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Sounds like theyre worth every penny of the inflated price 👍

My Little Board seems stable as a straightforward bass board - except I switched out the Mosky Silver Horse for myT-Rex Diva Drive - so I'm playing around with my Big Board: In signal chain order: Landlord Cheeky Pint compressor. It's OK, but clips if I push it hard, and running it at 12V doesn't help, but then I don't need a lot for this application. So it's set fairly mild, as a buffer/boost. Mosky Silver Horse: mild drive / mid boost MXR Bass Octave Deluxe Tone City Matcha Cream fuzz. The last three are old standbys by now Lead Foot volume pedal (at right). IK ToneX One That is enough to gig with, but I'm also setting this up to connect to my iPad, though the ToneX One's USB-C interface. I can run the ToneX One with or without direct monitoring: if without, the signal has to go through the iPad, which is risky if anything happens to that connection, so I'll probably run it with direct monitoring on. That means that the ToneX will always be responsible for my base tone, even if the iPad connection fails, which is fine. You can use an iPhone too, though mine is pretty old and So the iPad can be treated as a mixer send bus, running in parallel, so I won't use it for preamps or processors that should be inline only. I could run in to phase problems if I did. Instead, I'm trying out various modulations, delays, reverbs etc. I'm using the AUM app, which can chain multiple effects plugins, though I might try Audiobus too. To control AUM I have the new switcher at the bottom, a M-VAVE Chocolate, with four controls and the Akai expression pedal attached through it on the left. So far it's worked great over Bluetooth, though cable connection is also an option. I've tried an effects chain where I can bypass individual effects with the footswitch or control e.g. the rotary speaker speed in Eventide Rotary with the expression pedal. I'm also trying my version of Frippertronics using the Gauss Field Looper plugin,with the switches controlling recording / overdubbing and the expression pedal controlling the speed of the "tape" loop. If anything, I have too many options to play with.

I'm pretty sure Eubassix has that exact bass for sale on Ebay at the moment.

I was in a shoegaze/dreampop band on and off in the 2000s and 2010s called Soundpool. As if you can't tell from the rig in the photo. It's the most stereotypical shoegaze bass image ever.

*best sounding bass I ever heard. Plays like butter. Selling as I only play ukulele since the injuries.

In the beginning, every waking hour. Now, never, unless I have to work up a set for a gig.

The opposite of this thread would be 'defend the indefensible' where someone shares a North-Korean reliced, refinished Bert Weedon signature nine-string Encore headless doublecut Precision extra-short-scale lined fingerboard fan fretless with neck heel truss adjuster, fake hipshot ultrazlights, high mass bent bit of tin bridge, fifteen control knob active for four original pickups, a transparent pickguard (with unpeeled film) on the tortoiseshell effect ornate burl antigua burst basswood body with brand new Olympic flatwounds, two ramps, a mute, neck wrap, straplocks, Ricky sticker, Fender branded strip. And a plectrum holder held to the front of the body with an industrial strength sticky pad.

She's The Boss - Mick Jagger

I'd get a lot more practicing done if I wasn't too busy upping my auntie.

I try to practice at least once every five years, even if I don't need it.

Having owned two Rickenbacker basses in the past I can confidently state that the little sticker is by far the highest quality part of the instrument & is the only thing that stops them falling apart completely.

When I was teaching full time in Gloucestershire/Wiltshire (80 hours per week) I literally had no time to do any personal practice, but I was playing all the time in people's lessons. Useful for keeping your skills up! Now I'm semi retired, I'm off and at home for five days a week, so I have been literally been playing my Basses (and Cello, DB, Violin, etc) at every opportunity. These days, I usually manage about 1-2 hours a day, whether I'm working on something technical for a recording session, or gig, or just noodling and setting up instruments. I've really enjoyed learning new stuff for the Duo recently. Playing along to the backing tracks is great fun. I don't really look at the Live Multi-Tribute Show stuff, as it's all really easy and I've been playing it for seven years. Also, I learned "Dean Town" by Vulfpeck the other week - still have to read it, though. It's too random to commit fully to memory, unless you wrote it like Joe Dart & co. It reminds me of when I was playing at the peak of my ability at about 22 years old when I was principal DB in the Britten Pears Orchestra - we were all that good because we were playing for up to 15 hours a day! Practice doesn't make perfect - but it does make significantly better! 🤔

It’s a sleeping guitarist who hasn’t been sheared yet this week …shhh! You’ll wake him and we’ll be “treated” to endless blues rambling 🤨 best let sleeping trogs lie 🤫

Bloody hell. One acoustic for each chord.

😀😀😀😀😀

Yes, he stated it was like a banana and couldn't be adjusted. I've lowered the action and it's really quite a lovely neck really. "Warehouse find", I'm assuming, is stock the seller didn't know he had. Its a music company that I bought it from. That's Jam, my Ginger Tom. He's constantly getting in the way when it comes to photos. He's also a nightmare when I change strings as he loves to chase them.

Thank you

King For A Day - XTC

Not particularly, but as a fact it has a very good.. well, its currently an F# but it was good when it was a B! But I would say, as above, the best B of all was the NS bass B, with a bow.

As above ^ The thing is that the crossover does two things, it shares the bass and treble frequencies between the woofer and tweeter and it matches the output so that they are equal in volume. The horn may be much louder than the single speaker or even quieter. You'll need to transfer the crossover as well because passing bass through the horn will destroy it! Having said that crossover design in bass speakers is pretty crudely done for the most and is often only one or two components to protect the tweeter, if so they are easy to hack. Post a photograph of the crossover and we can advise Let us know which 15" Celestion you have and we can see if your cab will do the job for you.

That's very nice. I have a few questions. Did the seller tell you what they thought was wrong with the neck? What's a "warehouse find"? It's not a term I'm familiar with. What's the brown furry thing next to the bass?

It falls under the same argument as artwork, where it isn’t legally clear whether someone feeding AI your copyrighted work for it to regurgitate into something else is an infringement of copyright or becomes their work. It’s harder still because thats what humans do!

Master Race Rock - The Dictators

Yeah, the two holes on top of the saddle. One sixteenth A/F (imperial) is the size of the allen key that you require.