vintage Fender expertise here.

I have a set of 45-100 cobalts on my Jazz - really excellent and I think the Cobalts suit the Jazz native sound very well indeed - I mean they start with how a Jazz naturally sounds and make the most of that which is quite a lot. Dead good and can't see me going back to rounds in the forseeable. Also have Cobalts on my P and have a set of LaBella 760FL coming any day to go on Jazz No2. From all I have read and listened to, the Cobalts and FLs are probably the best option for me. Have Fenders on my Jazz fretless and they are quite good but I'll happily pay the extra for the other 2.

Bloody perfect. Copyright that quick.

I do believe you are right. 'Newfoundfreedom' - job done. Maybe 3 separate words, but I might nick that (I know... not what you meant.)

'cos all the decent ones are taken, and most that are left are a bit 'restrictive' in terms of music style. Right now I like Crazy 88 but it's a bit full-on for our band. (Kill Bill ref you may recall). For years I liked DV8 but that got taken quite some time ago. Basically, needs an 8 in it 👍

I've had a think about this, and conclude the inevitable: that there is no single vid / topic that is THE right one for all. But I do have a thought based on my experience (with another instrument as well, so not bass specific). I think there is a very thin line between a player's style and his/her habits. I'm pretty sure I'm not alone and I find myself playing patterns and shapes on the fingerboard - there's an inverse law, the more I think about what I'm playing the less the habit patterns dominate. I then expect that the habits turn to familiar lines and note values, and in turn my technique evolves to be better at those habits. I reckon the habits lead to repetition and maybe over-playing too. Hence: Identifying what your habits are (I mean note sequences in particular but also rhytmic patterns, habit ghost notes etc) - and breaking out of all the habits. I think one no-no is noodling which exists to help you develop the habits (mainly). Only picking up the bass (at home) when you know what you are about to play or attempt and it is a thing you can't do. Just my thoughts, any ideas anyone?

Like his site - he looks like he really digs the old stuff, handwound pups, GEC valves... very handy to know about. Also interesting to know who Martin P has used and uses, because his output is obviously impeccable. Thanks @Kiwi

Thanks, had a look and I'm sure they could do what I need very well, but having spoken to Dave Wilson by then I have committed already. It's a '90s bass and I will use it quite seriously so it'll get marks and dinks over time anyway. I understand that, I think if you want a Limelight you are happy with a replica roadworn / relic'd bass. I've discovered that perfect as new finishes cost at least one third (Dave) of a whole Limelight. I still don't know how Mark does such a great bass at that price and from what I've seen his light relicing is really convincing anyway. But it'll have to wait.

Aha, yours then? That'll be the one five back on the left rack at your meet. Does it sound reasonably OK through the Acoustic rig? Like, north of acceptable.

Who said anything about choice OK, I suppose I could sell a body-part. Just one of those coincidences that I happened to be discussing a 60's P with Mark, and the cost of that really puts the Sims quote into perspective. So, I'm about to break down my P to send body to Dave W - he reckons about 6-8 weeks. And still in contact with Mark re a Limelight, though that might need to be Olympic/tort now. As a reminder to us all, here's a Limelight 60s P (recently made for a BCer I believe) - just how GOOD does that look??

Your contributions here and on YT deserve far more attention. I haven't watched this full vid yet but had a quick look with sound off (odd but had to). You mention practicing in the dark, which I reckon is a really good thing to do with fretless (or fretted for that matter). Ont thing about ascending slides, even just a tone or semi. That nasty effect sometimes of the note becoming louder - the string energy being compressed into a shorter length. I've tried rolling back the fretting finger to put some fleshy contact onto the string and hence damp some of the vibrational energy. But I don't have the touch on this. It may seem a small thing but it sounds noticably bad on whole-tone up-slides, I mean it sure don't sound like Jaco. I will watch the whole vid properly with sound, I'll definitely benefit from it. Top work Greg, thanks for sharing so generously.

Well, what a morning. Spoke to a guy at Sims (apparently Martin is a bit part-time these days and wasn't there but their paint guy spoke to me). So, bass dismantled but poly finish left on for them to strip, then poly new colour, approx £650. Nitro add 50% to the paint part, comes in about £870... fork a duck. As an aside spoke with Mark at Limelight recently and he will do me a 60s LPB Precision for a grand, so for £130 more than a nitro refin I'd get a whole extra bass - and a right nice one too. SO> spoke (well FB'd) David Wilson - we're on. Around £310-ish for a full strip and nitro refin solid colour (3TSB may be more, dunno). He sounds ace, nice work on FB page. 6 - 8 weeks but I'll get some pics of the body in it's current black and then WIP and back in the LPB - just to share experiences and spread the word. As usual on BC, if you ask for help you get it quick, good and true. Big thanks to all above👍 The Limelight will need to wait... sorely tempting tho'

Cheers @joeystrange - just what I needed. I'll give him a call. Thing is I have this really fab P that is my main gigging bass (a Jazz the close second) and it is all-round excellent except it's black and that is just not me - get the colour right and it's a lifer.

I'm considering having someone refinish a bass body for me. Did a Google, Sims Workshop comes up and they are fairly close to me but don't have much detail info on their site. I'm undecided yet between nitro and poly, I know the pros and cons but not firm either way yet. It's a Fender and I'll probably go for Lake Placid Blue. Does anyone have any recommended painters - doesn't matter where in the UK really as I'll strip the bass down to body only so can ship reasonably easily. Advice and recommends appreciated 👍

Very nice pair! I reckon the MIM 4 might suit a tort plate, or black. Not the white, it's like a mashup banana custard thing. The only small thing about the P5s is the asymetric pups - I am a bit OCD so it won't bother most. Love Ps, well done for being a sturdy champion of the finest bass ever (from a bloke who plays Jazzes too).

Just checking Wiki, worth a look. He wrote on 60% of the SM output and was never credited (citation needed says Wiki). FFS Kerr, you tw*t. Derek Forbes credited with Kirsty MacColl 'A New England' - excellent. Anyone remember her 'Electric Landlady' album (Virgin I think). Cracking title - a very bright talent she was. I believe Guy Pratt played with her at some point (his book slightly annoys me but he's definitely a bit handy). Off to listen to A New England now....

Interesting thread. I recall the Propaganda album well but never stopped to look who played bass. He was cracking with Simple Minds, some of the B sides were quite something. I think that when he and Mick MacNeil quit, that band lost a leg or two (and it's heart). Back around '92 or '93 I got to know Mick MacNeil when he was working with Robin Zander (Cheap Trick) on an album and he used to tell me unlimited yarns about the behaviour of Jim Kerr (Herr Kerr as the band would say, you need the Glasgow accent to get that). Mick and Derek both got so sick of all that they quit. I'd say Propaganda's big album was the first lineup with Claudia Brucken: A Secret Wish (on ZTT) - remember 'The First Cut'?. 1234 was the new lineup and 'Heaven give me words' was a minor hit but the band seemed to fade rather quickly and I believe Virgin dropped them shortly after. But the big thing looking back IMHO is the magic combo of Derek on bass and Mick on keys. There is no doubt at all that Mick composed all the big themes of the Simple Minds years - and Kerr made sure he never got the credit or nowhere near the credit he deserved. I know Simple Minds have fallen out of fashion but what they were doing in the early to mid years (up to Mick's departure) was quite magical, and they were stadium massive to boot. The Simple Minds sound powerhouse was Derek Forbes and Mick Macneil. thanks @darkandrew for reminding me of those years👍 edit: Propaganda's hit was called Duel of course, featuring the lyric 'the first cut won't hurt at all...'

same. The vote form doesn't give a 'walk away' option. I'd say the area around neck to head transition is the most critical structurally and a repair may be cosmetically very good but that isn't the issue - it wasn't designed that way for a reason and I can't see inside the repair. It's like a Lalique with a chip out of it... pass.