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Great thread! Find a problem, try to throw money / gadgets at it before realising the simple solution! "My new bass is too bassy!" "What new pedal shall I buy to fix this?" "Lets come up with an uber patch that uses an LPF and multiple parametric EQs!" "Hmm, I'll just turn down the bass on my amp."

OK...so it wasn't technically today but I wanted to at least get a gig under my belt before shouting about it! Limelight 69 P Bass in aged Charcoal Frost. Plays beautifully and is quite a stunner. Looks like a different colour depending on the light!

Small : 1966 Fender Jazz with Daddario EXL165 -> Aguilar AG700 -> Aguilar DB112*2 Big : 2016 Sadowsky NYC Jazz with Blue Label SBS 45 -> Shure GLXD16 -> Aguilar DB751 -> Aguilar GS410*2

Ok, probably around 2 years ago I bought my first stingray 5, and it was a revelation. I decided that I was going to transition to playing 5ers full time, so I sold all my basses (including my previos go to bass a Spector euro) and bought a stingray 5 HS so I would have a spare, and to have some extra versatility. These two basses have served me well, and I thought it had cured GAS, until I woke up one day after a gig with sciatic pain from my lower back through to the back of my knee 😮. It took a couple of weeks to figure out that it was only after playing gigs that this would flair up, and could only put it down to the weight of the ‘rays (10.5 lbs each five or take). So I made the drastic descision to switch back to 4 strings, and today saw these two lovely ladies arrive. I have had limited time on them tonight, but they are just amazing. The fit, feel, weight and tone are perfect, familiar but new at the same time. I am still getting used to no low B, and wider string spacing which will no doubt take a bit but so far couldn’t be happier with the choice. I had forgotten how great these basses really are!!!

Well, after the 12 / 8 string debate, I decided there was no point getting an 8 string. So here it is - took a while to come as Andertons had it in their books but not in their warehouse, and it took a while to come. So it came the other day. I instantly loved it, then went off it and now I like it again - that was in the first two hours. It is harder on the fingers than a 4 but not excessively so. It does bring some more harmonics to the party. So the problem is, I now have this, and I have just got a dean 8 string as well, so I am going to see if I like the dean and if so send this back, otherwise move the dean on

Not quite the same as a neon pink G string so, pass. Sorry. It's completely the wrong gauge for my cleft.

If you're playing in Europe, you probably need to know 'The Final Countdown'. Well, someone had to say it 😁

Just to get back on track, I'm thinking of ordering another Mike Lull with a bradypus pygmaeus body, a brachylophus top and a honey badger fingerboard.

For an enormous chunk of the population of the planet, a bass is a guitar; end of story.

My band play on mainland Europe a fair bit. We approach the power requirement by buying a couple of European plug and change the UK plug on a couple of 2m single socket extension leads. They take up a small amount of additional space, are not expensive and then allow you to use your own extension leads from there on. Generally, the venues will feed and water you too. The audiences are also far more receptive and even seem to appreciate you being there. Pretty much the direct opposite of a UK audience!! If you go through the tunnel to get there, I heartily recommend the burger van in the car park where you queue to board the train. The 'dog and egg' is a wonderful creation (pork burger with a fried egg on top). I can guarantee you'll have a great time and drive on the right. It's always the first roundabout that (almost) catches me out!!

I picked up The Legend Lives On many years ago. I didn't know anything about him at all and have no idea why I bought it. I remember the quizzical looks from friends whenever it went on the CD player. I don't think I understood it either, but it remained one of my favourite CDs for years.

StingrayPete don't dress up as no Fedex guy

Any excuse to pop a picture of this 1981 SBR-150

Bought a Grizzly pedal from @Jackemmings, good comms and arrived swiftly. Was wrapped in 3 or 4 distinct individually taped layers of wrapping that made me feel like I was winning a game of pass the parcel when I opened it, which instilled a sense of childhood joy. Recommended.

I've just realized I haven't posted my NBD's on here yet, but I got some basses from the fine folks at Boult (Chris is great to deal with) I've not got pics of the headstock yet, but I will do when I get back home. Had it for a couple of weeks, requires a setup (I just like to do my own on every instrument I have) but the neck is insanely comfortable and it sounds nice and punchy. I still need a case for it, I've found Thomann do a case for this kind of shape that's pretty reasonable (£25 including shipping) I'm going to give it a go and see if it fits. Can't wait to gig this one. Thanks for the help with images Ped

In Europe the bass players is always on the other side of the stage. Most of all have fun, enjoy it and post a few pics with an update on BC. All the best Dave

I started this thread ages ago as a response to a couple of 'Isn't Jaco great' and 'Macca's the best, yes?' topics. Tongue firmly in cheek. I love The Sex Pistols and am saddened by what happened in the short time he had left following the bands' demise. I was only 8 when he died but I remember it being reported on the news as if it were yesterday. I had to ask my mum what heroin was. Poor old (young) Sid.

id be thinking of using it in this band, its way more experimental than most but i bet theres a few sounds i could use in my more normal bands which are the other two links.

I've recorded 3 minutes of silence for this one.

Well... new to me! Got it off ebay as a bit of a impulse purchase, but I've fancied a wee change for a wee while and I *Think* it was a decent price so i treated myself! Plays like a dream and the neck is lovely, although its a lacquered which I'm not used to. It came with a big chuck out the paint work, which I've simply gave a light glossing, and I've fired on a black 3-ply pick guard. Always fancied an allblack Fender with Maple neck. Now I have it! Doesn't seem to be much talk on here talking about the Special model, what what i gather it was just a cheaper level model under the US standard? Anyway... i like it!

Bass heaven - Instrument at waist height. Bass hell - Instrument at chest or knee height.

And why not? And what a lovely one you have sir!

Yessssss

Heaven - Drummers who can play and understand the relationship between drum and bass. Hell - Drummers that can't count, can't play in time, follow the vocals rather than beats or time and make it up as they go making it different every time.

Sorry, but if you don't hear the difference between ebony, rosewood and maple, it's about time to make an ear test as there are huge differences in tone. I know that most the musicians are almost deaf and only hear harmonics, but stop this please : it's not only a cosmetical difference, it's a tone difference. At a time, for some personal reasons, I had two identical Leduc MP 6 strings fretless basses (neckthrough abd bubinga wings), but one had a pau ferro fingerboard and the other a Brazilian rosewood one : there was a BIG difference in tone between the two. Strangely I ended up keeping the pau ferro one that had more bite and high mids, which was what I was looking for at the time. In November, I bought another Leduc MP 6 strings fretless I was hunting for 10 years : quite similar in contruction but the wings (flamed maple top over ash with a mahogany veneer in between) and the fretboard which is Brazilian rosewood. Soundwise you get a more present fundamental, more low mids and less high mids, so a hugely growling and mwahing fretless. I know I'm a bit harsh on this subject, but I'm really fed up with these comments. It's like saying that a carrot tastes the same as a cabbage.

Sounds like the perfect support for 36 Crazy Fists!

" Mashine heads are original. " " The base, when in use, was used in a studio environment only " He managed to spell ' environment ' , but not ' bass ' or ' machine '

The MS60b and B3n are different generations of product. By that I mean the B3, MS60B and B1on (and all the guitar equivalents) all use the same hardware/processor. The B3n is a newer design, new models, new everything really. It'd be like trying to run Windows 10 on an old 386. Wouldn't work.

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We did a maple/rosewood shootout and whilst not getting people to guess which was which, the overwhelming fave on each category - Precision/Jazz/Ray etc - after playing one maple, one rosewood of the same bass was rosewood. We tried to keep as near as possible, but obviously strings/year of manufacture can all get in the way of pure objectivity but, even then, rosewood triumphed across the board (pardon the pun).

once again, it's not about the gigs, it's about hanging out and enjoying playing music with each other. why do you keep going on about the number of gigs? You asked whether the ad was good, and almost all of us say it is because it tells everybody exactly what the band is after. You seem to disagree because you wouldn't want to join the band. That's a different question to the one that you asked. The only way that your argument that it's not a good ad holds any weight is if they do in fact play five times a week and have put you off applying for a band that would really suit you.

Very nice

wow, one of the very first albums I bought on cassette was Jazz Funk ( I was about 18) had a massive influence on me at the time.

There are only a few features I dislike really: 1. Pointy or overly large headstocks 2. Neck-dive (more ergonomic than aesthetic, admittedly) 3. Bongo. What were they thinking? 4. Buckeye burl 5. Literally everything about this monstrosity:

Streamliner (IMO) always needed bass rolling back to about 9 o'clock. Just got a Magellan, impressed with it, very versatile, between clean/drive/contour & eq points. Bit of a thread here.

Or you can add your own relic on top of the Limelight supplied relic! I wear a few bangles/bracelets etc and it soon added that authentic 'genuine' roadwork look on top of Mark's original work

TC Polytune clip. Never failed at all. Even in Very noisy situations.

Bernie was also a 'star attraction' at the 2010 London Bass Bash. Would be great to see him again.

I played one of the Proto705s - the older model with the more Fender style headstock - in a London shop about 10 years ago, it was great and I wanted one for quite a while, indeed my current Lakland DJ5 is pretty close in specs.

'kin love funk me, the proper stuff from the 70s going into the Washington DC Go-Go scene of the early 80s. I cant get into the retro copyist stuff like Uptown Funk etc. For my money no one did it harder and heavier and funkier than Trouble Funk

Mr Collins at his best - another essential bass part for a funk/soul/groove player to learn!!

The "No Alcohol" thing is probably more to do with Passenger "safety" than anything else. As a member of the crew, you also have a responsibility to the passengers, even when you're off duty.

B*njos. Always make me think of that film, Deliverance...

Gotta join in the fun... here is my rig run down... Main basses: 1985 Wal Mk 1 Custom Bass (flats) 1979 Wal Pro 2E Bass (flats) And sometimes 1981 Aria SB700 (rounds) (Plus Signature/Build-a-Bass Frankenjazz on permanent loan to a chum, Faith Neptune Titan acoustic bass, Hand built Tony Revell acoustic bass) Pedaltrain pedal board: TC Polytune - Little Lehle switcher -| EHX Bass Soul Food - Morley Dual Bass Wah - EHX Stereo Pulsar Tremolo - Boss CE-2B Chorus |- Tech 21 Sansamp VTDI -> to PA and/or amp T-REX Fuel Tank power supply Amp and Cabs: MarkBass Little Mark LMII (500W) MarkBass Traveler 2x10 cab MarkBass Traveler 1x15 cab Cables by Cleartone/Session & OBBM/Rock-Wire

You should like Rick Wakeman for this alone ......

It does make a difference (to me) what type of person they are. I haven't read the Gary Glitter thread but my opinion of Metallica ( the band members) plummeted after watching Some Kind of Monster.

This one ... Isle of Wight Festival, Saturday 31st August - Sunday 1st September 1968 Apple - Jefferson Airplane - Smile - Harsh Reality - The Move - Orange Bicycle - The Crazy World of Arthur Brown - Halcyon Order - Fairport Convention - Pretty Things - Hunter - Muskett - Aynsley Dunbar Retaliation - Plastic Penny - Tyrannosaurus Rex - John Peel Marc Bolan 1968 Sitting cross-legged on a flat bed truck, Marc warbles Tolkein-like fairy tales of elves, magicians and romany soup as half of Tyrannosaurus Rex. The setting is a cold stubble field, near Godshill (where the ley lines meet) to a hippie throng gathered for a now legendary one day event. The first great UK rock festival. Site Manager, Ron Smith, remembers setting up the event: Jefferson Airplane "The IOW pop festivals came about as a result of the Isle of Wight Swimming Pool Association, of which I was a member, wanting to raise funds. It was suggested we employ a fund-raiser. I said I knew someone; that person was Ronnie Foulk. We then proposed, after some discussion with Ray, that we have a pop festival. The committee allocated £750 and we set about putting a festival together." It was Hells Field, a one hundred acre field of stubble corn, and we paced out with some broken bars that had been left on the site what we thought the arena should be, and then Ronnie and Rikki Farr (the compere) suddenly said, "We're off to London now, see you. Don't forget it goes on in three weeks time, Ron." "I wondered what I should do, when three brothers aged about thirty came on the scene in a van and said they'd heard we were talking about a pop festival on the Island and could they help. They had called at my house and the missus had sent them out. They wanted desperately to be involved, and had experience in scaffolding, laying bricks, anything." "So I went off in my van to get some scaffolding poles and we set to build the stadium. We covered it in black plastic. The stage was several low loaders which I had through the good offices of British Road Services, and we got a generator down from Winchester. Water for the site was obtained in new dustbins by my wife, who went round garages in the area, filling them up." The big day dawns Tyrannosaurus Rex - Mark Bolan Publicised as one of the biggest pop festivals ever staged in this country, events got under way early on Saturday evening. An audience of 10,000 congregated on forty acres of barley stubble known as Hayles Field - translated by the press into 'Hell Field' - on Ford Farm, near Godshill but nearer Niton, just off the main road from Newport to Ventnor. The event began at 8pm on Saturday, 31 August and ended at 8.30 the following morning - it was supposed to run from 6pm to 10am, so it started late and finished early! Tickets were the grand sum of 25 shillings each, £1.25 in post-decimal times. After weeks of planning the supposedly highly organised, precision-planned gig turned out to be 'sixteen hours of make-do, make-shift and hasty improvisation'. Technical difficulties meant as often as much as a half-hour break between each group. Organisers and sponsors associated with it had already disclaimed responsibility for anything that happened 'on the night', and the Island's magistrates hit out at them for advertising bar facilities before they had applied for a licence. Pre-publicity promised 'licensed bars, marquee, refreshments and snack bar'. Geoff Wall recalls the sheer excitement of the times: "The boundary fence consisted of black plastic sheeting - a far cry from the high wooden fences and security guards that accompanied futures IOW events. The loos were a simple trench, again surrounded by some plastic bags. The stage itself was just two flatbed trailers placed together, with plastic sheeting covering a make-shift scaffolding structure. To the right of the stage was a huge screen." The whole affair was a miniature precursor of Afton, beauty and danger coalescing in a rural setting, with the pop fans like the 'poor bloody infantry' of the Great War, setting out for the trenches. As the Islander reported: 'Hells' Field was a beautiful setting for the Festival, surrounded by rolling green hills and bright, bright sunshine. There was, however, something ominous about the enclosure; it looked very much like a prison camp, a detention compound. An area all round the billowing black PVC walls was marked off with wire, and patrolled by a Security man holding an alsation on a tight lead. The queue at the entrance was very orderly and seemed unnaturally quiet, almost apprehensive.' Quite who did appear and in exactly in what order, is still a subject of lounge-bar arguments. As someone once said, if you can remember the sixties, you weren't really there! The poster promised Jimmy Saville - who no-one can remember being there - and a 'lite-show' by a student of the RCA. The only thing that compere and Radio 1 DJ 'Laughing' John Peel, who made a brief appearance to start the proceedings, could remember twenty six years later, was .. "...one fragile bobitette who was crying because her bare feet were so cold and, overcome with lust, I gave her my socks. She skippety skipped away and that was that. I want my socks back. And I want them washed first, too." The above extracts are taken from Brian Hinton's "Message to Love: The Isle of Wight Festival 1968 - 1969 - 1970". Copyright: Brian Hinton, 1995. - See Brian's Books on Amazon You had to be there.