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Don't worry guys, Mrs. Scrumpy has got the cake requirement covered - and then there's the crumble 🙂

Praise indeed, thanks very much, not sure I`d be up to it now mind...................

Second this. They did my 79 Stingray and 75 Jazz (both maple neck and board) a few years ago and did a fantastic job.

That Ibanez is a welcome reminder of a less tasteful age. I remember going into Musical Exchanges in Brum in the late 80s and lusting after the crackle finished BC Riches, I think Washburn & Kramer did something similar as well. Hot neon guitars and basses in almost painfully bright pinks and yellows were definitely a thing at around the same time as well. I don't remember seeing any animal print guitars, but they wouldn't have been out of place. Then, as mentioned above, grunge pretty much killed all the flamboyant finishes and it feels a bit like fashion wise guitars have been doing the same sensible retro/vintage finish thing for the last 30 years or so.

Ah, in my one and only foray into the World Of Five I had a US Precision, did this and it did seems to tighten the B up a bit - did it cos I always use them on the A to stop pesky rattle and that always seems a tad tighter afterwards too.

If you haven't tried different strings, it's really hard to judge the instrument's abilities, and performance. Some strings are a match with the bass, some don't. I like 120, too. It (GHS SS RW, exposed core) was the best sounding B string in a Quantum 5 SPi.

I had a 2000 US DLX Jazz and it was fine with the string thru bridge, but no better than my current Sire. I thought it was 18mm though.

£280 at the bass gallery according to their web page. Not sure I would trust anyone else.

Speaking of Boss Slicers...I've just spotted there's a poor man's version of the same on my GT1000 Core 😊

In my experience it's a bass issue rather than a string choice one. I exclusively use a 120 B string with no issues whatsoever.

I left a band positively and respectfully about 18 years ago. Fast forward to a couple of months ago and ex band member messaged me about a new bass position in a gigging Blue Note jazz band with some monster players. As @Steve Browning said, don’t ever burn bridges. It’s not worth it.

Ultimately, it is hard to control how others view you. I've left bands where seemingly nice people have got funny when I have tried to step back. I've offered to stick around and even go through parts with the replacement, which I would say is pretty decent of me, and still had a couple of people get funny. The last lot were completely reasonable though. It's certainly easier when there isn't a busy schedule. Nobody likes being told that they could be better so a small white lie about work getting busier and how you don't want to let them down sometimes works as a softener. Best of luck, however you choose to do it.

Back to the Bottom End, this is the complete Victor Bailey bass part for the tune 'Blue Victory' from a live concert by a band that I believe is led by guitarist Gyula Bados. A request from a regular. Decent 90s fusion with Bailey playing the lead and soloing. https://bilbosbassbites.co.uk/blue-victory-babos-bailey-carrington-jinda-szakcsi/

My response is usually 'I really enjoy playing in the band, but I have come to the stage in life that all I really want to play is downtuned stoner doom music' Just insert a genre of music you like that the band isn't playing and is never likely to play and you are fine.

It's been a little while now but as I recall the main issue we had was that soldering the pickups to the back of the blend pot was a frigging nightmare. The solder just did not want to stick no matter what we did. Eventually we managed to rough up the surface of the pot to give the solder a better surface to attach to and that seems to have worked. Other than that it was just niggly issues: Wiring the battery harness was a pain Actually fitting everything in the control cavity was extremely fiddly There's also a free-floating earth wire you need to secure to the inside of the cavity so the bare wire touches the back of the shielding on the scratchplate, and if you forget about it you'll get an almighty hum until you take it all apart again to find out where it is You can rewire the blend pot so that the knob turns the more conventional way (i.e. clockwise = front pickup, anticlockwise = rear) because for all his wisdom Roger Sadowsky is wedded to the idea that they should work the opposite way. Soldering the pickups to the pot was so frustrating that we forgot to do that, so now I have to turn the knob both ways on a gig to remember which way round it is Overall though I'm extremely happy with how it turned out.