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I suspect I overthink things sometimes...

Emergency capo tonight.

This... That's the reason, earlier this year, that I told the two members of a band I'd been part of for several years to get funked. Time is precious, don't waste it with lazy idiots. Put the effort in, learn your parts and be professional.

I am so glad that I am not the only madman on here turning guitars in to basses.. 🤩 great work!

Its also allows a faster change-over. Dave

Update: five months and a handful of gigs later, and crikey the finish on these things doesn’t take much punishment. It’s an astounding guitar - easy to play, rich and sonorous (perhaps thanks to its thin finish?) but the poor thing already looks like it’s been in the wars. Anyone else with one of these had similar experiences? I don’t mind at all - just a bit surprised as none of my other guitars (including a well-gigged Crafter I’ve been playing for 20 years) have a mark on them.

Are you available to hire? Ross Kemp unavailable on Fridays…😉

I find this incredibly frustrating; it's simple good etiquette to allow the previous band to vacate the stage before bringing any gear onstage.

Very nice indeed, congrats that looks a beauty, I’m normally into 68-72 Precisions but I’ve been looking at a few 66’s lately

Nice. Congratulations. It certainly looks really nice and in good shape. Must be a proud feeling, being 2nd owner on an almost 60year old bass.

While I imagined it would be how to *"Make 'em pay" for not learning the material beforehand. *In Cockney gangster voice, fist raised menacingly.

I'm lucky the bands I play in have the same process. 1. Agree on songs that are vocally and playing ability workable 2. Practice at home and nail your part 3. learn the form of each song ( agree which version and key) 4. Rehearse and see if it works if there's an element of doubt bin it

I think you mentioned this transcription when we spoke briefly on AJ at the September Ipswich blues jam.

Lovely looking bass

I'm surprised no one's mentioned getting the key right for a cover before you even start rehearsing it. If the original key doesn't suit the singer and needs to be changed then that's the very first thing to sort out, before anyone's wasted time learning it in what turns out to be the wrong key for his or her voice range. Audacity or a similar program is your friend so you can send a song file round to band members in the amended key to learn correctly. 👍

Here’s a “guts shot” of mine. I’ve identified the issue as being a problem with the mounting of the volume control which is on a separate PCB to the main PCB. Looks like it might just need resoldering but that’s above my plumber grade soldering skills, so it’ll be off to a local electronics guru.

Down To London - Joe Jackson

Works now?

I think it is important to all be on the same page and be realistic and honest about what can be done as a team. All very well having an ambitious retiree band leader pushing and saying 'everyone learn these 5 songs before rehearsal next week' and then moaning when some haven't perfected it - but not all instruments are the same, not everyone learns at the same speed, some people have more pressing commitments. Perhaps the speed of learning for the band as a whole is one song a week. Also, as mentioned by others - need a definitive version to all learn, rehearsal recordings, all paying for the rehearsal room, and motivation of a forthcoming gig.

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Some things in life you know are bound to happen somewhere along the road, you just don't know where, or when. Today was that day for me. By sheer luck everything aligned: the instrument itself, locally for sale, within budget, generous tax return which sweetened the already more than fair deal, and a feeling of "If I don't do this, I'm going to regret it massively later". So, since today I became the proud 2nd owner guardian of a September 1966 P-bass. Fully original, including the case, except the missing bridge cover, and some filled holes where someone installed other tuners, but the ginormous Klusons 546's cover those up very nicely. In a very, very good condition (buckle-rash the size of a coin), frets at de-facto factory condition, slightly faded red, but still plenty present,... And that patina, that's something you can't fake (nor the smell). Rather lightweight, very resonant, a bit neckheavy due to those tuners and the very light body, it has that extremely pleasant 60's C-shape (wide, but thin). It has the newest additions that were introduced in 1966: Indian Rosewood fretboard, a 45° bevelled pickguard and the wide frets. Made by the same people that made the early 60's ones, using the same methods, and virtually identical materials... just under a different contract. It has seen some action, but it was also very well babied and cared for. And given it's a '66, it's an absolute growler. There's something about '66/'67 basses that gives them more raunchy punch compared to 1965 or 1968 onwards. And if it's good enough for James Jamerson, it's good enough for me! Going to install an old set of LaBella's tomorrow, see if I can reduce the action a bit. Also: going to thin out the heard a bit. Given I've now got "the original", the "American Original '60s" may leave the premises, my Jazz Bass as well, my 500/1 that hardly saw any use, maybe the EB3, although: that's so quirky I might just keep it. But with this, I kind of arrived at the end of the line.

I must admit, I have found that any amp works for a DB as long as there is an FDeck HPF between the bass and the amp. It smooths things out and you can nuke the boominess. A Vong doobrie https://schalltechnik04.de/en/instructions/vong-filterung- would also do a cracking job.

The RMI is awesome! Used to own one! Loved it..