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We all get it, you’re not a fan of Peter Hook. Loads of people are, myself included. The thing with all this comparison stuff is that no one’s right and no one’s wrong, you simply can’t add a measurable quantity to what’s essentially an emotional response, it’s different for everyone and that’s what makes the world go round. This whole debate is like comparing dick size, a pointless exercise that leaves everyone feeling a bit inadequate.

@Stub Mandrel I'll try and make gaskets for the jack sockets and for the plate. That would be neater than sealant, which knowing my luck, would mean I'd attach myself to the cabinet, never to be released. Much like Hans Solo in his Carbon tomb . Rob

Brooks SparkleBird. In Cobalt Blue candy finish

When your boing has been boinged out.

Stuggle? I've got 18 year old Chromes on my 76 P and they are great got Chromes on a Warwick 5 these are only 18 months used, all good Chromes are by their nature what I consider a stiff or tight string , they certainly couldn't be marketed as Low Tension

How much wider is this, I presume at the nut, than the standard version? My OLP MM5 was 43mm from memory.

Seriously Paul, if I had the woodworking abilities God granted to gerbils, I'd be over there like a shot to help you. Common sense tells me your chances of success are at least ... oh I dunno ... improved by keeping me 10 miles away.

Hard to tell without any photo as it could be anything from an old Japanese brand to a cheap Korean bass, or a full assembly...

Ok thank you.

Excelsior!!!

Tra la laa. Skipping forward through the tulips.

I did see that thread however I was a little bit concerned given that the last post was almost 10 years ago! I'll have a Google of some of the names in there anyways though, cheers.

Yup this gap, and that front face of the block which was detached from the front. Also explains the angled end pin. Exactly as I deduced must be the case. You can all laugh at me when I'm head in hands with an expired bass and a top that wont glue back on straight... Or you can applaud as I proudly play it back to life! (fingers crossed)

Dignity - Porcupine Tree or Deacon Blue

Happy days Kit is great when it works and the absolute worst when it does not.

It's best to minimise leakage, but most have some porosity around the connectors, especially if using jack sockets. If you use a vinyl covering then the edges will seal well enough, but if on a hard surface a bit of sealant wouldn't be a bad idea.

I very strongly disagree with this version of history. If you or anybody else enjoys Hooky's playing and find it inspiring for whatever reason then good luck to you, nothing wrong with that. If you like and enjoy his style that's good enough reason. But that doesn't mean that objectively he is an accomplished musician or indeed qualified in any way to judge other exponents of the bass. He's just someone who people who don't play the bass think must be important because they've heard of him .Whenever I hear him interviewed about playing the bass he seems to be full of self-regard, mainly for his own lack of ability, something which he mistakenly sees as a great asset. That's why I think he is a conspicuously bad choice to present this series. I was passionately interested in music in 1979, just like you were, and in playing the bass. I thought Peter Hook was a crap bass player then, and I've heard nothing to change my mind in the interim period. Listening to him thrashing away was depressing back then, and it takes me right back whenever I hear it now. Lots of kids played like that in those days, I think that Hooky was just the one who ended up being famous. In the early ,1980's most bass players not playing slap or fretless were not influenced by his style. He still wasn't that well-known by then, and there were plenty of other role models. For post-punk bass players in the early '80's (and I know because I was one of them) bassists like Sting, Bruce Foxton Horace Panter and JJ Burnel were far more influential than Peter Hook. The idea that Joy Division were such an important band at that time is a classic example of a tale told in the telling. They had a cult following and a certain profile in the music press, but their "legend" is something which has been created subsequently by people with an agenda which necessitates rewriting history to their own ends. When they were together they were a moderately well-known post-punk band from Manchester. Nothing more than that. And regarding any equivalence between Mick Karn and Peter Hook, there isn't any. The crucial difference between the two is that Mick Karn's style is defined by his imagination, not by his limitations. It's also wrong to claim that Mick Karn wasn't a trained musician when he had a background in playing the oboe in orchestras ect. I know he claimed to have no knowledge of scales and chords ect, but in practise he clearly did. His facility on the instrument is in a different stratosphere to Peter Hook (and most other bass players, for that matter). That should be obvious to anyone who listens.

The last generation of Eden cabs were light, but not featherweight. I think they were lightweight wood, but with regular speakers, not neodymium ones. I'd be expecting these ones to be similar. The original Nemesis range were proper featherweights, I'd have liked to see them go back in that direction, but as long as these ones aren't backbreakers, I'm sure they'll be fine. Just get the cabs with the fewest number of speakers (the 1x15", or the 2x12" or 2x10").

My brother found a bass dumped in a skip and salvaged it... most probably a cheap copy, but I'd like to find out what it is. Some points: *It's a Candy Apple Red-ish PJ bass (typical Precision body/white scratchplate) with a matching headstock. The headstock logo is "Guitar Workshop" with "Bristol, England" in smaller writing underneath. My searches inevitable just brings up guitar workshops in Bristol, and no mention of a Guitar Workshop brand. *It has a 3-way pickup selector switch then the usual volume and tone, which I think is a bit unusual (am I right that PJs are usually Vol/Vol/Tone?) *Annoyingly, the neck has to be completely removed to access the truss rod adjustment. *It seems solid, and is very heavy (11/12lb perhaps) with a chunky bridge. *Inside the neck pocket on the body are two engraved numbers, one above the other - 061082 and 020620. Apart from the headstock name, these are the only markings I can find. A quick check reveals that both pickups are working, the pickup selector is a bit intermittent, and the tone control doesn't work. All easy fixes. Machine heads don't feel great either. I'll get some photos up soon, but if anyone can shed any light on this I'd be most grateful! Aled