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...and I've just played Streets of London with Ralph McTell. Just him, me, and a choir. It was gorgeous.

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OK... before I fall asleep, here's the crack. Sorry if I ramble. I was asked to do the gig about three months ago. At that point, no-one really knew what was going to be in the set. Over the following weeks, I was drip-fed some possible tunes, so I just started to do my homework as much as I could. Bear in mind at this point I also had no idea who would be singing any of them, either. I'd heard Ralph McTell was coming along to do 'Streets of London' with a choir, which is a song I love. He rarely - if ever - plays with a band, so I was surprised and pleased when he asked for a bass accompaniment. I guess it might have been because it's a big hall, and wanted something for the choir to lock into. Video Killed the Radio Star was an interesting one... I bloody love the tune. The bass part is mint. So when I heard Trevor was going to be singing it, I immediately prepared myself for the possibility that he'll play bass on it, like he always does live. Sure enough, I got the call to say he'd be playing bass on it. We don't get a chance to rehearse with the stars until the day before the show, so I had to learn the part anyway for band rehearsals the previous week. I was slightly gutted, but I saw it coming. Fast-forward to first day of band rehearsals, and I walked in, cases in hand, and said 'morning!' to our MD. Before I'd even put my cases down, his phone rang... it was Trevor, saying it would be simpler for him if I played the bass. Happy? Hell aye. The band is me, drums, 2 x keys (one being our MD, the other being Alan Clark from Dire Straits.. about to be inducted into the Rock and Roll Hall of Fame!), guitar, 4-piece brass and 3 lovely backing vocalists. Rehearsals were hard work, but fun. If we were flagging by the end of the week, we were kicked up a gear when we shifted to the Arena on Friday night. I'm lucky enough to have been involved in some big productions before, but this was another level. Four flown arrays, three massive LCD panels, 22(!) cameras, scores of crew... just a logistical head-scratcher. All the cues and camera positions had to be worked out and rehearsed - the show also features comedy sketches, etc. - so nothing could be missed. We ran though the tunes a few times on Friday night, and all day Saturday (a 12-hour shift). Sunday morning was dedicated to sketch rehearsals (the Auf Wiedersehen Pet cast traditionally reunite for this show, and there were other great artists in there too, including Johnny Vegas, Jason Cook, Vera off the telly, and that). We got a quick line check, and no time to get adjust to the room. We were going in cold! We kicked the show off with (Reach Out) I'll Be There, which sounded massive... and it all went like a dream from there. Along with Trevor and Ralph, we had Jill Halfpenny singing 'Nothing's Gonna Stop Us Now', A great up-tempo blues with local legend Ray Stubbs, Tim Healy sang a great Alan Clark song, Ryan Molloy (Jersey Boys) did 'Can't Take My Eyes Off You', and was then joined by Joe McElderry for an incredible duet on 'Don't Let the Sun Go Down On Me', which took the roof off. We closed the show with a couple of Lindisfarne tunes, 'Clear White Light' and the Tyneside national anthem, 'Run for Home'. Then... we had to kick around for an hour or so, and muster the energy to do it all again! The second show was looser, as you'd probably expect. The evening crowd were a bit more raucous, too. It was fab. So proud to have been a part of this - the show is massive, and so many people have worked incredibly hard on it. It's worth it - it's going to raise thousands and thousands of pounds to help young creative talent on Tyneside. GEARCHAT.. I kept it simple, 'cos that's all I know. A pick (for Video Killed the Radio Star) Fingers (for everything else) LR Baggs Venue DI (used for in-line tuning only) Maruzczyk Jake w/rounds > House DI Limelight '67 Precision w/flats > House DI Handbox WB-100 head (Thread here), and absolute dream of a head I have on loan. I'm considering selling a kidney to buy it. Big, rich and LOUD. My R-400 was under the stage in case I felt like switching to it, but I didn't. TKS S212 cab (best cab ever) > Mic'd ...and that's it. It sounded marvellous. DVD's out in April!

Ha! And there, my friends, is everything you need to know about choosing a bass.

I know we had this before some years ago but it's worth it again and I always really liked Ronnie Lane's bass playing.

Things not to do in a music shop?

Love them! Here are mine..... Two very rare Hamer Impact basses (designed by Kip Winger) - these have a very Spector 'feel' to them......... and a white Hamer Scarab bass.

Just pinched this off Instagram...

... and Ronnie Lanes bass if you're interested:

I prefer Alder or Ash! In all seriousness I am of the opinion that the neck, and in particular the fingerboard wood makes the biggest overall contribution to the dynamic of the instrument.

Remember this? David Paton on the bass we don't mention....

Still my favourite looking bass. A super rare Hamer Impact neck through, from the 90's..

Given the amount of GAS evident on this forum alone, I'd say A LOT.

You leave my hole career out of this.

I've had a slew of the LMII, LMII, Rocker, etc heads, all of which were pretty ground-breaking a few years ago, but are now kinda Last Generation Class D, and sound it. Like other folk, I always had to zing the LMs up with an always-on pedal in front of them, which ultimately doomed them for me. The cabs...I've had the 104HR and the 15 combo and 15 extension, and again, they were good at the time, very light and efficient but just not as efficient or light as kit that has come out since. I hated the tweeters, they were a major turn-off for me. They may not be in the same price bracket as the likes of Vanderkley, Berg or BF, but at £650 or so for a 212, they're not far off, and, for me, if I'm going to that expense, a little more to get the best is well worth it. A pal of mine in the retail business always said "It's very hard to sound bad through MB kit", and while I'd agree, it's still kinda damning with faint praise... All of the above obviously is IMHO, YMMV if you like the cab colouring etc, etc...

Not surprising, a comically backwards thinking company run by clueless idiots that produces novelty knock-offs of classic instruments. This is their latest idea, apparently the cost is $4,999: Based on that alone I can't think of a more deserving company to go bankrupt.

I know of at least one big name Japanese guitar manufacturer who is readying themselves to buy out Gibson for their history and assets. Could be the best thing to happen to them. Japanese QC, forward thinking design and marketing etc...

Like most manufacturers, Markbass have never stood still and are currently going through a significant evolution. Sadly the new cabs (5 very different ones. 2 Marcus Miller, 2 Michael League and the Stu Hamm 2 x 15, which is amazingly articulate, given the configuration), which were launched at NAMM, won't be in the UK until June, I suggest you reserve your critique until then, because I suspect you will be pleased with the result! Preview here: http://www.markbass.it/media/upload_area/2018/01/18/cat_news2018_web_light.pdf I am currently getting my head around the new Little Marcus 800, and it is a beast! A very different beast, and while it can easily be made to sound just like an LM3, it is far more old school and a darker, warmer tone at its "everything at 12 o'clock" setting. With five tone knobs and that the VLE now extends a further 50hz down to 200hz, makes a massive difference... The new Combo I think will be quite exciting too, as the head is offset, meaning that the cab is as small and light as it could possibly be, given the frequency range it'll be handling. Both the 500 and 800 heads will be at the London Bass Guitar Show, where I will be working alongside MSL again, so do say hi if you're coming!

Shall I bring my G3 Midget?

Can't agree about the Thomastiks if you have a heavy playing style (like me). Thomastiks respond well to a more delicate touch ... they're wasted on me. LaBella FLs are the best but they're bloody expensive. GHS Baby Boomers or the Lakland branded strings offer a cheaper alternative that's almost as good.

Here’s a murky shot of playing Video Killed The Radio Star with Trevor Bloody Horn :-D

Best bass hang out ever, bassically (see what I did there). A chance to do all the things you mention... ogle and try out gear you’d never find in one place anywhere else, jam if you want to (I’ve never actually got round to that), meet other BCers in the real world, chat, listen to interesting and varied seminars if you want to... I first went three years ago, ostensibly because Silverfoxnik asked me to do a talk on Wal basses. It’s been a fixture in my diary ever since. Great bass day out. The second year I went Herbie Flowers was chatting - I wasn’t to miss that! John from Squeeze was fascinating. Last year was Davey Rimmer from Uriah Heap. I’ve no interest in the band but it was fascinating to hear his thoughts on playing and stepping into big shoes like John Wetton’s and Trevor Bolder’s. Steve Lawson was random, philosophical and amazing too. For a flavour you could do much worse than checking out Bluejay’s excellent photo blogs on the Bashes... https://silviabluejay.blog/2015/10/05/basschat-south-east-bash-2015/ https://silviabluejay.blog/2016/10/05/basschat-se-bash-2016/ https://silviabluejay.blog/2017/12/08/basschat-se-bash-2017/ Basically, get it in your diary and I doubt you'll regret it.

I just purchased a Hohner B-bass from Andy. It was exactly as described and really well packaged. Despite the best efforts of the morons in the post office it got here safe and sound. I would happily deal with Andy again

Ooops to the Spelling!

Unfortunately nowadays "Made In America" for mass produced instruments mostly means overpriced, for the build quality.

There's no "list" on the version. But there's a pretty comprehensive search tool. If you click on the search bar and then select members from the dropdown it should work

It seems that a non-modded MXR EQ is pretty wretched, noise-wise (see video below). Also, it's non-true-bypass, in case that makes a difference. Source Audio make a good EQ with true bypass, has a few (slightly fiddly to access) presets: https://www.thomann.de/gb/source_audio_programmable_eq.htm

@Quatschmacher?

Doesn't surprise me - most people are idiots.

Pulled the trigger on the La Bella 760N set - hopefully should arrive by the weekend!

I've only seen the extended fret board from afar, in places like the Royal Opera House orchestra. Regular readers may know my preference for 'Kubicki' style extended fretboards (see Shukers 1 and 2) but this time I wanted something with tuners, and I showed Jon the db pics and he reckons he can do something similar but more playable.

there's been several threads similar to this, I use a Trace head with lightweight cabs, get the best of both worlds, and a 200 watt old Trace head is more than enough IMO, used my series 6 200 watt head at the weekend, had it on 3 and was told to turn down! small pub admittedly but we have a bloody noisey drummer

You could aim pretty much all those criticisms at Fender and Rickenbacker as well.

I know it's the matt effect of the paint but that body looks as if it might be covered in red suede leather. It'd be an impressive look new but imagine the patina that you'd get after a full year of gigging with one like that! My limited knowledge of Fender lineage can recognise the mash-up of eras there. I avoid playing Fenders for preference. Frankenbass Fenders are interesting though. Could it be that I am becoming a FF* fan? *FF = Frankenbass Fender in this context. Other contexts are available.

Well I think you were very lucky to have gotten away with that! If I was the proprietor of a musical instrument retail establishment there is no way I would have tolerated morris dancing on the premises I can tell you!

Any comments on price I find difficult to swallow with flats a little.......put them on....leave them on forever, that's why I like them vs roundwounds. Flats just get better lol Si

Sad as it is it wouldn't bother me if they stopped making basses, there's nothing that gives me gas in their range.

Flat/tapewound strings are your first port of call. But you’ve said that a ‘Sting’ bass gave you what you want.....so get one of them?! Si

They should list drivers appropriate for use with them, along with modeled response charts and displacement limited power ratings with said drivers. Since they have the box design specs (one would hope, anyway) doing so with any driver would take all of five minutes.

Don't let your wife/girlfriend/ significant other know that you just bought another. Safeguards the bass and your nads.

Definition: Bass Bash is a term used for a day hiding from your so-called loved ones (family) to spend with your true love ones (instruments) and other like minded individuals in a secret location known only to those who play the aforementioned gear and frequent these forums. There are the odd exceptions, Happy Jack/ Bluejay, Grangur and Mrs Grangur, and Silverfoxnik & Hamster whose lovely wives (only one each) support these events with copious cups of tea and cakes. However, normally they are populated by sad old gits who want to talk about a subject (The Bass guitar and equipment) that no other band member or "normal" member of society can even bear to. Along with the attendees, you will find some beautiful examples of the luthiers' art which are available for the aforementioned sad old gits to try and discuss at their leisure. Other features of Bass Bashes are seminars and gear trials, (seemingly) never ending Raffles, and of course a great review by our own Bluejay which is generally better than the event itself. Stay tuned to the "Events" thread for details of your next/nearest one.

So what's that, given their obscene prices, about 3 guitars...?

I admire your determination in sticking with the idea, and on analysis some of the points have some validity. I'd take issue with the "which would be much easier for all..." statement though. I simply don't think you have the breadth of experience across musical instruments other than bass guitar, or other musical genres to say that it would be much easier. I don't think its up to me to prove this, I think its up to you to demonstrate how it would be easier for eg violinists, french horn players, musical directors, session musicians etc who regularly use, and are happy with, standard notation as-is. I can only use my own personal experience of musical genres and playing other instruments to say "yeah but no thanks" to the concept. Also - and probably a bigger issue you would pragmatically face - there is a huge catalogue of music, stretching back a number of centuries, which is already written in "standard notation" (in its various forms/variations, as it has evolved over the years), which would inevitibly need converting to a different system at some point. And it would not be enough merely to take everything that is today published, and convert it, monumental that would be on its own. There are millions of people and organisations which have amassed a library or collection of written music in some form or another. For example, an orchestra I know has a library of its own, of ~300 pieces. For each of these, there are approx 30 parts + conductor's full score; and for each of those parts, there will be a number of copies (for example, there might be 12x 1st violin parts); and for each of these, the piece might be over 2, 3, 4 or more pages. Each 'piece' struggles to fit into a document folder, and the library of 300 fills 2x filing cabinets where they rehearse and a significant amount stored offsite in an archive. And that's one orchestra/group. There's thousands of them up and down the UK, and there's probably millions worldwide with a similar amount of printed music. And I've not even mentioned how much written music an individual might personally own, be it in books, studies, pieces they've bought etc etc If ever such a revolutionary change to how music is written were to be adopted, it would need the pragmatic willingness of all the above to "convert", and inevitably it would need to occur over a period of time (during which both styles of notation would probably need to be kept). And in the interim period (which would pragmatically span an average person's lifetime) people would need to be familiar with both systems - ie they'd need to learn two, not one, which would be more difficult, not easier! That's not to say that standard notation is fossilised in time, for ever. It evolves - as any living language does, since its a musical equivalent - and has done so in the past. This evolution has been widely documented and understood and continues to this day, but as a widespread/universal system, it would need the widespread support of those who create music, publish it, read it and use it to adopt such evolutionary changes - otherwise it would just be a cul-de-sac of an idea which would inevitibly fade away over time. At the end of the day, standard notation isn't really a bunch of rules; rather its a de facto standard which is governed by those who create, purchase, use, read it.

just think that they should know instantly when they've sold the last one in these days off computerised stock systems, so should show out of stock on their web site, I wanted it for this weekend, but it's not the end of the world but I don't want to be waiting weeks for it, think I'll give them a ring like you say

Met Scott at the London Bass Show last year. I asked him if I could take a photo of him playing my bass, he obliged willingly. Seemed exactly the same person as his online persona. #topfella