Munurmunuh

I really wanted to like flats, but that slightly woody / husky quality just got on my nerves.

I was delighted when I noticed that Rio and Pornography were released within a week of each other

I thought it was more honest of me to show it with John Taylor, because it was thanks to BE leaving it to JT in his will that I first heard and learnt about BE. Though obviously when I was a child I was enjoying Sister Sledge at the same time I was enjoying Duran Duran

I'm not saying that my TRBX604 was not also a phenomenal instrument for the price, really beautifully made, but since it wasn't the right instrument for me, I definitely did go wrong with it. Fortunately the answer was another Yamaha, a BB When I was a guitarist a long long time ago, I was only interested in humbuckers; unfortunately it has taken me a while to clock that bass humbuckers come in a variety of styles. I felt I was constantly battling my TRBX to try to get a sound that felt like my own, one that had both depth and focus. I only really understood when I got a BB as well. Once my hands had got used to the BB's much chunkier neck, it was all over for the TRBX. When I bought the 604, I was definitely going to be buying either a TRBX or an Ibanez SR, because at the time I wanted the thinnest, most shallow neck I could find, but I should have gone for the 304, as their pickups make a sound closer to what I want, for £250 less. Which is why I wrote that ^^^^ to someone who thinks the 305 will be the right bass for them: although the 505 and 605 warrant their higher prices, their sounds might be further away from what they want. Meanwhile I do honestly hope that out there are plentiful people who find the beautiful and versatile 604 with its unbelievably easy neck the perfect bass for them... because then mine will get bought from the shop it's on sale in...

"Introduced"?! Mudhoney had already made such an impression, a copy of Superfuzz Bigmuff is casually lying around in the background on the cover of Transvision Vamp's Velveteen

200, 300 x4, 350f x2, 414, 415, 424 x3, 425, 450, 614, 714, 1024, 1100 x2, —— GAP —— 1300, 1600, g4s11

I would trade my BB's tasteful tobacco sunburst for some kind of red metallic in a shot. The dark redburst of my TRBX was much nicer to look at.

A note which sustains longer will be decaying slower, and that difference will kick in as soon as the attack is over. Comparing fast scales played on a modern piano and an eighteenth century fortepiano, the difference is enormous. Between two otherwise identical basses with slightly different bridges though....

As a TRBX owner, I would say yes the neck finish is very nice. As someone who felt frustrated by the pickups on their TRBX604, I would say, be sure not to let anyone talk you into "upgrading" to the 505 or 605, especially given the styles you play. (You've probably worked that out for yourself)

From a recent interview with McCartney's people about recording his most recent album: Keith: 90% of it was the number one Hofner 500/1. Paul’s got other Hofners, and he’s got other basses. He’s got his Rickenbacker - the Ricky from the 1970s and a Wal five-string and a couple of other things that we’ll occasionally drag out if he wants to try something different. But 9 times out of 10, he’ll pick up the Hofner. When he plays the Hofner you can tell it’s just part of him. It’s so organic and such a natural feel and sound for him, and it always sounds phenomenal. For years I’ve been trying to find a really good spare. I think we’ve got about 12 other Hofners, some of them I’ve acquired to try and be the number two spare, and it’s only just happened in the last year or so where Nick from Hofner came over and we went through every little bit of Paul’s. He ended up building a number two from ’61 and ’62 parts. But this one, the number one, he just picks it up and plays it and it sounds great. It’s one of the most unique sounding - not just basses, but Hofners. Steve: It doesn’t sound like any other Hofner. Sometimes they can be quite hard to record, Hofners. They can be really subby without a lot of tone to them, it’s all woof. But there’s something unique about Paul’s one, maybe it’s just the amount of music that’s gone through it from his fingers! It’s like a good old acoustic guitar, there’s something about how the wood absorbs all of those frequencies. Keith: I think I’ve noticed with the Rickenbaker - it doesn’t change his playing style - but maybe because he’s experiencing a very different sound from the Ricky than from the Hofner he’ll maybe use some slightly different techniques. But it’s almost irrelevant because his number one, go-to is the Hofner.

First time I watched a clip of him playing his BB, I was knocked out by the tone. Second time I watched the same clip, I noticed that he didn't seem to be enjoying how far away frets 1 to 5 were.

You might like Yamaha's three colour sunbursts, they seem to be modelled on 70s Fenders:

This is the fault of the music staff who prepared her the first time around - if the accompanist just followed the rhythms she was making instinctively, then those rhythms become ingrained. And then further down the line, everyone else has to do the same, except they're a band, not a single pianist, unless someone is prepared to put the time and effort into reprogramming the singer.

This is the subforum you need to post your advert in - there's a FAQ post to read there, too https://www.basschat.co.uk/forum/19-basses-for-sale/

The published specs for the 424 1024 and 2024 necks are identical. Whether they actually feel the same in the hand is another matter, I suppose, what with the endless variety of possible curved lines going from A to B via C. My hand absolutely loves the 424 neck, so it's useful for hear that the orange metallic delight would be less suitable for me – pushes temptation away

Is the 414 neck profile less deep than the 424, more like the 434? Have to agree that the published weights for 2024's are helpfully off-putting (as are the targetburst finishes)

Six identical posts ramming the message down our throats over and over seemed appropriate to the subject....

Presumably this is an example of that?

From TB:

BBP34: might break your neck, might not BB2024: <snap>

When I read 414 and Orange in the URL I had a horrible worry it was yours. Never been glad to read 'Stowmarket' before.

From EBMM blurb for the Cliff Williams reproduction Stingray: The original bass has a treble knob marking on the control plate to indicate his preferred tonal location, which we recreated through exact resistance measurements of the potentiometer. So, same for Cliff

To be clear, I've never so much as laid my eyes on either a 1024 or a 2024, but I have enough performance experience to know that differences in feel are worth noticing even when there's no difference in sonic result. I've performed unamplified in many different venues. Sometimes the space's acoustics make it a breeze to perform there and sometimes the acoustics make the whole thing a struggle: sometimes there's no bloom to the sound; sometimes, to overcome a soupy acoustic, your articulation needs to be more crisp. From the audience's point of view, the resulting sound is no different, but the pleasure of performing in the different venues varies enormously, as compensating takes effort and sucks up your attention. So when I imagine a very talented bassist faced with a 424 and a 1024 and a 2024, I'm sure they'll make all three of them sound wonderful, their personal tone transcending each instrument's limitations, but I would also expect them to prefer the one that requires less effort from them, the one where the instrument almost feels like its playing itself. Just because the Indonesian Yamaha factory is good – and I wish my Squier P had been made there – does not mean that there won't be perceptible differences in the MIJ version, even if it's hard to put them into words.