Shaggy

[quote name='neepheid' timestamp='1338887922' post='1680429'] I like basses, ergo I own multiple ones. I play whichever one takes my fancy at the time but I do make sure that they all get a run out (even my office bass gets out into the real world sometimes) and it's not a chore because I like playing all of them. I have no time for agonising about "which bass sounds right" - they all sound like basses - so I just pick one up and get on with it. In short, I don't worry about it at all. [/quote] This For 25 years I had one bass and one amp. With the coming of the internet and finally a bit of spare cash this crept up to four basses, which rather horrified me, so I made a massive effort to get down to two (one fretted, one fretless). My success in this can be measured by my current number of basses; 15 (and three amps) - which represent every bass I've ever felt significant GAS for since starting playing bass in a band at 16, and a couple of other "oddball" basses that I couldn't resist. They all get played, a fair few get gigged, but realistically I have to acknowledge that I've become a collector which is something that I never wanted to be. But what the hell - to me they aren't just tools but deeply sexy objects in their own right - I also make basses so the whole notion of design and ergonomics fascinates me. The missus moans about them now and again, but on the whole has supported my sad obsession. (and this is apart from the 3 electric guitars, 2 flamenco guitars, 1 classical guitar, 1 steel-string acoustic guitar, 3 violins, 3 mandolins, 2 lutes, 1 theorbo, and 1 tenor banjo.....)

The P-retro is a good call, but if it was me I'd fit a piezo bridge (I know there's a Fender-fit one cos I used to have one, I think they can be had around the £50 mark now....). Gives you that nice, woody acoustic-y sound perfect for fretless, that can be EQ-ed to sound quite "Jazz nasal", and usefully different to the P p/up. There may be a way to do without having to route a battery compartment, but if unavoidable I'd far rather route the back than the front - don't touch that!!!

[quote name='Lozz196' timestamp='1338479642' post='1675225'] Try Fender Original/Vintage pickups, if wanting to retain authentic Fender sound. I say this, as I`ve just done exactly that with my 77 (as the pickup was on the way out, and didn`t want to get it re-wound, want to keep it in original condition). They sound great, nice and rich, and the highs whilst clear, are never at all shrill. They are apparently the model that Fender put in the 62 Reissue Precisions. [/quote] +1 - I put a set of '62 RI's in my '65 P and they're just about perfect; surprisingly hot for a "vintage" p/up too. Easily my favourite of ones I've tried (SD Antiquity, Fralin, DiMarzio, Barts), but I've got a set of Norstrands currently in a custom build, and they're probably on a par.

Bought Bob's custom Fender / Warmoth Fenderbird at a hot and sunny Carmarthen Tesco's today. Great guy to deal with - very patient whilst the deal was temporarily off a couple of times as I was raising funds, but eventually smooth and hassle free. Lovely bass - thanks mate! Hope to do business again

Flamenco has been a passion of mine since I was a kid, mainly as my Dad was an enthusiastic player. I've inherited his guitar since he stopped playing - a 1960's Manuel Contreras, which is way too good for my limited abilty. Having said which, one of the great things about the genre is that a simple piece can sound just as thrilling as a virtuoso piece; and much of the skills transpose well to bass - rhythm and "feel" are paramount; the right hand technique is incredibly physical, but totally fluid when you see an expert play. I've seen a few of the greats - Paco Pena is one of the best known of course - but to me the absolute master of flamenco was actually a Brit; Phillip John Lee, who unfortunately passed away a couple of years ago. Utterly sublime playing....I don't know how to post clips, sorry

Sold Mike my Satellite P/J bass - selling basses is always a traumatic event for me that I avoid unless totally unavoidable, so I was lucky that Mike turned out to be about the most ace guy you could wish to do a deal with. Totally straight; no messing - asked for the bass, paid for it quick as a flash, had a few entertaining chats. Hope you enjoy the bass Mike, and cheers for a very smooth deal....

[quote name='SpaceChick' timestamp='1337664704' post='1663548'] Blimey Shaggy, I also work for the NHS and have spent some time in Morriston! Next time you play near me you'll have to let me know [/quote] Cool - at NPTH? I'm a radiographer.... Good luck with the lessons (never took one in my life, mind) and hope to see you gigging soon! debwilliams - Sorry you were in Hospital - food not so bad tho, you sure? It's famously bad.... Think we need a Swansea / Valleys bass bash....

Half Finnish (Mum from Turku) - that count?

Posted this one before, but it bears repeating; A few years ago, after getting back into bass after (*coughs*) years in the wilderness, I got fed up of jamming in non-projects that never got off the ground, and looked to slot into an existing competent band needing a bass player. Scrutinised the local small ads, and followed one up for an "exciting new covers band project" looking for an experienced pro-minded bass player with decent gear. The guy on the phone was a bit cagey about it, but said the project was being financed by the owner of a well-known local nightclub. Plan was to put a group of good musicians with a "mature attitude" together to play 80's and '90's covers, tour the North of England, and maybe Europe later if it went well. He suggested I come to an audition - so I figured what the hell, and agreed. Audition was pretty straightforward, I was told I was definitely in if I wanted to be. Turned out the band was to support a troupe of 20 lap dancers..... Well, I had to turn it down as there was no way I could have fitted the touring around work - although my best mate at work said he'd cover for me just so he could hear my stories! More back on topic, most of my experieriences as an auditioner have been positive - there's some real talent out there as well as some real muppets. The one that sticks in my mind was auditioning a drummer - he turned up to listen to us play (using a drum machine) and seemed to walk the walk and talk the talk. Lead guitarist wisely predicted - " this guy will be either amazingly good or total sh*te!" At the audition proper the guy donned special drumming gloves and shoes.....we were gobsmacked, and expecting something righteous. First number was a Beatles one with a nifty little off-beat roll on the intro (I'm rackig my brains to remember it...) - all he could do was a 4/4 beat ("Erm....I don't do Beatles...") We stuck with the drum machine for a couple of years.