Chris2112

I dislike clickbait as much as anyone else but I appreciate that some good creators like Adam, Rick Beato etc do need to 'play the game' with clickbait titles. Idiots like you posting bogus copyright claims aren't doing anyone any favours.

I recall when Markbass first arrived and made a bit of a splash, I thought they had been quite astute in choosing a distinctive colour scheme. Love it or hate it, Markbass have a visual presence in their brand. They're easily the strongest visual brand in the bass amp world since Trace Elliot. They have continued to build on that strong start and now boast the most impressive artist roster of any amp manufacturer. Marco is as smart in business as he is at making great sounding amps. One product I am quite eager to try is the new Stuart Hamm amp setup. It seems wild to me that Stuart's cab would be two 15" drivers and a tweeter, but Markbass 15's sound very tight and responsive, nothing like the flobby old flub-factory 15's of years gone by. On the other hand, I really haven't been that fond of Stuart's tone since he started using Warwick basses. I really miss the sound of his Urge II models.

A lot of British players seem to have come to fretless through the likes of Brand X and Japan and as such, have a very different take playing a fretless compared to our American counterparts, where Jaco laid the foundation. An interesting difference but I always found Percy Jones's tone in particular to be rather unsatisfying as he always seems to pluck so close to the neck.

The woman from Prefab Sprout (I never knew her name) lived in my in-law's street in Wylam, Northumberland. I live round the corner. Heather Mills' sister used to live on the same street and she visited with Paul McCartney on occasion years ago.

Are they still going? I remember them having a hit when I was in university (over a decade ago).

Well, dont I feel like a fool now. I had a closer look at the nut as I wanted to photograph what I thought was this 'glue' on the nut only to find out on closer inspection that it was actually the original nut with a slight discolouration from years of use because it's made of bone. A new set of strings this evening (Spector nickels) has knocked my socks off. This has always been a favourite fretless of mine but I don't think it has ever sounded better than it does this evening. Played through my PJB Bighead it sounds unbelievably even and massive. I usually prefer a thinner, more honky 'Jaco' type fretless tone and I only ever use the bridge pickup but the Pedulla just sounds 'huge'. Impossible fundamental and a very 'flat' tonal response. I think it's the NT construction and the solid maple wings that do that. I'm in a peculiar situation at the moment where every bass I pick up feels like my favourite and I really hope it lasts. Anyway, I'll cancel my search for now and make a mental note that Overwater are probably my best bet for future work.

That is tremendous. I must say that whenever I get my Pentabuzz out, the first thing I tend to play along with is a Joni Mitchell record. Her music tends to work really well with a fretless.

Strings that never dull. On another note, American made Peavey models. They were never 'fancy' but to those in the know they were indispensable. It was (at one time) a very well defined and high quality range of instruments. There was the TL6 doing a decent take on the Yamaha TRB formula. The Palaedium was an absolutely exceptional passive bass for jazz and fusion. The B-Quad took the high tech materials made popular by Alembic and Modulus and repackaged them in a hyper-modern instrument and the Cirrus was a consummate boutique instrument in the shadow of Ken Smith. For a long time, if you didn't play a Smith in Gospel you probably played a Cirrus. Truly, a great range of instruments. All that, whizzed up the wall by a company that seemed unable to appreciate it's own value.

I hadn't wanted to raise the spectre of Howard in this thread - nothing personal but I am aware of some of the issues others have had with his work over recent years. I had discounted his services for that reason which is why I was thinking of going slightly further afield.

This thread certainly makes for disappointing reading. It is a shame to see so many BC'ers giving advice to suggest that the OP renege on the bid or simply make a fraudulent claim to force a refund. Buyer's remorse is unpleasant, but it is surely better than being a waster who backs out of a deal of their own making. I wonder, if the OP really didn't want the bass, why he felt compelled to place a bid? It is not really a huge amount of money by any standard.

Morning all, I had wanted to inquire with the knowledgeable sorts around here about who I shold entrust to fit a new nut to my 1994 Pedulla Pentabuzz. I have had it for nearly two years now and still enjoy regularly playing it. However, the nut is not original and I find it is perhaps a little shallow on the G string. The bass went to the Jaydee workshop before I bought it for inspection and setup and it has always played nicely, but I would prefer a better nut in there (there is some glue visible on the edge of the neck where the new nut was set in, I'm picky, I know!). Since the nut does not appear to the be original, I am not precious about changing it for something that is cleaner looking. Ideally I would have sent the bass to the Sei workshop at The Gallery in Camden but that is just not practical as I don't really want to post it, if I can avoid it. I live in Northumberland, not all that far from Hexham and Newcastle Upon Tyne. The closest respectable workshops to me are probably Overwater in Carlisle and then ACG in Moffat. Does anyone have any other great ideas on this? I typically prefer brass nuts but I'm not yet sure what I'd spec on the Pedulla - maybe black graphite on this particular bass. I'm no wizard on setup and the bass plays very cleanly with a really low action which suits me just fine but I could just fancy a little more depth on the nut at the G string. The slot that has been cut there is barely more than a scratch on the surface of the nut! I look forward to your replies and advice. https://www.basschat.co.uk/applications/core/interface/imageproxy/imageproxy.php?img=https://i.imgur.com/QoBUzcN.jpg&key=10a83fdec6ba1b4a317b882a8e792f27c5bb5f0b7b891a81983127cf0cd7afb9 https://www.talkbass.com/attachments/ydgcxjy-jpg.3179970/

I am very much looking forward to trying this bass.

There was similar here a few months ago with a gorgeous Shuker's trussrod breaking free and punching a hole in the neck. Does anyone know if that was ever put right?

Paul Simon's bassists must curse him for this (and also for that time around 2010 or whenever it was when he said that he was bored of bass and didn't think he'd bother with bass guitars on future albums). It's a difficult enough solo break when the whole band stops and everyone looks at the bassist, expecting the solo to finish cleanly with the band coming back in on the beat, but the 'inspiration' of reversing the first phrase to end the solo on the record created this problem. I mean, watch the video below. I think it's Armand Sabal Lecco on the bass and he blows the solo. It goes wrong very quickly and he tries to style it out to no avail. I suppose he was glad it was a short solo spot.

Jesus wept, that was dire.

The broadneck option was pretty wild. Not just for the 20mm string spacing - not such a big deal - but on the thicker necks the width combined with the huge depth of the neck made for a titantic piece of wood. I assume the early 90's BN models weren't quite like this due to the necks being slimmer front to back and with smaller shoulders back then.

Dear me. I thought the classic car bubble had brought some right tat to the surface but this takes the cake. That said, in amongst the usual great selection of basses at The Gallery they have loads of naff old Fenders at wild prices too.

I love Thumbs. I generally find they have a better tone than a Stingray and also balance well so long as you wear them high. They are heavy though.

I saw this a while back and it blew me away!

Was that blue Jazz a Warmoth build part of a pair formerly belonging to a BassyBill of these parts?

This sort of cringe-inducing business speak is everywhere now but this advert is a particularly egregious example of this waffle. The whole thing bumbled on for so long with this tortured nonsense whilst having very little to say about the role really entailed, which leaves me to think at this point, that may still be ill-defined. I note the advert states in a roundabout way that no employee can argue that a task is outside of their remit, so they're probably still drawing up a list of boring business tasks to blast over to the successful applicant. SBL has indeed enjoyed a meteoric rise in popularity the past few years, so it is probably more and more in need of business staff. Whether or not they can attract the best with an advert that bad remains to be seen.

I've got a couple of packs of these at home and I am really looking forward to getting them finished and away! I presume you've tried them before to know if you like them? I really hate the rough feel of them (and I say this as someone who exclusively plays rounds and has no time for flats or other rubbish, elastic band type strings). I've got a set on my Bogart Blackstone at the moment and I can barely be enthused to change them out for the next set of Warwick Red Labels. They seem to go dead so quickly too, which is unusual for me as I don't really get sweaty hands and so my strings tend to do alright. There is certainly a place in the market for cheap, effective bass strings but these aren't it for me. I remember trying some 'Elites' out a few years ago that were about half the price of everything else on the shelf (weren't they a Bass Centre own brand at one point?). I'll stick to Spector and DR in future, I think...

It all started for me when I was 13 (I had just turned 13 in October). It was Christmas 2001 and my dad had been at work during the day, so he didn't come home until after six in the evening. By then, I thought I had all my presents. I had received a 'Hot Licks' VHS instruction tape earlier in the day with Stuart Hamm on it, as I had been talking about wanting to learn to play bass for a while. Later that evening, when my dad got home, I was summoned through to the dining room where I found my dad waiting with a Hartke B-15 amp and bass starter pack. I didn't really know what to do with it, but it was my first step to getting started and it was really the beginning of my second great love. With my dad's encouragement, and later some of my own pocket money and some cash from my grandmother, I bought my first serious instrument, an Ibanez BTB405QM, when I was 14. That was the instrument that took me from barely being able to get a few notes out to being able to play to a reasonable standard. That saw me through two good years of playing and the next bass I moved to was a 1989 Kubicki Ex Factor that I got when I was 16 for £650 through this very forum. I really should thank my dad more for the gift he gave me. My two greatest passions, computer gaming and listening to and making music, all came through him and his influence.