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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.

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.

The Hamer got gigged last night. Two songs. It’s a 3-piece (guitar, 12-string bass, drums) and was unrehearsed, we’d never played with the drummer before but he learned the songs for the night (Budokan versions, obvs 🤓) . The guitarist is a friend I’ve played with for years but this was the first time we’d been on a stage together for a long time. This was also the first time I’ve played without a rig. I used my HX Stomp with bi-amping patches DI’d to FoH and we just had sound through the fold-backs on stage. Not once did it feel weird, in fact I didn’t even think about it, which was a revelation. The guitar is going through the big Hotone Ampero II Stage modelling unit with DI to FoH too. This has to be my favourite bass ever, it’s an absolute weapon of a thing. I Want You to Want Me - [email protected] Surrender - [email protected]

Agreed. Before doing anything else the OP should get a decent straight edge and check: 1. The fingerboard. With the stings off it should be either flat or have a slight back bow. 2. the top of the neck extension between the end of the finger board and where the bridge attaches. This should be perfectly flat 3. The back of the same from big to heel. This should be perfectly flat 4. The pocket that the neck extension fits into. This should be perfectly flat. This could be the problem if the others are all correct and bolting the neck in place is imposing a curvature on it.

Welcome. Leave two strings at the door and find true fulfilment.

The one musician I know who makes a full time living wage and has been at it for years, has established audiences and booking agents tends to get around 250 to 300 max under their own steam so if the venue takes a punt on unknowns to fill that number it must be a very successful venue with a top notch team.

simples YES the very fact you're asking, means you want one I have 4 My wife has 2 It's the law

Possibly a slight tangent, but one of the things that is happening in pubs and clubs is that, because of cot of living concerns, footfall over the summer is way down. Prompting many to book semi-pro Karaoke singers. In this area they earn upwards of £125 per night. Easier to cover than the £250plus a band would charge. However, they are backed by the "empty orchestra", Karaoke means that in Japanese. From the venue and audience perspective, the "band" are always note perfect and well-balanced, as well as easy to control volume wise. The session musicians that make the backing tracks could be the first to feel the real heat here as AI could do a passable job of the backing track presumably.

How so? In this day and age, has you've noted in this thread, bands can use technology to gain fans without the need from labels.

You Got Nothing I Want - Cold Chisel

I’m in the same quandary. My plan is to bully my whole family into contributing at Christmas.