Delberthot

I used the videos on the Elixir website to get a rough starting point and then took it from there. Personally I think that it's important to measure your relief using a capo, feeler gauges and a straight edge to get actual measurements as once you know what you like it's a lot easier to set up your next bass than using your eye and doing it roughly. Most of us are guilty of GAS and don't want to spend too long setting up each bass as they come through the proverbial revolving door of gear. This is something that I have only recently begun doing (this year) after 32 years of playing and setting things up roughly. I wish that I'd learned to do this years ago.

I choose basses by how shiny they are, I always have done. I regularly switch between my Precision and my Jazz. Both have 4 strings, both have d-tuners, both are passive, both have exactly the same gauge of Chromes and both are set up exactly the same in terms of neck relief, action etc but they both sound, feel and play completely different to each other. I play whatever I fancy at the time and have over the years switched between 4, 5 (low B & High C), 6, 8 & 12. fretted, fretless, acoustic and semi-acoustic. It depends on what you want to achieve and if you can do it with what you have. I don't need a low B so I don't have one

Another Jazz with chrome covers, this time a 2019 American Professional with daddario flats and d-tuner. Taken just now at tonight's venue in Aberdeen

Hello Jeff by Stanley Clarke is one that comes to mind. The intro is really good and then when it settles into the main verse or whatever it would be called in an instrumental song it becomes really disappointing, then picks up at the end. I also agree with Layla - great start, I even like most of the actual song but then it becomes painful to listen to, but then again :

This seems to be turning into another one of these "songs I don't like" threads

I've just returned to using flats again after a few years with rounds. At the moment I only have them on my Precision but have a set ready to go onto my Jazz as well. I use Chromes and always make my own custom set which are 45, 60, 80, 110 as I like a slightly heavier E so that I can drop it to D. After 5 or 6 gigs I have come to the conclusion that my Precision sounds garbage on it's own and not even close to how I would normally have it but in the mix it is absolutely perfect. The pops in We Are Family come alive with these strings and the tone is even all over the fretboard.

This is a pic I took on stage on Saturday night. 2019 Player series with chrome covers, tug bar, D'Addario Chromes and US Hipshot Ultralites with xtender on the E string.

Interesting that Fender have used the tuner mounted string retainer on the A string for the Ultra series but not the American Professional range despite having the same tuners. Wonder if it actually does anything or something else that they added to give it every bell and whistle to make it Ultra in every sense?

I've been using my QSC K12.2 and Radial Tonebone pedal for nearly a year now and still loving it. I have mine on a pa stand now and it sits behind our PA so doesn't look unsightly from the front. It means that I can adjust the volume to suit the gig and leave the preamp as is. I've also managed to get my guitarist in to this as well and he's gone from a big, heavy Blackstar combo to a Helix and Headrush

I always thought that the Starcaster range was the bottom of the bottom of the range, below the Affinity range for Littlewoods catalogue and Argos etc

I've got it - they're replacing the entire bass range with the Bass V - you'll never play a Fender the same way again because the top 5 frets are missing

At least you wouldn't have any trouble with neck dive 👍

Sting also plays almost exclusively with thumb and index finger. I think that the only time I've seen him play with two fingers is for When The World Is Running Down live

The serial number does indeed date it to December 2012 and made in the China factory although part of me thinks that it could have belonged to a roadie in the past going by the first part of the serial number

Looks like an Epiphone to me. I bought a Gibson TRC for my one as well. I think that if you were going to pass a copy off as the real thing then you'd be trying to find a Gibson copy rather than an Epiphone simply due to them being worth more

It's certainly something 😀

At that price I'd want it a bit lighter than 6kgs - surely that must include the weight of the case?

I think that there's definitely something in it. I wonder how much more work Steve Moore got by "being at the wrong gig"

And there's more - yes really

Reminds me of this guy

Most of the time when I've fitted ultralites I've had this issue. My solution was to cut a piece of paper to the same width as the bushing , tape one end to it and then wrap it around until it became sufficiently thick to fill the gap. The ultralites use a screw on fitting for the bushing but if you can get enough wraps around it, it should hold or maybe just touch of superglue to hold it in place if it doesn't. Just enough to hold it but that you could also take it back off easily enough if you needed to

Do they still have to call last orders at the (salad) bar?

I think that it would depend on what you are currently playing. It looks like a Hofner Club or Jack Casady in your avatar so in that case I would say definitely get something different. My current wedding/function band plays a lot of disco/funk and so far I've used a Rickenbacker, Yamaha BB1025, Stingray 5 string with the ceramic pickup, EBMM Sterling, Fender Player Precision, Gibson EB5, Musicman US SUB5, my Harley Benton Jazz and now my Fender AP Jazz so you can go for something a bit different if it suits your playing. I went for the AP Jazz over the Elite as I prefer passive Jazz basses and my Radial Tonebone is an incredible preamp & DI so didn't need the extra control of the active