LeftyJ

Duh, it's a chronic disease that we just need to live with. Basschat is our therapy, albeit with some unfortunate and expensive side-effects

Can confirm, I have a pair of these that I love. The dual headband (with adjustable spread between the two) makes it very comfortable to wear and it stays in place very well. Sounds great too, with a lot more oomph than I would have expected from the fairly compact shells. I also have AKG k240 Studio and k171 Studio headphones, of which I prefer the latter (closed back, on-ear) for their bigger lows. The k240 has a little better clarity but they're not far apart. Of these three, I've come to much prefer the HD-25.

The perfect strap is a matter of taste really. Some people like a rough material so their instrument doesn't slide around (especially when the instrument itself doesn't balance well and has a tendency to neckdive) and other people like a smoother strap. Some people prefer narrower straps, others like the better weight distribution of a wider strap. Some like a vintage looking leather or fabric strap, others a more modern look. It's a difficult gift if you're not sure what your boyfriend likes in a strap. The one in the pic looks like a basic (but quality) D'Addario or Dunlop one. As far as taste goes I think i would personally go with @jazzyvee's opinion. Leather is just a classic and hardwearing material and it ages nicely (when properly maintained). It also looks great with such a classic bass design IMO

I can think of only one bass gear purchase this year, it was a Harley Benton PB Shorty and since getting it I have played it only twice. It's a fun little bass but my Atelier Z Baby Z fulfills all my shortscale wants and needs - at a much higher quality level. Will likely be selling it (or giving it away to my also-lefty brother in law). My only other purchase that comes to mind is a g**t*r... A Cort Matt "Guitar" Murphy signature guitar from around 1999-2000. It's absolutely brilliant, it looks like a cross between a Les Paul and a PRS but it is most definitely closer to the Gibson. It's been modified with Seymour Duncan pickups (SH1 neck and SH4 bridge) but otherwise stock. It's a pleasure to play and the one-piece (most likely veneer) top looks great. At €350 used it offers incredible value.

The Movement - Tunnel Vision

That looks fantastic! I love that solid sea foam green top on a dark brown back and sides, looks great! Those P90's look unlike any other I've ever seen with that chrome window. Nice touch, kinda mimics the look of the classic Gretsch Dynasonic (DeArmond 2000) pickups.

I've seen many a cool custom decal that looks like a Fender one at first glance but isn't that I've liked. I'm sure there are a couple on this site too. The Faker Pretendin' Bass comes to mind. These guys sell decals for "guitar restorations", but also included some parody ones like Bender, Faker, F*cked, Fiender / Feind and Fondler.

As a lefty, I've always been put off by black and sunburst basses because for long it was all the lefties that any music store would stock - preferably only below €300 too. I've come to appreciate black now, but I'm still not a fan of sunburst - especially with a white or tortoise pickguard.

To me, any Jazz Bass with angled body edges instead of round looks wrong - and it's almost entirely featureless and naked. I just don't like the aesthetic, it's not nearly as elegant as the rounded edges of the original Fender design. The Aerodyne compensates this with the arched top and thinner body edges, which give it a sleek look. But still, it's not for me. It's also what's holding me back from trying out a Sire U5, even though I'm quite confident it would suit me in every other way. I like @Owen's analogy "cartoon of a Jazz Bass".

Close, the serial number starting with B86 dates it to February (B, 2nd letter of the alphabet = 2nd month of the year) 1986 The 29 in the model number is to indicate where it sits in the range - though at the time this model was built, there wasn't any difference really. The 2 indicates this is the 2nd series, with a more modern design than the older 800 and 900 series models. On the older series, the MC824 was passive with a rosewood fingerboard and the MC924 was active with an ebony fingerboard. On the MC2xxx series there was no longer an 800-series model. These were the final evolution (together with the 1986 Roadstar II basses) before the Soundgear series came out in 1987. You can already see many similarities in the body design . Initially the Soundgear range didn't really offer a successor to the Musician, as there weren't any neck-through models at first. In 1989 Ibanez introduced the short-lived SR924 though, with a clear nod in the model designation to the MC924. They were a cross between the Soundgear and the SB series (Sabre) in styling, with a body that was very thin at the edges, and they had unusually short body horns. They're rare to come by, and I think they're beautiful!

I liked them in my B2A with the preamp engaged. I didn't care for the passive tone, very dark and muffled IMO. It really came to life when switched to active, with more punch and clarity. I didn't get along with the ergonomics of the bodyless design and the awkward strap button positions (especially the front one, which was behind the 21st fret). I'm tall and have long arms, but it was still quite a stretch. I'm quite partial to my Status basses, the headless design and ergonomic body are perfect for me.

I've never seen one with that headpiece before! I only know them with these (which weren't as good as the individual clamps): Nice score, those are great basses. I had forgotten about those!

Came here to say this, I'm pretty sure this is the case with the RSD basses too Having said that, there's probably another issue at play here - possibly the preamp or the wiring, as @ead and @MOSCOWBASS pointed out.

Which is nuts, as you could buy an actual graphite-necked Status Energy for that kind of money.

That would be my suggestion too. That or a Washburn S-1000 and a bit of luck (as they seem to be going up).

Hey hungry, I'm dad

Looks like a great and effective way to get rid of your GAS. I bet it's a pain to lug to gigs though, and at 46dB you'd need at least a couple!

A short-scale Thumb would be incredible! I do wonder if they just fit a shorter neck to a regular body with the pickups in the same positions as the long scale version, or if they move the pickups proportional to the scale length?

Playing in a doom metal band involves little adrenaline. Our music is slow, the general mood of our music is dark and sombre, so I just awkwardly stare at my shoes for most of the time. That's not to say I don't enjoy it though! I love the style of music, and I'm quite comfortable with not having to stand out. There's some slow headbanging involved, and I always keep an eye on where my bandmates are and if there are holes on the stage I can fill, but otherwise not a lot is happening. During the first few gigs with these guys I was scared shitless to make mistakes, since I would either have to let the wrong note ring for a full bar (with probably only my bandmates noticing) or adjust to the correct note but having the adjustment stand out like a sore thumb during the long notes . That's faded now, and I can relax a lot more on stage and interact more.

Rickenbacker 3000 perhaps. 21 accessible frets. Guild Jetstar bass too maybe, 21 accessible frets as well.

I already have one of mine: 1983 Ibanez MC924, the serial number pinpoints it to December 1983. I was born in November (I'm turning 40 tomorrow) so it's very close! It's the one on the left in the pic below, I have since sold the 1981 MC924 on the right and kept my favourite: the 1983 has a thinner and narrower neck, more ergonomically sculpted body, lighter weight, and I favour the PJ pickup combo over the soapbars in the 1981. It also has more logical controls, with a pan pot instead of a 3-way switch.

Those upside-down pictures though And that headstock design. And that price!

Not custom, "just" the stock plexi pickguard that has become a trademark of Atelier Z, but I love it! I've really come to love this bass, and shortscale in general. It's been my go-to for noodling at home ever since I received it almost two years ago. The quality, fit and finish are top notch and I enjoy the narrower string spacing of 16.5 mm at the bridge. There's only one thing I would have liked differently about it, and that's the EQ being boost-only. A passive tone control or treble boost/cut would have been nice!

That's actually a step down, the T-bird has a 9-ply neck But in terms of ergonomics and luxury appeal you're absolutely right!

Gibson Thunderbird