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Had a fantastic day yesterday in the company of Billy Sheehan, have been in contact with billy for a number of years, always had great chats with him etc, he arranged for me to meet up with him yesterday in Glasgow, just can't put in words how cool that experience was, i take part time photos of bands for fun, and billy asked if i would take some shots, Mr Big are a very slick set up!! Pro all the way, i was listening to Billy's onstage sound which is just incredible he has the smoothest low end with just the right amount of grunge on top he is an expert at sound control of a bass guitar , he can manipulate that bass to sound any way he likes it, so happy i got the chance for this experience, great bunch of guys too, i took a pile of photos if anyone fancies a look. cheers Geo Billy Sheehan pics here https://www.flickr.com/photos/139327844@N08/

This isn't a shot of the Alembic-esque - but it is related. And it should warm the pink torpedoles of @scrumpymike 's heart: It's his veneer going on his Lyte back, because I've got the bench back....BECAUSE I'VE FINISHED THE ELECTRIC! Here are some finished shots: There are a couple of tidy-up jobs to do (but none that need the workbench, Mike ) including adding the hatch to chamber contact strips to those that notice such things (and centreing and gluing the nut for those that notice those things too) but this is pretty much how it looks I've done some sound clips - I'll post those shortly. As always, thanks very much indeed for your interest, support, comments and suggestions along the way

It’s not that I’m “fond” of it. It’s that my literal career depends on it. YouTube’s algorithm heavily promotes clicks, and the more times people click on a video, the more it gets recommended to you. Consider my position, please. I want to create in-depth video essays, or good-faith critiques of other musicians to help them improve, or comment response videos answering questions from my viewers. This is what I want to do for a job, for a living, because I think I’m pretty good at it, and I have the opportunity to do so. How should I title my videos? Should I appeal to your own personal sensibility of what titles should be? Remember, YouTube will bury it if I do. So, if I dont clickbait it, you won’t see it, and then nobody else will see it either. I constantly have to play a game of how much I should clickbait, and what that clickbait looks like. It’s not something that I enjoy at all, so I hope you judge my stuff by the quality of what I offer in the video itself rather than how it’s packaged for you. Because there is little that I can do about that.

Sounds like a fault to me. Head over to this thread on Talkbass: https://www.talkbass.com/threads/source-audio-sorcerers-society-s-a-s-s-part-3.1056621/ and get in touch with rsmith601 (president of Source Audio). He’ll sort you out in a jiffy.

Oh yes of course, me too, always have done.

I had that prob with mine. Opened it up & removed speakers to find cable resting against cone. Tied it back, all ok. Worth a check. G.

So what you're saying is these manufacturers move production from countries like Japan to countries like Indonesia to help the Indonesian economy? And you think the guy in the video is being naive? I'd say he's not the only one. What you describe is a side effect of companies chasing the lowest cost of production. Plain and simple. As soon as it becomes cheaper to produce guitars to certain standards and schedules and in the required quantities elsewhere in the world, a corporation will move production because the bottom line profitability is all that matters to them. It would be nice to think they're moving production from country A to country B just to help out all the B population, but that is rose tinted viewing at best. I've seen it in every company I've ever worked for, current one especially.

Interesting video, and he seems like a lovely guy, but his economic and political naivety is quite extraordinary. His constant references to "cheap production" and "exploitation" ignore the reality, which is that for example Fender making "cheap" guitars (branded as Squier) in Japan created jobs and helped to raise the standard of living in Japan to the extent that they moved production to Korea, then to China, then to Indonesia, then to Vietnam, in each case creating a new population of skilled workers earning more than they earned before, and now capable of pushing ahead without further investment from abroad. That's how economies work. The people who live in those countries, just like the people who live here in the UK, don't constantly look abroad and wish that they had the same standard of living as someone richer. Most people look at what they have now, compare it with what they had before or what their parents had before, and judge on that basis whether or not they're doing well. And when those Third World countries benefit from this sort of inward investment and develop their economies, guess what - they stop being Third World countries and become Developing countries. "Exploitation" definitely exists in many unskilled industries, most famously textiles, and I don't condone that for a second, but this luthier's definition of "exploitation" and his clarion call to cease "exploiting" these countries would see those very country's economies damaged and their workers thrown into unemployment. Is that really such an achievement? Basschat's tentacles extend a long way around the world. I'd love to hear from some Basschatters in Indonesia, Malaysia and Vietnam as to whether they'd like to see the big instrument factories closed down. For their benefit. I'd even more like to hear from Basschatters in Kenya, Mozambique and Sierra Leone who are likely to be the next recipients of this sort of inward investment. Because, of course, their labour is now cheaper than the workers of Japan, Korea, China, Indonesia, Vietnam and Malaysia. There's a reason for that ...

Well OK, but don't leave it too long! It's part of the learning process!

So many great bass scores. Thanks for all your hard work. Cheers

If I install a high mass bridge such as a Bad Ass II clone on an AVRI P am I likely to be excommunicated to Talk Bass ?

So far I haven't found the solution. -I liked the EBS valvedrive very much, but cumbersome and boring to feed at 12v AC I tried the runoffgroove Ginger, very good mild OD but one trick pony . then Scientist Elements, lacked bass compared to the valvedrive IMO, otherwise very good and obviously very versatile. The mxr bass OD was a bit muddy for my taste and lacked personnality I went to an Agro, I sold for a B3K, I sold for an Agro, and bought a new B3k. The aggie is very good, versatile and pleasant before an EF but gets a bit lost in the mix IMO (a bit noisy too, and the heavy steel box bothers me. I wish it came with a blend and aluminium standard box). The B3k is very good at what it does, but not very transparent and by no means creamy (too harsh to use before an EF ) I also have an idiotbox blowerbox clone which is cool in a rat-esque way. Useful but gain past noon I don't like the sound all in all the B3k and Agro comes first, maybe the agro is better yet because it is very versatile, can be aggressive but has enough body to sound sweet and natural. Maybe I'll try the chase bliss next.

As a total aside, I like you jet photos!

Hmmm...I'd hate to be the cause of you buying a second 'not right for you' pedal, but what you've just described in terms of what you're after sounds exactly like the HGBM I've just acquired from krispn! Have a listen to YouTube clip on this I posted earlier in the thread and see what you think?

Another AJR masterpiece...I'm sure the new owner will be as please with this as I am with the Silk Bass and the Psilos bass.. Good work sir...

GAH!!! Sooo good.

Good evening, Hal, and ... Plenty to read and amuse you here, and lots to learn and share.

Still have it in it's original now very dull tin box. One of the few bits of vinyl that I still pull out occasionally and listen to. One of my all time favourite records...

I like your list, actually I love your list. It's taken a while but our new drummer has everything on your list. Most important he sings fantastic high harmonies, has a great look, he's a great guy and people tend to gravitate towards him at every gig. Him and his wife set up and tear down his kit in 15 mins. At first I didn't think he was going to work out. Boy was I wrong. We're lucky we found him ( open mic ). Blue

A good drummer MUST be able to do the following: Play in time. Properly tune their drums. Remember at least two sets' worth of material. Control volume of playing without compromise. Be consistent and play with tasteful economy. Develop an almost telepathic relationship with the bass player. Be groovy and funky as all-get-out when necessary. Avoid strewing the stage with boxes and cases when setting up. Set up a full kit in 15 minutes or less. Be a nice guy, diplomatic and easy to get on with. Resist the urge to have 'just one more drink/spliff/rock/tab'. Carry own drums and ancilliaries to and from transport. PROVIDE OWN BLOODY TRANSPORT! I've only met two drummers in forty years who have been anywhere near this. In conclusion: Finding a good drummer is HARD.

I watched it to the very end. I also suspect that the reason many people have latched on to his views on exploitation and ethics is because that was in the first five minutes and it may be all they watched. It's not the most visually stimulating video, to be fair, but it is worth listening to in full.

The video of course makes both points very well Alan. One impacts on the other too.

I’ve got the 63 AVRI and was considering a Babicz z bridge. The bbot does the job but I was thinking of something a bit more solid but with minimal ‘footprint’. I don’t see me selling this p as it’s fantastic but don’t want to muck about with the look too much. oh and I believe it has the spitfire tort guard as the original owner spent £80 on it.

Apologies Alan. I did find the video thought provoking. My first thought was how come Alan doesn't charge more?... I say that fully acknowledging the irony of it considering our recent email conversation!

Welcome Hal. Isn't it good? All that wood.

Welcome, Hal!

I design all the posters, CD artwork, packaging, T-shirts etc for my band and would be more than happy to help people if they need assistance! I'm no expert, but I do try and make striking designs which catch the eye. If interested, drop me a PM. Happy to help with posters, flyers, booklet design, copywriting and all that good stuff.

Nope. And I don't believe that you're stupid enough to think that's what I wrote.

AER amp one is £1450 from GAK and weighs 13.5 kg. The one10 costs £319 delivered and weighs 7.5kg. (7.0kg if you go for the cloth cover at an extra £30.) That leaves you £1131 to buy an amp for the one10. Or an amp and a second one10? I agree that the amp one is superb. I've had a amp one (and an AER amp two - even better!) but the one10 will amaze you just as much. Frank.

@Al Krow it's easy to get a clean flat response from channel A: Bass in, bass/treble to zero, adjust gain until it distorts, back off a bit, then switch between unit off/channel A to adjust output vol to unity. Then fiddle with bass/treble until you have an (almost) identical sound when on unit off/channel A.

Boy am I glad I pulled the trigger on Le Bass, I can tell me and it are going to be very good friends for a long time. Bought it for it's cold fusion mode, and that seems to be where I favour it, but it or either channel all work amazingly with my two dirt pedals (Chowny Fuzzster and Darkglass B3K), but in different ways. With the Fuzzster into channel A I can get a fair impression of Mr Wolstenholme of Muse, into channel B I get a nice vintage-y kinda Fuzz sound, a little thin but cool sounding. The Darkglass is a little more baked in, but the more subtle changes are still appreciated. But with the Fuzzster and B3K run in parallel (Boss LS-2) into cold fusion mode... Special feelings. Filthy high gain special feelings. Well I enjoyed it! Made me hanker for a new paperweight though, maybe a tremelo-flavoured paperweight this time...

Let us know how you get on with them johnpaul

@honza992 was concerned about glue witnesses in his butt joints (Pipe down you lot at the back!). I described a process for mating matching parts that is more often used in metalwork. In short; when you've cut your timber, rub the mating surfaces together. Use short strokes with a firm pressure to keep the mating surfaces square to each other. Then take down the high spots (where you see a shine from rubbing) with a scraper until you've got even contact across the joint. If you have a plane and a shooting board however, I'd recommend that above all else.

ISP decimator II

Yeah the Mikey Way’s flakes were quite obvious “discs” and the flecks in your basses finish aren’t the same. its a refinished dream of a bass.

Classic and cool is actually based up the road from me in Teignmouth but its not a shop, he has awesome stuff in!

Sold a bass amp to Alberto, he arranged shipping and everything, perfect deal, highly recommend!

Matt Monro. Pitch and diction perfect....and sumptious orchestrations. Better than Sinatra in my humble opinion.

As far as learning goes, this may sound a bit mad but you should try to join a band as soon as possible. It's the quickest way to learn an instrument. If everyone in the band is better than you (not always a given, actually!) then you tend to play up to their level very quickly, and learn much more quickly than sitting at home practising. You're not only learning the bass, but how to play with other musicians and how to do gigs. Getting out there and doing it isn't practising, you're already flying!

What's the problem? If you don't like the modifications and/or you think it's overpriced just move on. I'm sure there will be something you do like popping up in the for sale section very soon.

It can be a bit disappointing but it’s not worth getting upset about. There are also many basses in sale in the classifieds that are not modified or badly treated and yet been on sale for months. I can think of 2 that have been popping up for years. Clearly they are also overpriced for the current market. But the owners have clearly decided on the money they want and refuse to accept less. Up to them, it is their property. still on the plus side their repeated payment of subs to the site can only be a good thing!

Hope you kept the hat though! I took it to a gig on Saturday but ended up not using it as the output was very low - I'll try it out a few more times & see if some fiddling about is needed.

Open Strings: Does it Djent. Pretty much always

Classic and Cool is run from a private home but, having been there twice, Mark is only too happy to meet arranged visitors and puts no pressure on you to buy at all. A thoroughly decent bloke.

Clearly a superlative bass player.

[quote name='JohnDaBass' timestamp='1502783594' post='3353426'] What paints did you use? [/quote] Nitro lacquer from The Manchester Guitar Tech - you'll find Steve online - he does the full range of fender colours and they are absolutely tip top paints if you are looking for rattle cans. Great bloke to deal with, and the paint is top drawer ..

Just this one. Although not strictly 100% Fender!