therealting

I managed to snag a B stock on eBay for £200.

It’s possible they were a custom order for Ibanez from D’Addario, and aren’t being stocked by many places yet.

I have the gold on my Warwick Alien acoustic 6, and the coppers on my Sadowsky NYC P/J. More similar than different really, like subtle shades of the same colour.

I have the Thomastik Infeld Jazz Flats that came on my medium scale MIJ Squier Precision that I bought from @Rumple. They sound plummy, not bright at all but beautifully smooth and warm. The La Bella white nylon range is really quite superb, ranging from the warm copper, to the regular white, to the brighter gold.

The ones I like are big and have a black circle around them, so they are nice and visible even in sunlight.

One of the great Basschatters, truly a man with a community spirit! Would not hesitate to deal with again.

There’s only so many times I can use that excuse! ... wait, am I supposed to sell them?

There’s only so many times I can use that excuse

Sounds like a guy who’s going to go on to great things and struggle to find space in his diary...

Those aren’t just high mass Badass, that’s a one Tunbridge.

What’s the neck like? I normally find Soundgear necks too skinny, so hoping this has a little more meat to it.

@fretmeister Great. I didn’t need to know this!!

You Kent predict these things.

Bridge received from Ed, in perfect condition and posted quickly. Thank you!

@Marcray You’re right in that case - unless you know exactly what you want and are confident that is not going to change, then getting a custom build is a long wait for an inevitable painful loss. Ideally for £3k, you want a a superb masterbuilt £7k that someone else has taken the depreciation hit on.

Wasn’t even the worst crime - look at this fret job... and it had been refinished... in poly... with the wrong logo 😂

My pedalboard has a Noble Preamp DI on it, which will go nicely to PA if required. In the days when I used a head/cab setup, I would have a Trace Elliott Elf in a pocket somewhere. My 64 Precision is my most valuable bass, and the holy grail for lots of musicians, but it let me down in the middle of a live filming, and I was very glad to have my 60 Precision there as a backup which kept my embarrassment to a minimum. I always bring a second guitar on gigs if I can only bring one, I bring spare strings. I always have at least one spare of every kind of cable I use I do have a second car and it has saved me when my main one (at the time a BMW 330Ci convertible) was unable to start. I also have breakdown cover that will take me wherever in the UK I want to go, so I can get to a gig and figure it out from there if need be. None of this matters too much if you aren’t earning from the gig or your reputation in the biz doesn’t matter. But at a certain level, people want to know they can rely on you to deliver, and that includes having gear that works. I know more than one gifted muso who has had had cheap gear fail on them more than once, and word gets around. It’s harsh, because being a jobbing muso isn’t the best paid profession, and many working musicians can’t afford the world’s best gear... but by the same token, working musicians can’t afford to hire musicians whose gear breaks on gigs.

The previous owner of my 64 Precision put a QUARTER POUNDER in it 😂 Now has a Nordstrand NP4V, all is well.

It’s a common issue with darker boards. I resolved it by getting large LumInlay dots put in.

I’ve thought about modifying a cheap bass by adding a powerful stealth neck pickup below the pickguard!

What about a Yamaha Attitude, if you prefer that neck sound?

No less an authority than Leland Sklar has said that he treats his five strings as four strings with a few extra low notes, so it is a perfectly acceptable way to think your way around the instrument. I started on 6, but regularly switch things up between 4, 5 and 6 string now. I find 5 the easiest generally.