Leaderboard

***UPDATE*** As I mentioned MM finally sent me my refund in full after filing my Fraud case with Barclays and Action Fraud. However a day ago Barclays fraud department have managed to also get my money back from MM so a conundrum for me! I now have 2 lots of money! Having had a chat with @prowla going through some options, ive sent the money back to MM this morning via Bank Transfer. I was so tempted to pay a couple of people money they have lost but I think the right course of action was to give him the money back. It means I’ve done everything by the book and keeps everything right. I hope you agree? I could have kept it and said nothing but I’m an honest guy and it would rankle with me being dishonest

So my incredible other half surprised me on Christmas morning and gave me this incredible Sandberg that I had been drooling over since it landed at Bass Direct. I feel very very lucky indeed to have a girly that would do this and the fact that it is the best Sandberg I have ever played or owned. My older two (one I sold a while back) were the first generation ones and I had only played one of the second generation ones a few years back and had noticed the improvements they had made. Safe to say this thing has blown me away with how good it is and I love it to bits already. I just thought I would share some porn shots with you. My old TM2 is now hiding scared.

In my 25 years as a founding member/bassist in KISS tribute 'Dressed To Kill' we were more than aware of the issues here. It was a mutual respect arrangement. We paid tribute to KISS, appeared at KISS product launches and helped promote the band when their UK/European record & PR companies were doing sod all, kept their name alive and spread the word.... We wore the outfits, played the iconic instruments and had the famous lit logo, drumhead logos, pyro, blood spitting, fire breathing etc.... BUT.... our name was sufficiently different (an 'album name' and a play on our 'look') and we NEVER sold any merchandise with the KISS logo or make-up prominently displayed. We ALWAYS made it clear that we were a KISS tribute.... and always supplied our set lists to PRS for the original artist to get fair payment for our live performances. As a result, they treated us fairly, always recognised us at gigs/events and even went as far as to keep a 'secret eye' on anything we were doing song/arrangement-wise. Really.....!! We had it on good authority that they copied a breakdown I wrote into the live version of 'God Gave Rock n Roll To You'.... and their Manager Doc McGhee also asked my direct opinion on adding Beth back into the live set....based on the perceived popularity of the song in our shows....

Pinning posts is the best way to make sure nobody sees the thread. I only like pinning things like rules so they can be referred to easily. I’d also rather not pin something about a scammer because at first glance it could look like he has something to do with the site and I don’t particularly want to see his name every time I open the forum. No, much better to just keep the thread normal 👍🏼

Hello basschatters I sell a beautiful Alembic 6 strings EVH (Edwin van Huik) signature from august 1991 with a narrow neck for a 6 strings. Top : figured walnut Back: Maple Neck: 11 pieces Maple/Purple heart. Veneers: Walnut. Finish: Gloss. Tuners: Gold schallers. Inlays ovals Scale: 32" with 24 frets. Electronics: Each AXY pick up has its own volume and tone pot and also a two Q switch (6/12dB boost). Get with this switch a nice fretless sound! On/off + led. Strings spacing: 1.4cm at neck and 1.5cm at the bridge (narrow neck). Shipped with the original Alembic soft case. Weight: 5.6kgs but good balanced. The bass is located in the north of France. Shipping in an "armored" package. Price: £3615 or 4150€ + shipping.

More legal threats at 8:30 this morning - Xmas day! He must be rattled. BC office is close until late Jan.

Not sure if I’m allowed here to post but hey I like to recommend my bass teacher, few months now I decided to learn not only bass because I can play bass but music with bass ( if that make sense), so theoretically I very slowly making progrès but the fact I’m slowly able to read the music sheet in groove or beat will hopefully one day make a better bass player so thanks to Stephen Woodcock @Steve Woodcockbased in London to be so patient with me , have a good day all thanks

Happy New Year, everyone. Fingers crossed... And so to - the important test. With that unusual graphite/carbon/whatever plate representing the greatest proportion of the gluing surface to the fretboard, was it going to be able to stand reasonable tightening of the trussrod without a sharp *CRACK* and a demonstration of the removal of the fretboard around 45minutes quicker than using the iron and steel sheet? It is an interesting difference, of course, between the 'traditional' style of single action truss rod and a modern one. In the modern ones, the rod itself bends, pressing down at each end and pressing up under the middle of the fretboard. Here there is a possibility of the rod popping off the fretboard. With the traditional single-action anchored ones, the shortening rod bends the neck wood and the fretboard bends along for the ride. So the theory is that there is less force on the fretboard joint with a traditional anchored rod. Leastways, that's how the logic seemed last night after a couple of cans of 5.2% marshmallow stout! But the test has to be done because there's no point in fretting this if the joint isn't sound under normal strain. So this is the before - my aluminium box-section straight edge laying on the neck with trussrod loose: And this is after tightening the rod to a normal extreme - the kind of back bow typical of when you remove the strings on a set-up bass: And the glue joint held. Which makes it my first 'phew!' of 2021 So over the next day or so, this should be able to be fretted up

Ever since I was a young boy, I've played the silver ball From Soho down to Brighton, I must've played 'em all But I ain't seen nothin' like him in any amusement hall That deaf, dumb, and blind kid sure doesn’t understand the complexities of possible multiple visas or work permits when travelling and performing in Europe which some industry experts say will be expensive and potentially prohibitive - especially for musicians at the start of their careers.

Next big step is sorting the positions for the tuner blocks. The only sure way I know of getting the bridge units (or even a fixed bridge!) in the right place is to fit some old strings to the headstock and try it for real. It's relatively easy with this because the strings are clamped at the headstock : Then, with the tuner units positioned with a minimum of 5mm back movement from scale length, it was a case of pulling the two tuner blocks tight and positioning to be even either side of the fretboard and 54mm apart to give @Jus Lukin his preferred 18mm string spacing. Then I could mark the front screw hole positions for those 2 and then divide the remaining space for the other 2 : With all 4 front screws fitted, I could now string it up lightly and check the angular positions - they could be set straight (as, of course, fixed bridges are), but with single element bridges, I always think it adds a little to have them following the string line: Then I could fit the back screws to each of the four bases and...of course ... do a mockup. I've dampened some of the walnut to show broadly the colour it will eventually be. The fretboard also will darken from this: Next job is levelling and recrowning the frets and then I can see what my action range is so I know if I need to sink or raise the elements at all. And yes - this above is actually tuned to pitch and actually plays acoustically. Admittedly not a great sound...but, trust me, with my playing, a lot better than when it's finished, plugged in and louder And I love that Nova system. It just WORKS!

The Royal Philharmonic. Those bastards have been trading on the name for 100 years!!

I've started the neck carve and the final sanding. With the neck I still have probably 1mm to take off the thickness and I have to move from a U profile to a D. With the sanding, I have to do the cutouts, the tail, anything I've missed and then re-establish the edge radii. But, as many of you will know, I find it very useful to apply a quick coat of Tru-oil as a 'revealer'. I don't know about other builders, but I find it exceptionally difficult to spot sanding marks, dips and dints in a dry sanded body. So still loads to do here, but that sealing coat gives a decent indication of the wood tones that will be there in the finished article. So it's time for a mockup : I think that's very promising

More work progress on Marks ZB-1000 Zoot bass. The neck is now finished and ready to fit and have the top nut cut. Here are some pictures and a quick mock up of the body and full bass. Not long now and this will be making it's way to a new home.

I've been 37 years a VAT professional. Shall we do willies next?

He's 78. I don't expect to live that long, never mind be able to perform. His dues have been overpaid and then some.

1: Fool For Your Loving This is what I played on Fool For Your Loving on Whitesnake's Ready An' Willing album from 1980, as accurate as I can manage. Fool For Your Loving NM tab.pdf

Simple yet elegant I reckon.

Just...

I can throw some light on the Decimax subject.I designed these amps after leaving my post as Technical director of Trace Elliot.I designed the original Trace Elliots and all subsequent ones up to the mk 5 series. Decimax amps had programmable graphic eq and levels plus a midi interface to control and memorise any external effects along with your chosen eq and level.A separate smaller manual graphic allowed for tweaking to compensate for room acoustics without needing to re programme your settings.Main models were D300 and D600 which were 300 and 600 watts respectively. Speaker cabs were either 1x 15 or 4x10.Both featured rear porting.These amps had no connection with Carlsbro at all and were built at our factory in Essex.

There is a petition that aims to get this debated in Parliament. I don't expect that the over-privileged toffs in power give two hoots about this issue, but at least this might put some pressure on. Seek Europe-wide Visa-free work permit for Touring professionals and Artists We would like the UK Govt to negotiate a free cultural work permit that gives us visa free travel throughout the 27 EU states for music touring professionals, bands, musicians, artists, TV and sports celebrities that tour the EU to perform shows and events & Carnet exception for touring equipment. More details The UK has a huge music / event touring industry which has suffered immensely due to Covid. After the end of the transition period, we face further hardship when trying to tour the EU on a professional basis, with potentially each country asking for its own visa, that would be valid only for one trip, As a freelancer I and many like me travel through the EU countless times a year on different tours and events, this will become impossible due to cost and time if we do not have visa free travel. To sign up, you can go here: https://petition.parliament.uk/petitions/563294

This is my guitar and bass board

Hi all For trade my Yamaha Nathan East BBNE2 Signature. It’s an amazing bass, in perfect condition, like new. Perfect setup by luthier. New Strings Dunlop 40/120 Trade with a MTD (not Kingston), Ken Smith, Dingwall Lee Sklar, Fodera std, Pedulla Buzz/MVP, Fbass, Fclef I can add €€€ You can offer other basses, I answer everyone ! Just No fender, No Musicman, No Warwick, No sandberg Price Trade : 2100£ / 2400€

Here's what olympic white looks like after 58 years of wear and tear 😎

The back of the bass is now in it's final colour (hi-gloss black) and I'm currently working on the top edge fade colour. Here are some progress pictures showing how the T.bird pickup routing went, and what the top will look like when finished, but like I said, I still have some edge (burst) fading to do to the top.

I recently acquired this fine bass on this forum. I've had a recent influx of 5 stringers and unfortunately they can't (or probably shouldn't) all stay. The workmanship and quality of this bass is phenomenal. It's also astoundingly lightweight (3.9KG). I may decide to hang on to this if my TRB-5P (also advertised here) sells. This bass is in mint condition - looks unplayed. The frets look new. It's setup well and a super low action can be obtained without any buzz. The specs are documented in previous threads (see below). There is a discrepancy in the listed pickups between previous sales threads however, as indicated by previous owner - these are highly likely to be ‘big splits’. Key Specs: 34" scale 17-19mm spacing at bridge 45mm at nut 3.9kg Buckeye burl top / Alder body / 5pc maple neck Shuker Hiscox case included. Preamp - vol (push / pull for active-passive), p'up pan, treble, stacked mid & mid freq, bass. Description from Shuker website: The Singlecut is ergonomically designed with a semi-curve top and heavy rear carving to make a very comfortable bass with no restrictions on playability. The upper bout continues to around the 12th fret and is carved at the rear to maintain a slim neck profile. The added stability this adds to the neck means the lower bout can be carved in deeper to allow access to up to 26 frets and couple to the laminated and carbon fibre reinforced neck achieves a noticeable increase in sustain and harmonic content. Original build diary thread here: https://www.basschat.co.uk/topic/196128-finished-shuker-5-string-buckeye-burl-singlecut/?tab=comments#comment-1926428 And previous sales threads: https://www.basschat.co.uk/topic/259068-traded-shuker-singlecut-5-string-buckeye-burl-l1700/?tab=comments#comment-2735141 https://www.basschat.co.uk/topic/441436-sold-shuker-single-cut-5-strings-buckeye-2014/?tab=comments#comment-4293614

Just have to post this as these two basses are rare. So for all you Fender lovers, here is some history unknown to most of you, at least it was to me. I actually managed to get both the US (2002 -figured maple over alder) and Mexican version (2006 - Sienna sunburst) of this bass. Picked up the US-one for about £ 625 and the Mexican one for about £380. And I managed to find Fenders own words from a Siamese(?) site. A right out steal for the US one (I hope the previous owner does not read this...), the Mexican one perhaps not so much. Both in very good condition, no scratches or dents. I just had to get the Mexican one once I had the US-version. Just to compare... What is there to say, both are tone monsters. The US version a bit heavier, has a far better neck with better fretwork, but other than that they are pretty equal. Soundwise they are pretty close to each other, even though they have different pickup-configurations. The US version came with a really nice G&C Deluxe hardcase. Both necks were lacquered, to a degree that you get stuck the minute your hands start to sweat. So I sanded down both necks and made a nice smooth satin finish. Maybe I should not have done that in terms of value, but now they are so much better to play! Too bad I messed up the picture with the backside of the headstock, but the tuners are Gotoh crome on the Mexican one and the US version got Hipshot Fender Lite weight tuners. Fender Enters the "Zone" American Deluxe Zone Bass Deluxe Zone Bass July 23, 2001 Fender Musical Instruments Corporation (FMIC) will release two edgy new basses this summer with the introduction of the American Deluxe Zone Bass and the Deluxe Zone Bass at the 2001 Nashville NAMM show. Both of the new Zones Basses offer cutting edge features including newly designed pickups and electronics, and in the case of the American Deluxe version, a choice of exotic woods. "This is a very ambitious step for Fender basses," says Richard McDonald, vice president of electric guitars for Fender. "We’ve put a great deal of effort over the past few years in finding out exactly what players want in a contemporary bass. What we’ve come up with is this new line of Zone basses, and we are very proud of the results." The American Deluxe Zone Bass is one of Fender's first ventures into the realm of exotic wood basses, offering a choice of either a highly figured maple top over alder, or a walnut top over mahogany. Engineers in Fenders Research and Development have spent the last two years designing an entirely new electronic platform to match and maximize the tonal characteristics of each of the options, including new hum canceling pickups designed to increase the low frequency response and extend the upper frequency range. Both neck and bridge pickups are designed with ferrous steel pole pieces contained within the core of each bobbin. They are driven with low-profile, wide area ceramic magnets located at the base of each pickup, with the ceramic magnets offering optimal strength and excellent string transfer characteristics that result in incredible clarity and articulation. The unique sonic nature of the exotic woods and their body mass require electronics that can bring the most out of these instruments. To accommodate this, the new American Deluxe Bass circuit is tweaked at the input stage - pre-shape, boost and EQ settings - to match and compliment the instruments characteristics. The Bass frequencies are centered at 40Hz± 12db with a 4db per octave slope, while the Treble is centered at 8 kHz± 10db with a 2db per octave slope, with the Treble cut working as a more passive control for warm, organic tones. The Mid control is centered at 500Hz± 10db and -15db, with a wide-band slope to bring out the growl and new distinctive voices of the electronics. The circuit is powered by a new 18 Volt supply. The bridge on the American Deluxe Zone Bass is deluxe chrome plated steel. The maple neck is C-shaped has a 34" scale, 9.5" radius with a rosewood fingerboard and 22 frets. This bass is made at Fenders state-of-the-art manufacturing facility in Corona, California. US MSRP is $1,949.99. The Deluxe Zone Bass is styled after the American Deluxe version, offering straight ahead, professional features and the signature value that is associated with products made at Fender’s state-of-the-art manufacturing facility in Ensenada, Baja California, Mexico. The Deluxe Zone Bass features two new pickups designed specifically for this instrument, with the popular American P-Bass“ serves as a starting point for the neck position pickup. Fender has added more of a top end response to the flush mounted Alnico magnets, brining more top end definition to the full bodied nature of this pickup. The bridge position pickup is a fully customized version of Fender’s Active Deluxe Jazz Bass pickup, with quarter-inch Alnico magnets and end-to-end hum canceling vintage style construction. The new active EQ circuit is controlled by Volume, Blend/Pan, Treble, Mid and Bass Controls. The solid alder body features a contoured top. The maple neck is C-shaped with a 34" scale and 9.5" radius, rosewood fingerboard and 22 frets. As with the American Deluxe version, the bridge is deluxe chrome plated steel. Available colors are Sage, Pewter, Black and Sienna Burst. Made at Fender’s state-of-the-art manufacturing facility in Ensenada, Baja California, Mexico. US MSRP is $849.99.

That was a bit wordy wasn't it? Here's the TLDR version: I bought a Hofner Violin Bass, it's excellent, here's a pic: All the best for New Year - Lee

Considering we're only 2 days away from this kicking in. There seems to be little to no real information around as to what the new rules will entail. I've still no idea what I would be expected to pay shipping goods out of the UK into the EU. Or the other way around. My wife who runs a small Etsy business has now taken the UK off her shipping list altogether. I will never understand how anybody ever thought this was a good idea. How are business supposed to deal with all this [email protected] with less than a weeks notice. Another appalling mess from Boris and his chums.

My wonderful wife has very few flaws. but one thing I cannot accept is the relentless use of voice notes instead of text messages by her and her mates, and colleagues. On WhatsApp they press and hold the mic icon and witter on about whatever, so an inordinate amount of my life is spent listening to... ”well, she came round and I was like - what you doing here at this time, and I was like...” and ”are we doing week 3 of Macbeth with year eleven from Tuesday or Wednesday because I’ve not got the PowerPoint ready yet” It does my head in. So on another thread I posted some music. I’d already sent it to a select few - now @Cuzzie is someone who I respect massively and I really appreciate his enthusiasm and healthy constructive criticism... Today was different, he replied with...A VOICE NOTE. Not one for swearing or violence... here’s how I replied

I don't think I ever put my fretless ACG on here. It's a Krell SC E Type, headless, fretless, chambered, 6 string and it's a 31.5" scale. I absolutely adore it! Eude

And there we have it. It feels really nice. It does the flats thing nicely. It stinks of fags. I had forgotten that people smoke. I guess it will have to sit in the garage for a couple of weeks. Eugh. I guess I will have to price up a metal flake finish now. That will sort out the smell!

Can I say here that I may well be the only person on Basschat to have had a near-death experience involving Maurice Gibb. As a student-holiday postie, I was astride an aged, cantankerous and ludicrously-overloaded Royal Mail bike, teetering along an expensive and exclusive private road in Esher one wintery day in 1986, when blatting round the corner came a shiny new Aston Martin driven, as it turned out, by the very BeeGee in question... It was at that precise moment that the enormous bag of Christmas cards decided to jump ship, depositing itself...and me...in the middle of the road and causing the unsuspecting Maurice to make lots of screeching noises ( I think it was a combination of his brakes and that very falsetto of which there has been some discussion). His reactions were admirable; none of it was his fault and I am here to relate the tale. Anyhow, apropos of nothing much, a little vignette.... And do you know, it never occurred to me at the time to ask him about R*c*e*b*c*e*s.....; I probably should have, but he seemed a little flustered.

Yamaha 735A PJ 5er £549 (ONO) - not getting much use currently due to stiff competition from another Yahama PJ 5er in my herd! It has an active, 3 band EQ, body through stringing, laminate body and laminate neck construction, passive switch and a very comfortable neck. 34" scale, 18mm string spacing and 4.4kg / 9.7lbs. The bass is in very good condition. Key noteworthy marks are: a small paint blemish on the top of the body which is pretty hard to see in a photo, which arose from a K sticker being put on the bass by the previous owner; a small chip on the side of the neck (second pic between the 7th and 9th fret dots just below the line of the fretboard). There is also the usual body paint wear and rear surface scratches / very minor dings consistent with a bass that has been played in. I'm the second owner, this was bought very recently from a fellow BCer who looked after it well and the bass is a little over 2 years old. Nice tone demo by our very own TJ Spicer: Yamaha BB735A/734A Tone Demo | Fingerstyle | Slap | Pickstyle - YouTube Happy to meet half way over a reasonable distance or to courier (P&P extra).

It's quite ironic that many of those countries that are currently under the EU's shackles have quite different requirements... It's almost as if they have actual control of their borders!

I couldn't find him on Companies House and Funktion Junction Entertainment isn't a company. I am keen to track him down and see to what extent he can be banned from being a company director (if he is one).

they don't count, they're just a covers band 😂

Did this wee bass cover of Daft Punk - Around the World this morning

This morning was about tapering the fretboard and starting to think of options with the trussrod and headstock. Using last night's calculations, I marked the cutting line on the fretboard in pencil (best thing to use on ebony - it shines, giving a decent contrast...and it rubs off if you mark it in the wrong place ) then onto the bandsaw and finishing it off to the line with a sharp plane: I'm sticking with the string spacing of the Nova headclamp and so should not need a 'nut' behind the zero fret. Instead, once it has been fretted, I will chamfer the fretboard overhang and cut some relief grooves down to the clamp holes. As such, the clamp unit will butt right up to the fretboard end. The fretboard thickness also gives me a decent break angle over the zero fret without the need to step the neck at the head: The pencil line beyond the clamp block is the closest I will go at the top to allow any string ends to be still protected by the head, hopefully leading to less mysterious holes in @Jus Lukin 's , his band-mates or their audience members' jumpers I will give some thought to end detailing/shape and bounce them off @Jus Lukin One thing that will be there is the truss-rod access hole that will be drilled just below and under the clamp block. Albeit 10-12mm lower and in the centre of the neck, orientation and lengthways position-wise the rod will go here with the slot, running up to the zero fret, meeting up (hopefully) with the hole drilled under the block that the adjuster will sit in: So this afternoon's tasks are: - rout the trussrod slot - drill the rod access hole - finalise the profile shape under the zero fret - rough taper the neck a couple of mm oversize to the fretboard (which is already at finished dimensions)

No worries Bert. Fortunately I got my refund, but clearly many others didn’t and I want to help to ensure he doesn’t get away with this.

Still Of The Night from 1987 Whitesnake album. No matter how anyone might have played the main riff since, this is what I played, following what John Sykes wrote & played when we did the backing tracks in autumn 1985. There was overdubbed fretless playing chords during the middle section, which wasn't used on the final mix. The fast bass runs at the end of the track are completely buried in the original mix - a bit easier to make out on the 2017 remix version but still very hard to hear what I play during the end fade-out - if I'd still been in the band in 1987, I would have played it from memory then and would still remember it now (or would have had a tape with what I played much more audible) but I've only played Still Of The Night once or twice in 35 years. Still Of The Night.pdf

It's pretty much what I was looking for; a short scale passive 4-string, pickup arrangement closer to a Stingray than a P, with a nut width closer to a P than a J. I've had G&L's (USA and Tributes) before, and have always liked them, apart from the over-complex controls on some of the active models. Bass was very well packed in a box inside a box. Came with a small set of Allen keys for neck and saddle adjustment, and D'Addario roundwound strings which were immediately replaced by my favourite nylons. The strings I had here were all medium scale to suit through-body stringing on my previous short scale bass (Squier Vista), and needed to be cut down a fair bit to fit the Fallout. I'd say short scale strings would be fine for the Fallout. I'll need to buy some proper length strings for it. Initial impression was a little disappointing, to be honest. Fret buzz was so bad it was virtually unplayable. I saw that the bridge saddles were all over the place - two had one screw all the way in and the other all the way out. The other two saddles were sitting on the bridge plate. I sorted that out and put a tad more relief into the neck. Now the bass started to sing and play. The MFD pickup is well-known and suits this bass well, I reckon. The pickup is powerful without being too barky or aggressive. Roll off the tone, and you're not far off P sounds. Differences between the three settings are fairly subtle, and only one is truly humbucking. I'm settling on the middle position - no idea what it is. Tone control works well with a good range of adjustment - better than plenty of other basses I've tried. With a wide, rough-finish leather strap, I'm not getting any neck-dive. On luggage scales, bass weighs 4.2 Kgs. The finish on the rear of the neck is not as good as my previous G&L's, and this has been the main disappointment for me. It feels rather unfinished, and not especially smooth. I may decide to wire-wool it and then use some oil. The quality of the finish on the body is absolutely fine. Maple fingerboard has a few natural stains in it, but feels smooth enough. I've not discovered any sharp frets yet. Setting the intonation has been a challenge. That's most probably because the new nylon strings are stretching quite a bit, and my clip-on tuner is not agreeing with my output jack tuner! Overall; My feeling is that this will be an excellent back-up to my No.1 bass which is a Lakland Skyline Hollowbody. And that's what I've been looking for. Because of the woeful (i.e. non-existent) setup on arrival and my liking for floppy, stretchy strings, it's taken me two days to get the bass to a playable state. Maybe that's to be expected for a brand new instrument that's travelled a long way. The quality of the neck finish (I think Ed Friedland mentions this in his short video) could be better and does not match the finish of other G&L Tributes I've had. Overall, I'd say the bass is worth the money because of the unusual mix of nut-width, scale length, pickup position, and for its MFD pickup. Waffling now. I'll shut up.

Do you really want me or @cetera to put our list of basses here again ?

Let's make it more fun by marking the ones we still own in bold More or less in alphabetical order: Aria Pro II SB-1000 (with two extra pickups added) Carvin B4 Carvin LB75 (flamed walnut) Carvin LB75 (all black - bought back out of sellers' remorse) Condor Jazz Bass Condor Jazz Bass (bought one back after regretting selling my first bass. The second one was awful) Cort Artisan B4 Cort NTL-B fretless acoustic Ellio Martina Forza 5 (The One Bass. I'll never sell this one) Ernie Ball Music Man Stingray5 Esh Stinger Fender Japan 57 Precision reissue Fender Japan 75 Jazz Bass reissue G&L USA SB-2 Hohner B2A Ibanez ATK300 Ibanez ATK300 tuned to D Ibanez ATK305 Ibanez RS924 Ibanez MC924 (1981) Ibanez MC924 (1983) Ibanez SR800LE Jan Bak Precision Bass Kydd Big Kydd EUB Longbow 2-string fretless Mr Bassman No Sweat (Human Base) Rickenbacker 4003 Sandberg Bullet 5 fretless Status S2 Classic bolt-on 4-string Status S2 Classic bolt-on 5-string Warwick Streamer LX4 Warwick Streamer LX5 Yamaha TRB5II amber Yamaha TRB5II trans blue All lefties obviously

My Orion. It's one of the "cheap" models but it's still something which is a joy to play every time. You can see where the money goes in them.

I'm in the club! Just had UPS deliver this

Hey.... up for sale is my bass rig, ninja 122 and 112 cabs and Marcus Miller 800 head, all covers and gig bag ... 800w cabs 800w head, loads of power and excellent sounding kit. Why am I selling it? .... because I’m an idiot!! ... yep one of them guys who’s totally lost his head in this crazy pandemic, can’t gig, can’t go out, can’t go on holiday but to break the boredom and search for change in the only way possible...... selling stuff I really should keep!! ... All in mint condition and working order .... specs are on the net but and questions ... send me a message 👍

My Rig ready for 2021

A mistake, which in a way proves that it's a partly improvised part.

I've had a look at the side dots for this and I want to keep the colour simple. White obviously doesn't go on maple, black dots just don't look right and I don't think alabone would look right either. I decided to make some dowels from an offcut of the neck wood. I used a piece of metal sheet with a 2.5mm hole drilled in it then cut some wooden rods to roughly the right size. The wooden sticks are then hammered through the hole in the metal sheet to make them round. These are then fitted into the holes drilled in the neck and sanded flush.

Best: without doubt my Masterbuilt Warwick Thumb NT. Most expensive bass I’ve bought in years but it’s a masterpiece of an instrument and worth every penny. Worst? Well it was a very quiet year for new purchases really, so wouldn’t really be fair to give the worst title to anything.