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Hello dear friend i will tell my sad story: I recently acquired a Washburn Bantam XB-500 5-string bass with no wires connected to the potentiometers inside the body. The bass' already restored and partially finished. But I can't continue with the remaining part (to connect or rewire the pickups wires and 3-way toggle switch together)... My XB500 model comes with an electronic preamp module with two potentiometers, a lonely potentiometer, a 9-volt battery, a three-way selector switch, and Jazz Bass-style pickups, which means it's an active bass. I need help finding the wiring diagram. I really don't know how to rewire it. Or perhaps could upload some photos showing how it's wired i mean the 3-way toggle switch and pickups wires together. PD: i need to know how to re-connect the 3-way Toggle switch with bridge and neck pickups wires together.. i really dont know how, and i am stuck because of it, sadly my bass has no sound right now. perhaps you gonna say "sorry i dont have the wiring diagram" and i will understand that because it is not easy to get it.. i am simply asking you to take some pictures of the electronics part from the XB500 showing how the 3-way toggle switch and pickups wires are connected together... please bro help me.. cheers John from Guatemala.

I bought a near identical 5 string version earlier in the year. The seller said 'low action'. It had the same preset neck relief the other examples I had played. I'm going to get the fingerboard replaced. It's a little brittle sounding and quiet perhaps due to the Lusithand RB800 inspired onboard electronics, but the B string is super tight and the neck is fast preset neck relief not withstanding. It's a marmite thing right now.

Best - Ibanez EHB, currently my favourite bass. Worst - Markbass CMD combo which developed a fault and had to be returned.

It was ok, but a quiet night 🙁 Those that were there seemed to be enjoying themselves but mostly superglued to their seats other than a few dancing girls. One guitarist down but we’ve done it before so no problem, just tailor the set to songs that didn’t need the second guitar. Sound was ok, and fine in my IEM’s. Towards the end on the second set I had a couple of really bad attack of cramp in my fretting hand. Possibly dehydration, and maybe the fact that I have missed a load of my immune suppressant drugs because of Covid a month or so back & two courses of antibiotics so my arthritis is starting to flare up. Picked up a Darkglass Anagram during the week and set up a quick stomp box preserve with Compressor always on and then Octaver, Chorus and Flanger controlled by the buttons. Went well but will need some experimenting. Apparently it was the pubs Halloween party so face paint and dress up Gear: FrankenJazz, Anagram, Microtubes 500 and Barefaced BB2.Status S2 in reserve Shoes: Barefoot (red and silver)

Yes it is 👍 It's very easy to play, nice neck profile, weight and balance. Its also very flexible tone wise. I don't normally use the neck pickup on its own but with this one I'm quite happy to. I've used it in both my classic rock and soul / funky bands and it fits in great with all of them. I've decided not to use it in the rock band any more as they still have Sex on Fire in the set and as such don't deserve the Elrick! 🤣 Thank you and you're right I have had some stunning basses over the years (way above my pay grade!) and this one is one of the very best!

I doubt that the prices will go up by a significant margin. Sure, people will try but G&L instruments generally never had such a great resale value. How many famous musicians have played a G&L of any kind as their main instrument ? That's where a lot of "legendary" market value comes from, IME. FWIW, I loved my El Toro and it was my "main" bass throughout the '90s. A mighty fine instrument, like most of their older stuff.

I have a clear winner for worst - the Boss SY300. It's not a bad pedal but severely limited in what it can do which wasn't clear in the very limited support documentation or YT videos. And now I can't sell it and free up cash for other things.

They might, yes. I'm not sure where things would stand with long standing published articles by other websites about his previous activity - articles that could be accessed by anyone regardless of social media presence. It seems that any specific comments might have to jump through a series of hoops to be deemed influential enough to be contempt. It might just be easier for a judge to ban jurors from accessing the internet for the duration of the trial. Some of the examples in the article you provided would be considered breaches of other areas of law as well e.g. libellous, invasion of privacy etc. But given a judge's opinion is the final word, in the interests of risk management, perhaps it would be prudent to keep comments and particularly speculation about the trial proceedings offline until there's a verdict.

I've Been Thinking About You - Londonbeat

2025 has been a weird one. I started the year as the rhythm guitarist in a mildly successful covers band. That band went on to fold in late Feb/early March, and then reform in May with a few new members. We'd auditioned bassists but they were all terrible, and in a "if you want a job done right" move, I went over to playing bass - something I haven't done in a band for a decade. Thus, my best purchases have all been purpose-bought bass gigging equipment. First of all (and probably least interestingly) a wired IEM set up using a pair of KZ ZSN Pro 10s and a Behringer P2. Then came the first bass I'd bought in about 7 years. A cheapy, a shorty. Something to bridge the gap in feel and size between an electric guitar (as id been playing for 5 years) to standard size electric bass. I present my Squier Bronco: After this, and having played it for 4 paid gigs, I couldn't help myself when I saw this come up for a very reasonable price on reverb. A 2010 Mexican Standard P Bass, something I can say might be a forever bass, I absolutely love it. Overall, a pretty busy year. Not pictured are a Tonex One (which I'd used as ampless solution first for guitar, now for bass), a Boss ME-50B, and a TC Electronic 250w 1x15 combo. Oh, and a Behringer XR18 mixer, which I see as more of a band purchase than a personal purchase. And as for the band, we've been busier now than we ever were. I think "breaking up" and removing those whose hearts weren't in it was the best thing that could've happened to it. The group we've got assembled now are much more talented, focussed, and having a whole lot more fun than the last lot were.

Can't get you out of my head - Kylie

Get yourself a reference track that you know well. It should have plenty of bass and vocals and cynbals. Play that to the pub and make it sound good. You only have to do it once.

I've used a Comfort Strapp for many years and wouldn't use anything else. Thick neoprene padding and elasticated, it absorbs every shock and really spreads the weight of any bass. Just check the length, because you'll probably want long, if not extra long unless you like a bass under your chin

Thank you for the votes. I got lucky this time. See you all for the next round. I was inspired recently when fishing at a wonderful village called Olhos de Agua on the Algarve. I took a photo and think it would be very suitable to inspire us again to create. te he.

Next question please...

I'm not a classical guitarist. However I do love noodling on a nylon strung acoustic. Many years ago we bought my son a classical guitar, which he barely played but I loved. He took it away to university. After missing it for 12 months or so I've finally treated myself. It's only a cheap one - a Martinez SM-80 that I picked from Ebay. It's a few years old but I don't think it's really been out of the packaging. I've had it a week or two and have just this evening fitted a new set of strings (D'Addario Pro-Arté EJ-45). I rarely pick up a guitar at home normally but I've not been able to put this one down.

I know what you mean. It is a pale blue but most pics make it look bordering on white. This was my bass outside in natural light which, from memory, is a fairly true representation of the colour.