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Oh, that makes sense. FTFY. There's no way a store that large writes such an epic saga for every product they sell

Yesterday, I had the first of what should now be regular singing lessons. It was only a short one due to temporary issues around a teaching venue. That will be resolved once the teacher has got a new house. I also went to my first rehearsal with a new choir. First impressions are favourable. I have about six months or so to go of not being able to play sax owing to the bone graft and tooth implant. In a random fit of wanting to do something different, I had a go at playing a brass instrument for the first time (I did clear it with the dentist first). I went to a local group that was having a 'have-a-go' session for newcomers. I opted to have a got at a euphonium and got some noises out of it, some might even have born resemblance to a note. The euphonium is the same pitch as both my cello and baritone sax - it starts on the Bb below bass clef and cello and sax both start on the C. An annoying aspect is that in band repertoire, the euphonium is regarded as a transposing instrument in Bb and is written for in treble clef. This is so that a player of another instrument can just play it if needed as the fingerings are then the same. Away from bands, it is treated as being chromatic, non-transposing, and the music is at concert pitch in bass clef. If you want to play both, you need to learn two sets of fingerings. Saxes have the same issue. They have always been fully chromatic as they were invented in the mid-C19th and did not develop from a more primitive instrument. Nevertheless they are treated as transposing to avoid having two sets of fingerings for Eb and Bb instruments.

Found my way here at long last! Been a bad bass "player" for around 40 years now: never put the time in really to get good, as I've been concentrating more on music production since the 1980's.... Still making music today and dabbling in bass ,too..! I've owned many basses over the years: Steinberger, Status, Cort, Hofner, Fender, Hohner and Rickenbacker, to name virtually all of them! 🙂 I can't help designing, modifying (improving!) things and building stuff: I've built a few instruments over the years, including 2 basses. The first was a real hybrid: imagine, if you will, a Ric 4003 body, in natural mahogany. Set into this a through-body solid laminated fibreglass neck with an ebony fingerboard. Oh..its fretless too.......and headless! It has a Lace pickup embedded in the body at the sweet spot....and it also has a Roland GK3B split pickup, for connection to my synths! The 2nd, which I completed last year, is a YF23 jet-fighter-shaped 3 string fretless, based on the neck from a Westone Spectrum LX. This has a custom 3 pole jazz pickup fitted: the body, as it stands, is a sheet of painted MDF...but the plan is to acquire a nice piece of hardwood and replicate the body using that to finish! So....Hi! 🙂

I did read it but after I'd replied with the information, which was taken direct from the Omni build plans and therefore could be considered authoritative.

Thats seems like my dream gig, except I am here in Yeovil and frankly my keys are a bit rusty!

It's a nice enough looking intrument, I'm sure it sounds decent too. Absolutely nothing outstanding or even particularly 'metal' about it though, just seems to be another black P shaped bass. Click on any guitar shop webiste and there will likely be multiple 'stealth' looking instruments with similar specs from various manufacturers.

Hollowman - Entombed

Nope just leaving it as is, headstock will be gloss black

That’s the write up on the Sweetwater page in the US. They really have gone to town on what (for me at least) is an overpriced, “meh” bass at best. Even Jackson’s own webpage text (while its a bit groan-worthy) isn’t half as cringy! https://uk.jacksonguitars.com/products/pro-plus-limited-edition-pure-metal-concert-bass-cb1a?variant=43871163645986

Does it feel a bit like a scalloped board?

I loved the first one, we all did, because we’ve all been in situations that are relatable…… but the trailer alone has put me off this one….. I don’t hold out much hope either. I do know that the actors didn’t do well financially from the first one, so maybe this is the payback?

I was hoping for Lars Ulrich to appear on a version of Big Bottom and for him to insist on all bass guitars being lowered/removed from the mix in order to make space for more hi hat, kick and snare drum. .

Yiu're allowed to Bump your topic more often than every 20 months, y'know ...

Bought David's Yamaha Pulser 400 bass over the weekend. Lovely chap and had a really nice chat. Wishing you all the best David.

This bass was a real saviour during a period when I couldn’t play a long scale, but was playing a lot. 1971 Musicmaster, cost me £250 in 2004. When I got it the pickup, pickguard and bridge were changed and it had a natural varnish finish. I soon after added a Jazz pup, and Mustang tuners. Later it had a new bridge, pickguard and sunburst respray shortly before I sold it to a guy who also bought my ‘78/9 Sabre that I always wanted back… Sold this Musicmaster when I was able to use a P Bass again and needed some cash. Great bass, really loved it, ideally would have kept it for nostalgia and odd times of playing it. The neck was divine 🤤

Yeah great one there thanks sumone, heavy bassline there I’m liking that, linval has always been one of my favourite artists and I follow Roberto , when they got together it was a perfect match I think, I’ve messaged roberto many times and he’s always replied, really nice guy

Hollow hills. Bauhaus

Hi there , can someone offer advice on stripping a sunburnt finish off an alder body . Could I just sand off the finish or should I use a solvent ?

@MacDaddy - Nice clip! What's your connection with this crew, are you the bass player?!

Linval Thompson Meets Lone Ark - Marijuana Sessions in Dub (also called 'Linval Thompson meets Roberto Sanchez At the Ark' ....seems to be a running theme of Linval Dub albums having multiple names....but don't get Scientist started on that!). https://alonereggaeshop.bandcamp.com/album/linval-thompson-meets-roberto-s-nchez-at-the-ark-marijuana-sessions-in-dub-lp "After having backed Linval Thompson during shows in Spain, France and Portugal in 2009, the link between Jamaican producer Linval Thompson and Roberto Sánchez of the Lone Ark Riddim Force has become a strong one. They have collaborated on various recordings and releases for multiple labels. Linval also shared original material he produced at Channel One in the late ’70s and early ’80s, including a lot of material that hadn’t been dubbed. Among the files he sent was a significant portion of the riddims recorded in the sessions for his self-produced second album, I Love Marijuana, released in 1978. This album is a must-listen for any serious roots reggae enthusiast! Therefore, it was inevitable that some day a project featuring dubs would be unveiled. And here it is. Entitled Marijuana Sessions In Dub, this 10-track dub album was mixed by Roberto Sánchez out of Linval Thompson’s original 1978 Channel One/King Tubby’s tapes. Most of the riddims come from his first self-produced sessions for the I Love Marijuana album. Only a limited number of tracks from that album have been previously released as 7-inch singles, alongside their dub counterparts, or as part of other albums. This compilation marks the first time that many of these tracks have been officially dubbed for an album. The album features a lineup of renowned musicians from that era, including Aston “Family Man” Barrett, Leroy “Horse Mouth” Wallace, Carlton “Santa” Davis, Earl “Chinna” Smith, “Ossie” Hibbert, Ansel Collins, and Sly Dunbar. Marijuana Sessions In Dub features seven dubs of tunes included in the original album. Although some of the songs were dubbed before on 7″ or dub LPs, some of them are dubbed here for the first time. Included are dubs of I love Marijuana, Big Big Girl, Not Follow Fashion, Just Another Girl, Dread Are The Controller, Roots Lady and Starlight. The three last tracks of the set are dub versions of songs from the same Channel One period, including Cheater Dub, which is a different version of Lion Dub from the Negrea Love Dub album. Linval’s classic album remains a cornerstone of the reggae genre, and Roberto Sanchez’s dub edits are of equally high caliber, reflecting the exceptional quality of the original material. Each track has been mixed while honoring the original sound and adhering to the dub tradition. This was achieved by utilizing an analog delay and spring reverb on an MCI mixing board, along with the use of an original Altec low pass filter. One for fans of vintage dub music."