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The book? Of course. Send me your address.

Awesome, cheers!

Working On A Chain Gang - Sam Cooke

Be aware that most distortion / fuzz type pedals, and chorus, and random others, return a signal that is 180 degrees, or some other random amount, off from the original signal. This has no effect on a series fx loop but when you are blending an effected signal with clean you can get an unpleasant mishmash.

I recall a similar major/minor line issue at a Stone Roses tribute many years ago. The bassist in question constantly played one passing note of the chorus of She Bangs The Drums one fret from where it should have been. Most people didn't notice but, to me, it came across as half-arsed. If you're charging money, and it's as hard to get it wrong as it is to get it right, it's just laziness not to get it right, regardless of whether anyone but you notices or not.

Thank you guys.

I personally think a fender gets through the mix better for me. The sadowsky has amazing tone but it disappears a bit in the mix, when the fender just sits in a beautiful space. I should say that my fender is actually a Moollon and it has a very warm and rich tone to it. I just played on a dance track with both and the Moollon won. Sat on top of the kick as was super clear to hear in the mix. Active basses sometimes have that compressed sound that can be amazing for slapping but can work against when playing finger style. Sadowsky moreso because the mids are more scooped. Not that they won’t work or anything, but it matter what you are looking for.

Any more updates or opinions on this pedal? I'm really keen to try it out to see what it can add to my signal chain, but at the same time it's a lot of cash to drop on a pedal with so few demos out there.

Finally replaced the original Sandberg strings... decided to keep the La Bella on the self for now, and strung it with D'addario black tapes - as it just looks amazing with the black hardware! Can't wait to actually listen to it tomorrow, what happens to the "modern P" tone with these weirdo strings

That's my point,no matter who played it an A is an A and it sounded good. Had no idea this cover version even existed before the start of this thread. Otis Redding fan here.

Just back to my hotel after a hot sweaty little gig in Manchester on the “Gimme A Tour”, er, tour. The band were great, I was average, the crowd were enthusiastic and the volume was a bit too much. But my bass (ACG RetroB) sounded ace through the Digbeth pre, Elf and Barefaced Two10. Shoes were brown suede Chelsea boots, I really should wear them more because they’re ace.

Of course it doesn't, it's Tim Lefebvre playing it. I'm sure that he wouldn't play anything that sounded 'wrong', or that the band wasn't happy with!

You’re ace mate - we’ll catch up soon x

Thank you! So simple that now I feel foolish. You don't know what you don't know.

Happy to help

That looks interesting. Still available? Thanks

Well, I bit the bullet and dipped my toe in the water of nitro spraying a body and headstock front. Previously I had only used oil finishes and wipe on polyurethane. I must admit it has been a very steep learning curve and introduced me to the world of grain fillers and sanding sealers. I used a Okoume JB body from China that was already semi-finished so was routed and sanded to an extent. I had not really heard of Okoume but I believe it is from the same family as Mahogany and is being used more often for guitar and bass builds. The neck is from China. I can honestly say the Chinese stuff is really top notch in respect of the quality and finish. The biggest issue, as I used rattle cans and sprayed in the back garden, was dealing with little pieces of crap been blown onto the finish when wet due to not having anywhere inside suitable to spray. I used Northwest Guitars paint and gloss lacquer as well as gloss lacquer from Nu-gane. I’m not sure I am in a rush to use nitro again as it is not as forgiving as finishing with Liberon Finishing Oil but certainly the clearcoat is a lot easier to rectify runs/burn through etc than using the poly. Blending in the headstock decal was nerve racking as well as the drilling holes for the pickguard, bridge, tuner screw and reaming out the tuner holes by a couple of mm as I was anxious about ruining the finish and having to go back several stages. I would also choose a 21 fret neck instead of 20 from now on as the fretboard overhang on a 21 neatens up the join where the pickguard meets the neck heel. Overall for a first spraying effort and only my third 4th build, I am really pleased with how the bass has turned out……is it factory perfect?…absolutely not but for the intended sale price it is a fantastic looking and playing bass. if you’re interested in buying, it should be on the BC basses for sale thread in the next week as I am just waiting for a replacement bridge pickup as the first one was faulty, Specs are: Okoume body Roasted maple 20 fret, black block inlay neck Guyker tuners Gotoh bridge Wilkinson M Series pickups Bloodstone Guitarworks wiring with CTS pots and Spragg capacitor running volume/volume/tone Schaller type strap buttons I have and continue to learn so much with each build and my next ambition is to get to a stage with my knowledge and tools where I can turn a body blank and top into a body myself, route it out to attach a pre-made neck. My ultimate goal is to be able to make the necks as well but baby steps as they say…..