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Depends if it's new wood (an offcut) or something recovered during some demo work (like a bit of joist from an old roof). If it's new, then it's most likely Red Grandis (Eucalyptus), which is a plantation-grown hardwood. It looks a little pale for Grandis, but then phone cameras can be finicky when it comes to colour. I've not seen it used in any production guitars, but it's nice wood – dense-grained but light. I use it for the cores of multi-laminate bodies like this guitar: If it's not new then it could be almost anything. Best guess would be – as others have suggested – some form of mahogany, probably sapele.

Yep, this. I was going to post that it's just the way things are done these days, but then I reflected on an 'audition' for a 'band' in 1983 I which while I wasn't asked to play bass, I was asked about my willingness to dress a certain way - and if I told you the dress code in question you probably wouldn't believe me - and was then required to sit while the rest of the 'band' - which it transpired was just one person, the singer/songwriter/guitarist - played through his repertoire in the hotel room (venue also not a good sign). It was a uniquely uncomfortable experience. BTW the guy had a recording contract and I'd been sent to the audition by a management company, so this was relatively high level in theory. But what was clear from the off was that the singer was desperately trying to emulate the style and appearance of a very famous singer at the time and despite being pretty talented guitarist and vocalist was nowhere hear, had a quite evident narcissistic streak, and had no idea how to relate to people, for example, he completely avoided eye contact in conversation but made way too much eye contact while performing. I went back to the management company and before I could indicate that it probably wasn't for me I was told that my having expressed some surprise at - and voicing what I felt was an amusing response to - the dress code, meant that I wasn't the bassist for this band either. And he went on to be incredibly unfamous as far as a I can tell

I'm just about to try the App out... I did actually post this up in the Beyerdynamic thread yesterday, but that thread is more about the DT770 pro headphones.

IIRC the MiJ Metrolines were made by ESP. I'd rather have a Japanese ESP bass than a German Warwick.

If you have Beyerdynamic headphones, get this. It makes them sound more like studio monitors. Makes my DT990s sound much flatter. https://europe.beyerdynamic.com/headphone-lab?cid=hp_hl_icamp

Well I'm real, you can trust me on this ... I know exactly which squares contain traffic lights. Meanwhile, my rig has spent the last 18 months in constant evolution and for tonight's gig will comprise TWO of these CK61s on an uber-lightweight 2-tier ally stand. Both signals go through a Zoom L6 micro-mixer which then feeds my wired in-ears and the FoH PA. The L6 attaches to the lower keyboard with velcro, and the 6-way gang attaches to the ally stand with velcro & cable ties. I sold the Korg Kross (despite the brass sounds being just brilliant) and the Hammond SK1 rarely gets a run-out ... which is a shame because it's a lovely piece of kit. My CK61s are set up to be absolutely identical; I can switch from keyboard to keyboard on the fly should I need to, knowing exactly what sounds I have where, and should one CK61 ever die during the gig then I have a replacement right in front of me. I use no Midi, no controllers, no triggered sounds. Everything I play is deliberately bog-standard sounds that come with the keyboards (with the usual tweaks, natch) generated live on stage. I'm immune from wi-fi interference, Windows updates, and re-booting DAWs. Both CK61s fit in a single case which is a 1-man carry from the car, and the IEMs mean that I don't need to bring backline or monitoring to gigs where @Silvia Bluejay is running the PA. I'm not claiming that these things have the quality or the functionality of a ModX or a Nord or whatever, but what they have (in spades) is practicality, simplicity, ease of use. I might not want to use a CK61 at the O2 London or Newcastle (offer me a gig there and you'll find out) but it's a perfect keyboard for pub'n'club gigs around the Home Counties.

But the Ad isn't aimed at the typical middle-aged, sartorially challenged Basschat member, so who are we to mock? If I was in my early 20s and looking to start a band from scratch I might be wording something very similar to weed out the old-farts and time-wasters.

My tutor always says that one of her own tutors (a Russian pianist) was saying that you had to play a (part of a) piece 200 times to start mastering it... He was totally right and she (my tutor) is too (I've learnt more in 2 months with her than over the past years). I'm still learning Ryūichi Sakamoto's Merry Christmas, Mr Lawrence (the official Opus piano score, so his last arrangement) and I can tell you it's the plain truth. Furthermore, this piece should be played at contests, because of its inherent composition quality (and complexity) with references to Debussy (his "master"), Bach or Beethoven as well as Japanese ethnic music (another graduating). He was an extraordinary composer and graduated for this from the Tokyo National University of Fine Arts and Music, but a lot of people seem to snob him, because of his electronic music background (also graduated for this). To those, I would say to analyse and play his first hit with the Yellow Magic Orchestra : Tong Poo.

To the OP. What do you want to use it for?

While I also hate soldering DIN plugs and sockets with a passion, IME commercially made MIDI leads are mostly terrible. The cheaper ones with their horrible moulded plugs, undersized pins and weedy cable are just about OK for permanent studio installations where the connections are made once and then never touched for several years, but on no account would I ever consider using them at a gig. Anything I would consider road worthy is eye-wateringly expensive compared with the cost of making my own, so whenever I need a MIDI cable out come the magnifying glass and soldering clamps.

Very nice, love this 👌

Yeah I guess that's probably a good analogy, although I would say its more like the Squire custom shop costing more than the Fender Custom Shop. I just don't really get what the market positioning of the Sadowsky Metroline is anymore. When they launched it originally, and it was run by one of his protégés in Japan I got it: they were the same as the NY ones, except you couldn't get custom options. That was it, that was how Roger positioned it on his website too ("If you don't want custom colours/woods/chambering, just a 'standard' Sadowsky, buy the metroline". They didn't even say Metronline on the headstock, they just didn't say NYC.). When he moved production to Germany with Warwick, there was a price creep, but they also made improvements (just-a-nut, invisible frets etc.). But now they it's very easy to buy one from Warwick that costs more than the NYC ones, just without the 'prestige' of saying either Warwick Masterbuilt or Sadowsky NYC.

Outside of rehearsals you'll be tasked with surveilling key infrastructure. "...subject to retainer" Well, if the gig comes with dental insurance I'm interested...

You're not wrong Snorks. Well, you are a wrong 'un, but not in this context

There is the NAMM 'Not Available until Mid May' thing, but I tend to think even more long-term when it comes to the expensive basses. If someone here wants to buy the Dingwall Sol in May 2026 then I'll happily take it off their hand in May 2027 for £1k cheaper once a 'NAMM 2027 must have' new paint-job is available.

Most of the big boys/girls have been mentioned already, but there's a couple that sometimes fly under the radar: Federico Malaman Vincen Garcia

Because it's funny , because it's friday and because the basschat community is always looking out for other bass players who might fall for some kind of scam .. This smells a tad off ... and sadly It won't be the first one in the industry nor the last , To me it sounds like this person needs a performing musician but doenst want an equal member of a group , totally fine ... but perhaps doesn't want to pay directly them for that time instead ... with equity in a company ....the corpo equivilant of exposure ;-). " Who knows what " crazy terms could be including in contracts as part of "Reclusiarch Records Ltd co" . .... " ... I for one am not interested in paying imperial Tithe ... a heretic like me .... they'd have get the "HEAVY" flamer out .. ( Warhammer joke)

Hi All, I am one of those electric bass players, who occasionally plays some rock'n'roll on upright bass. VERY occasionally, I need to slap a few bars. When doing this, (eg. with a single slap) I struggle keeping the E and A strings from sympathetically resonanting when slapping the D and G strings - particularly when amplified. I am playing the D and G strings cleanly, but can't mute with the right hand, as I'm raising it from the fingerboard between slaps. Any experienced "slappers" out there who can offer some tips? Cheers, Paul