Beedster

And this is simply sublime songwriting and performance.......

Haha, he's a magpie at times, it's really hard even with some of his more obvious songs to know what's performed and what's sampled, but as you say, the songs are often wonderful, and the creativity in the interplay or performance and sampling is at times breathtaking

I'm bloody fortunate to play in a band that rehearses an album for 3-months, gigs it once, and then moves on to the next. It's great fun, it's challenging, and for someone who's really easily bored, it's a great way to be constantly engaged with a band. So, we're doing Odelay by Beck at the moment, gig in June. It's an interesting departure for me coming from a mostly rock/funk/blues background to be playing such an eclectic and informal album. Odelay's often cited as his best album but I felt that musically it wasn't quite where I'd always placed Beck - although I realised that as an artist he'd pretty much passed me by for 30 or so years - so having a day to myself set out to do some wider listening. f*** me! I'm honestly quite blown away by the sheer creativity, diversity, and musicality of his work. As a bass player (I use the term loosely), I'm drawn not only to some extremely well crafted bass lines but also to some wonderful bass tone, the below being a great example... ...but over and above the well known tracks (Devil's Haircut, Where It's At etc), there's also a whole load of crazy in there, although also including great bass playing and tone (alongside some lovely impersonation/plagiarism, Prince and Kravitz get on down), the fretless and and upright in this is sublime.... I'm gonna be spending quite a lot of time working on some of his basslines, once I've mastered the Odelay tracks

Ha ha you and me both mate, their poor tech has saved me a fortune, which in a roundabout way of course has also saved you a fortune 😁

The 100 was designed with orchestral players in mind, the 200 and 300 more with gigging/travelling jazzers and pit players front and centre. The 100 always required a bridge or mag PUP to work live as the piezo/pre were optimised for headphone use and sounded awful amplified, the latter models overcame this 👍

Ooh, that's given me an idea.........

For silent practice on an instrument that feels close to an upright to play the Yamaha SLB-100 is hard to beat

Yep, and it feels real good to be there mate! Put a Badass on last night to establish whether it's a responder or not, looks a bit odd but hey.......

Indeed 👍

Yep

Well f*** me, that was interesting. That is one HOT pickup, very high output and very grunty indeed, something I'd not really noticed playing it at home but which soon became pretty clear through my Mesa rig at volume last night. It's pretty close to the strings so I'm going to start there but may look to put something a little milder in there.......

Completely agree Joe, I have this rather weak part of my brain that believes that a bass built while the Beatles were still together has some magic, but every time I own one it goes, and my old bitsas stay, simply because theyr are better instruments in nearly every respect. OK, they don't have the mojo (although they do if people think they do of course), but they make me feel much better when I play them, and that feeling's a big part of why I play 👍

There's a load of UK sites offering custom bass bodies, I've seen Paulownia offered on a couple (can't recall which), but I think given you want quite a niche model you'd be best off dropping each of them a message

In response to a couple of PMs I'll post pics of each of these (and the two that don't fit in the box) in a day or so 👍

As a buyer I won't use Reverb any more, their complaint handling was chaotic and ineffective. Given how seamless other selling sites are, and how well most protect the buyer ahead of the seller, the idea that half way through a complaint raised on their website they required me to start again via email because they had no way of my sending them a sound file of the problem - it's a site specialising in musical instruments FFS - and then requiring me to start the whole process again was reminiscent of the 1990s 😡 On the above basis probably a good place to sell however ..... 🤔

My therapist is yet to resolve it 🤔

Deceptive, it's a classically chunky baseball bat of a neck with 41mm nut 👍

There's been a whole lot of experimentation with Fender-alike bitsas recently, the Bitsa Box is now oversubscribed - two having to slum it in another box at present - and due a clearout. Keep your eyes open on the FS thread folks 👍

Pictures say all that needs to be said, it's taken me a while to get here, but I suspect that of all the fretless Precisions I've owned (P, PJ, PP, PM) and all of the board materials I've used with them - rosewood, ebony, maple, graphite - this is by a long way the sweetest. Classic Vibe body, PUP, and circuit (the PUP as I'd been told would be the case, is very very good indeed), paired with a stunning Warmoth neck. First rehearsal tonight

The drum sound is the excuse not the reason, even bassists will recognise that when they’re pissed of with their guitarist every note sounds out of tune and too loud 🤔

You move in illustrious circles Steve 👍

Yep, I think when a rock singer stops a song live on stage to moan about the drummer being too load it's long past the time to hang up the mic and find a decent sitcom that'll have to (sounds like he'd make a decent Victor Meldrew?). And re Daltrey not being the main writer, when you listen to Townshend's demos for the early 70's stuff - specifically Quadrophenia and Who's Next - you can't escape the sense that in many of those great songs Townshend's vocals are at least the equal of Daltrey's also....