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Hi, released my new EP “ Halo” a while ago and i thought this bass led track may interest the members. main bass used is a 1990 Warwick Thumb NT5 recorded direct to desk. let me know what you think and share the joy!! “4Q”

Yamaha may not be the first brand most people think of when they think of guitars, but when they do come up in discussion they always seem to be very highly thought of. I came close to getting a BB1024 a few years ago when I was looking for PJ, ultimately the only reason I didn't was because I've never been keen on sunburst and that seemed to be the only colour scheme anyone had in stock at that particular moment. Yes I am that shallow. I'd have a Revstar skinny stringer or a vintage SG in a flash if funds/space allowed.

My understanding of getting the best fit of a neck in the pocket was to slacken off the strings so they are exerting very little pull on the neck and to loosen the neck bolts very slightly. Then tighten the strings back up to pitch, allow everything to stabilise for a couple of hours and retighten the neck bolts. This has the effect of pulling the neck as far into the pocket as possible, the transfer point being the end of the neck pocket and not the bottom.

I've got two BBG's currently, on four and one five string. I had a BB100, my first decent bass. Plus a BBG4 I gave to a family member in a moment of generosity. They are all very good. The BBG's are old and no longer made, and deeply unfashionable, but anyone I play with comments on how good they sound. I see new colourful EBMM basses and I think "so what?". I love every Yamaha product I have owned and used.

Yes, an Aria TSB 400 in the pic attached. My first bass bought second hand in 1988.

The JTKB200 with the two chrome-covered singlecoils should be neck volume - bridge volume - master tone, but the Ibanez Wiki says master volume - pickup balance - master tone. Conflicting indeed! The 2009 catalog confirms VVT though. The JTKB300 with the three J-style pickups has 3 on/off-switches and just master volume and tone.

Yamaha is a benchmark for me. I’ve got three Japanese ones here. They’re all top tier tools for the job they’re designed for. The black BB2024x I‘ve had since new is very special, it’s one of those instruments that just has “that magic”. I must say I was disappointed when Michael Anthony ran off to Schecter.

link to album - other streaming services are available

This tallies with my experience: when I mostly played live, I quickly realised the mids were key to the bass having any presence in the mix. If it was a shared/house bass amp, my first order of business was to find any kind of pre-shape/contour/enhance control and turn it right off! Otherwise it was all clacky treble frequencies and deep bass that got in the way of the kick drum. Conversely, as I shifted more to recording music, I realised I could take a lot more mids out without losing the "detail" of the bass tone - and actually get back some clarity. (And believe me, after all those gigs, it took quite a leap of faith for me to turn the mid controls down!)

This is the back of the neck on mine. I think the issue is the actual cutout for the truss rod adjuster. The two front fixings are 65mm back from the heel, the cutout goes right through the neck, the 'T' section where the nut is is probably about a third of the neck width removed, the fretboard ends about 30mm away so adds no bracing. If the two fixings are holding it down but the strings are trying to pull it up, the weakest point is the truss adjuster cutout. If the neck is bending here then that would account for the nut looking like it changes angle the more tension is put on it. @BigRedX suggestion of putting two extra fixings in as far forward as possible would probably alleviate this. Edit, just to add that if a shim was placed at the bridge end and then all four neck fixings tightened then this would add even more bend into that weak area as the heel pushes against the body, hence my suggestion earlier of shimming both ends (one more than the other) to introduce the angle without the heel becoming compressed.

They probably would not, for they would be prohibitively expensive for the general public and would only appeal to fans of the series. Especially if they were to be made in Japan like the originals. The current bolt-on BBP34 and BBP35 sit at €2100 which is roughly the same as a Fender American Professional II. They're probably better-made, but many people will still argue "Made in the USA" is the holy grail. A neck-through model would sit quite a bit higher still, probably not below €3000.

Recently got this bass & want to replace blank knobs with original looking ones but not sure if they are 1 vol and 2 tone or the other way round and where to place from neck to bridge sequence. Looked at pics and googled but get conflicting info. Anyine have the original to give advice appreciated

I don't disagree with the sentiment in this thread. However, I am lucky enough to own a BB2000 - it is as awesome as people say. But it is quite heavy for a 4-string - which might be another reason to not do a straight reissue - some of the magic of the highly rated old Yamahas was the well over-engineered (heavy) bridge, custom-wound pickups, and solid construction - I also wonder if wood choice had an impact on the feel (I don't believe it has so much impact on the sound).

Picked this up yesterday for the website, man it's a beauty. Wilcock basses are killer. Im starting to warm to shorty's recently after not understanding the hype for them.

Agree, quite often those in the mix rich warm tones are, when isolated, middy, scratchy, gainy and clanky.

My first "proper" bass was a Yamaha BB1100s, very good quality, a good workhorse, did loads of gigs on it without backup (as you did back in the 80s). I bought one earlier this year as a nostalgia bass, and when I play it it does take me back to those times. I also appreciate the build quality and playability a lot more in my late 50s than I did in my early 20s.

Rear Route... Nice - look forward to your build thread.

On a different tangent but definitely linked; think of one of your favourite classic bass lines that sounds great, iconic even, in the recording mix. Then Google to see if there's a recording of that bass line in isolation. For me, they are rarely a tone that I would use at home whilst practicing, they often have much more essential mid content.

it's a yes from me too JMJ Mustang

Small portable combo? My CMD121P hasn't missed a beat in six years.

As we now have an active PA subsection too, a PA section in the Marketplace would be good.