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If you were happy to wait for a bit and wanted to avoid a dealer, you could advertise it in the instrument sales section of musicalchairs.info. Quite a lot of more valuable instruments seem to sell on there.

Yet another five-star transaction from Mick. He's a class act.

Just had the pleasure of dealing with @gary mac again, this time Gary sold me a great little accessories case. What can I say that hasn't already been said about Gary ; he's an absolutely top bloke, talented muso, a highly respected luthier and a longstanding and very well liked Basschatter... Suffice to say that you can deal with him with complete confidence, Folks! Thanks again Gary and all the best for now, Nik 👍😊

This is a very old debate that I always find a bit tedious. Some people are only concerned with pure functionality, and yes, the VTDI is perfectly adequate for that, because you can't hear the difference in a live situation anyway. Others (myself included) want that little bit extra, that look and feel. That's not rational, but it's fun. I, for example, find the VTDI very ugly, so I use other preamps. Both approaches are fine.

A ringing endorsement indeed! Fair old drive for me but could be worth it definitely! I did surface this one on my travels and it seems perfect to be honest! I'm only a stone's throw from Harlow indeed

Mine too... I'd have it back in a heartbeat but @Leonard Smalls ain't for parting with it...

The most awful "colour" ever and we are lucky as the clear varnish coat is yellowing over the years, otherwise it's even more horrendous. I got an original 1977 Antigua Precision Bass in a trade and couldn't simply get it out of its case without wanting to puke, so I traded it for the first bass that was the proposed to me: a 1969 500/1 Höfner, what a relief.

I bought a bass neck from Will. Smooth and quick transaction, with good comms and good packing. I'd be happy to deal with him again. Cheers Will

I’m going to try this as have a bit of a chorusy sound on my A string. In all the years I’ve been playing I never knew this.

I heard he stopped after laddering his glove?

Worth trying a new B string?

Bulls On Parade — Rage Against The Machine

I’m amazed Scott’s bass lessons hasn’t covered this.

Thanks for the kind offer. I’ll pass though as I’ve already spent ages comparing other stuff (which has been fun) and the Origin does the business. I think need to cool it a bit with pedal madness, get on with some playing and also crack on with FI4 update work.

I feel so sorry for his children. How terrible to lose a nan and both parents so early in life.

Interesting read for me as I'd come to a similar conclusion to - I bought a little Yamaha DXR8 a few years ago and have since found it very capable of carrying vocals/keys/acoustic guitar etc in a pub scenario at a quality we'd have been amazed by at the turn of the century. Apart from the easier weight and the smaller storage footprint, the (lack of) visual intrusion up on a pole is a very nice bonus. Couple of things that follow from what Phil has said - the quality and design integration of horn, crossover and compression driver matter a lot more than the woofer and you can see this in these mid-price little cabs. The Yamahas have a fairly decent Celestion compression driver and cross using DSP with FIR. The woofer is just ok. Cheap out on the top though and it would be much more objectionable. I think our low-end bias as bassists, and a DIY culture that has focused on bass response partly because that's easier to model, clouds our focus a little bit. 500-5k is where the money is IMO. In the age of DSP it's really hard to beat what can be done with modern active FIR crossovers and bespoke programmed multiband compression. I've built several good, flat and well-behaved speakers with passive crossovers using that excellent Bagby spreadsheet program combined with outdoor measurements, but it's a lot of work and the passive components are expensive especially if you have to tweak spec from a prototype. About the only way to make it cost-effective would be to do what LFSys appear to have done and turn it into a premium product. If those cabs had a PA form-factor and big brand behind them I expect they'd cost a lot more (and some components would be downgraded too!).

So, I've finally got space to do a bit of work on this cab to make it worthy of using. I pulled the speaker, cleaned all the black tarry gunk off the edges, cleaned it up, and I've fitted 3mm high density foam speaker gasket. I've glued and dowelled the speaker mounting holes ready to sand down and re-drill. Some of the speaker mounting holes were a bit stripped and the screws couldn't be tightened. All the corners have been removed, sanded and repainted. I'll give them another coat tomorrow before refitting. The whole cab has had a really good clean, and it's come up very nice. The biggest job today was fitting the castors. I went for fairly big ones, 75mm grey rubber, with the front two having brakes. These are mounted with M6 bolts through the cab into internal T Nuts. There's no way these are going to pull off, and it will make it so much easier to move around. Next jobs - re-drill speaker mounting screw holes, more acoustic wadding inside, re-do the speaker wiring. Pics!

Man Thiago is soo good. I’ve done a lesson with him a few years ago. He is so humble and his approach to music is super simple and really focused on music rather than techniques. His talent is incredible. Thank you for sharing.

After years on never giving up on the Roses getting back together, I'm so grateful he had this moment. The first time they took to the stage again, unified. A free gig they threw at Warrington Parr Hall. Gives me goosebumps every time.

Hi. I've been drawing on influences of the likes of Steve Harris and their impressive phallic bass moves. I'm working on my own moves and know the importance of practice but need some advice, and where better to ask than here. The move I'm concentrating on primarily is 'The Zip', executed in standing position. I place the butt of the bass body into the inner thigh extending the bass towards a would-be audience. At the end of each phrase I thrust hips forward, slipping the neck through my fretted hand to produce a glissando. That's all fine. I'm struggling to remember the correct technique for the switch back move. Mine's not looking so graceful, and I seem to end up with my feet to far apart? No doubt I've missed something silly but hopefully someone can remind me how it's done and I can get this popular move practiced to perfection.

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