Munurmunuh

3-band EQ Stingray, DR Lo-Riders, Sade, plenty of depth

Just guessing here, but have you tried stainless steel strings on it? Might something like DR Lo-Riders bring out the depth of the tone?

Given how the three ranges of treble mids and bass overlap, when you two-bob all three knobs the two areas of overlap are doubly boosted, and so this isn't just a louder version of flat. Two humps at either side of the mids: a bactrian camel.

@AndyTravis Is this the one you had fretted up for sale at BassBros? https://bassbros.co.uk/product/1997-yamaha-bb350f-fretted/

Invitations to spend money on Bass Lessons or a VIP ticket ("intimate discussions with Scott and Ian, super secret special guests") are a-plenty. So, pay money to listen in on a zoom discussion.

"Register for free" is a phrase I don't feel I'm entirely understanding. Once you "register" and they've got your email address, then what? They send you a price list? Time to dust down the email address I only use when I fear I'm just signing up for spam..... I'll report back.....

I think it was the flat wire for the outer layer of flatwounds that was in short supply for a while, if I'm remembering what was being reported on TB correctly. America has been in very short supply of Indonesian Yamaha basses recently, poor mites.

The jump up in tension between their 40-100 and 45-105 flats is unusually big, much bigger than the jump between their 45-105 and 50-110 rounds: Roto Bass 45-105 — 185 lbs Roto Bass 50-110 — 197 lbs SM77 flats 40-100 — 179 lbs RS77LD flats 45-105 — 215 lbs The tone of the heavier flats is very tempting, but that 215 lbs.... eeekhhhh.

I've noticed there are (a) bass players generally admired (b) bass players I admire (c) the bass players who played on the music I like listening to ....and there's not much overlap between those groups. The one player who does make it to the middle of the Venn diagram is the OP's choice, Bernard Edwards. The tone and the articulation of every note, just glorious.

When I first started playing it, I was getting this weird ache in my right hand. Eventually I worked out that because everything was so easy-breezy, my right hand was overworking, just trying to get some intensity into the sound. Once I uptuned, adding 20-25 lbs to the tension, the bass felt properly engaged, and my right hand could go back to its usual mode of just tickling the strings.

Yes, a G&L SB-1. Not quite a P bass — the pickup is MFD not trad alnico, and also is placed a little bit nearer the bridge. Indian Rosewood fretboard quartersawn neck 1⅝" nut 9½" radius empress body (it weighs 7 lbs 2 oz) tort pickguard Pharaoh Gold Firemist Every knows the MFD for being incredibly hot and aggressive, but I was convinced warm and rich would also be available, if hard to find. It was, and it was. The neck is .... beyond my previous experience. I've been reminded of that Entwistle quote about liking the action beneath the frets. For some reason I don't understand, two different sets of fairly stiff 45-105 hexcore nickel-plated steel strings have felt a bit underwhelming on it - it feels like the bass is demanding higher tension. I've been playing it the last couple of days with the Roto Bass 45-105 uptuned to F Standard, just to give it something to chew on. Because the action is so low, my left hand is finding the addition tension no bother. Hopefully I'll find the same once the 49-109 La Bella flats are fitted next week 😬

Guess I'm out, with knobs on

I was expected something more like "....only inconsequential fools...."

Imagine patiently awaiting a seemingly problem free replacement, only to find that you preferred the original, just for how it felt in your hands. If I had your skills, I would do the work myself, accept a nice little discount from the shop and get on with playing the bass. Assuming that I was really enjoying the feel of it, that is.

I'm sure that no less important a opinion could be found than mine, but I don't like Cliff Burton's bass tone, precisely because I don't like the sound of loose strings jangling away. I've a weird situation where literally the same 4 strings not just sound great on one bass and a bit underwhelming on another, but feel it, too. What's going on there, I've no idea. I can see there are plenty of variables, but have no idea which are the ones making the difference.

Wayne Hussey before Andrew Eldritch told him what his favourite colour was going to be

The one 3-band EQ I ever had, the bass and the mids were like a see-saw: whichever was up, the other had to go down. With both up, it was just a mush.

The vintage means the picking of the grapes. Champagne blend different vintages because they've such a marginal climate - most the time, its better to blend from different years and different vineyards. Almost nowhere else practices this, except for the most miserable plonk. If you want to talk about wine which needs significant time to improve, the term is vin de gard (?sp) It gains additional mojo if the winemaker urinates in it every five years, and scrapes the label.

Where can I buy John Taylor's Duran Duran sweatshirt, pls?

Trombone AND bagpipes, truly the sign of a placatory soul.

I misunderstood the thread title and thought it was going to be about giving your basses names. All mine do, mostly because, eg, "Hal" is a lot easier to say / type than TRBX604FM. Re. "antiques" – I was brought up to think the cut off point was the Reform Act of 1832

I'd rather play the bagpipes

BTW, the photos for each bass guitar shown on the Peach website includes a shot of it being weighed eg

I wonder if the extra effort needed for the finishing explains why G&L charge about $100 more for Empress. The G&L SB-1 that got stolen by Parcelfarce before it could reach me was 7.0 lbs.