Stub Mandrel

Just loving Adrian Shaw's walking line on this.

This. Every time.

Do you have any interestingones to share? My first Hohner bass had a fairly ordinary tort scratchplate nearly 40 years ago. My brother now has it... this is the same scratchplate!

You play floating thumb on both hands? 😁

Not Lynx? With the great smell of unwashed teenager.

The idea you can sweat your b*lls off in leathers round the track then 'freshen up' with a few splashes of Brut... 🤣 What's worse... Amazon recommended Old Spice to me yesterday. I remember coming to work a few days before the holidays in the eatly 90s "Oh wow! Has someone brought in a Christmas cake?" Turned out to be the (late middle aged) Finance Officer's Old Spice 🤣

It's almost as if different people are differrnt shapes! And like different things!

But... none of the playability elements you list are determined by price. There are playability elements that are - such as neck shape, finish, fretwork but these can be excellent on inexpensive basses (some Squiers for example).

He's played a lot of different things including a Hohner headless in the 80s and a Precision.

At Uni we used to do the Mud Dance whenever Status Quo came on.

I had to look up mn pots.

Mud had a 'MUD ON ROAD' sign on Top.ofthe Pops once. Funny that I remember that after about half a century!

Those would all benefit from a tort scratchplate. 😁

Hard to give a rational reason but it puts me off too... Not an issue with Adam Clayton, I like the bass but I'd want it to look more 'vintage' - like the Flea that just has an engraving on the neck plate.

I'm reminded of the old Arion effects that were all 'stereo'. Fine for the Chorus, but a stereo compressor? As far as I could see it split the signal into wet and dry channels. Wish I still had it, I used that pedal live for years. It was probably crap... But the point is the three easiest ways to make a mono source stereo: Use the pan control to position it on the sound stage. Use a true stereo effect to split it into two close but different signals in each channel. Use two microphones (or di and one mic) to record so one is close up and one is 'roomy' with more ambience.

Blend means you can't get either of the classic 'hollow' both pups on full sound, or my usual neck full on, bridge ~20% sound. It's interesting, I often gig a p-bass and rarely back it's tone off, butwhen gigging a Jazz I often tweak the settings. Being able to set both pups full when stuck under an electrically noisy light fitting is gold too.

Nice mwah

Expensive is so relative. The two basses I paid over my 'expensive' threshold, were both made possible because I completed large chunks of work. I've been through long periods where spending £50-100 could mean many months of saving. I am having to be careful now, as I need as many savings as possible to buy somewhere when dad's house is sold and split three ways. So those two big purchases (and my rig) were really special; both were cheaper alternatives to genuine vintage instruments I could never afford but give me a feeling of connection to music I love.

Hmmm...

Good god! Makes spaceflight look simple. That was awesome... I hate musicals but I'd love to see that!

Great idea! Good luck.

I would live to play my AVII enough that the finish starts to wear off it. Aside from that I like rotating basses, especially to rehearsals. Took my Epiphone Embassy to a rehearsal for one band. They couldn't believe its looks or sound and asked e to play it at every gig...

Any correlation between Chris' hand movements and te vass sound appear entirely coincidental...

Yes and maybe. If you wire two in series they may work at 9V, but these £2 cheapies rely on the internal resistance of the power source to limit current.

Oh no it doesn't! 😁