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This is guaranteed to boil my fosters. I'm not the world's most reliable man, but my reckoning is that if I can turn up on time, then anyone can. Persistent lateness is just pure selfish bullcrap.

Well actually a very old Sei, but absolutely beautiful none the less. Aquired recently in a trade on here, and just back today following a service, a refret and the installation of a new preamp. i would love to find out more of it's history, I really want to know exactly how old it is, I do know that it’s one of the first ones, judging by the exquisite binding around the fretboard, so it's at least 20 years old. i love the headless design. The ergonomics are fantastic. It balances superbly, and is an absolute joy to play. The different colour LEDs are a touch of pure genius.

Wind back five years and you’ll hopefully understand why this bass is as special to me as it is.... In Feb 2013 I was diagnosed with a massive tumour on my right kidney. It was at Stage 3 due to the size (an unbelievable 9.5kgs!) and I was told by the surgeon that it they didn’t operate soon it would kill me one way or another. On Thursday last week, I was given the good news that I had no signs of recurrence and that they were leaving it to me whether I wanted to continue under observation; in short they were happy for me to be discharged. To get to the 5 year milestone was something I wasn’t sure I’d ever get to, so to say I’m relieved is an understatement! After a few tears (something in my eye) my wife told me to treat myself and knew I’d been hankering after one of these: who was I to refuse! After an early morning start I picked this up from Bass Direct on Saturday. The guys kindly restrung it with TI Flats and it really is the best Fretless I have owned. It is more special to me than words can adequately convey. Here it is:

I wouldn't worry about the Fender v Squier decal - you need to get the shorts sorted.

Hi Basschatters! Just to let you know that the full line-up and timings for the Main and Masterclass stages are now on the website. We're sorry to see that a few of you are frustrated by the way in which we reveal artists and timings. There are several reasons for this - we're sure you can understand that it is part of our marketing campaign to announce artists one by one rather than in one bunch at the start, but also artists often want to change time slots, artists drop out and are replaced - and we wouldn't want anyone to plan their whole trip around a specific performance only to be told that it's been changed or cancelled closer to the time for reasons that are out of our control. Anyway we hope you're as excited as we are about the show this year - be sure to make use of your 20% off tickets code, we can't wait to see you all there! Best wishes The London Bass Guitar Show team

Two important things to remember. 1. Probably the most important factor in getting Mani's bass tone is being Mani. 2. The reason why his tone is so good is not the tone in itself (if you heard it on its own in one of those isolated bass tracks you'd most likely wonder what all the fuss was about), but the way it fits into the overall soundscape of the other instruments. So unless you are playing in a Stone Roses tribute band where the other band members had completely nailed the sounds of the people they are copying, you'll find that you are going to have to alter the sound to fit with what the other members of your band are doing to make the bass sound right.

I bought a super compact. Loved it so much I bought a second. Like dating Salma Hayek and finding out she has a twin sister.

Done!

@Osiris - The G55 comes in at under 3ms latency. I seem to recall that the specs are <2.9ms. So certainly up there with pro level wireless analogue to analogue. (ULXD for example, is 2.9ms) - so you have nothing to worry about on that front. Funnily enough, even on small stages I tend to use wireless just so that I have no cables under my feet. Use it - there's certainly no reason in your setup why you shouldn't. If you were telling me you were running a Smooth Hound, I certainly would be urging your edge on the side of caution as you would be within the realms of trouble with that (in fact, it annoys me that people keep banding around that it has no audible latency and is much better than the line 6 equivalents - when in reality, when using it in an IEM setup, it is useless.) Ha - my setup - yeah, overkill for most - but for me it's the result of somebody who probably cares about IEM monitoring for all gigs a little too much. I've used this setup in front of a few thousand... and a few tens down the local I think as soon as you have experienced a great monitor mix - which no doubt you will with your planned setup - you are reluctant to give it up. For me, the more I have pushed the dual desks and external plugins, the less I want to give it up. It all comes down to the final point - I just want the best monitor mix I can have within reason. My setup is actually pretty quick to set up - it's all racked and ready to go... so no real difference to plugging in just one desk! But yeah, people are probably going to be satisfied with far less! @jrixn1 is right - the 215s will enable you to do a job - but I would urge both of you to try and get into the world of quad drivers. It's the difference between running a single 10 behind you and a four ten. Just far more headroom, control, authority... and bass! I had a brief exchange with @thommydonutsabout driver count. He's just bought some high driver count IEMs - I think he concludes with me, there's a big jump from a single to a quad... and then as you go up in driver count, the returns do diminish... however, some of these 6, 8, 12+ driver count earpieces really are nirvana. Defo worth checking out if you can stomach the cost - but as I say to people, you need to stop seeing your IEMs as headphones but as a replacement for speaker cabs. If you have the FoH doing all your amplification FoH, then see your IEM as Bergantinos (or whatever) for your ears - afterall, they are doing the same job - your personal monitor on stage. Then, the cost makes more sense. Put it like this, I'm yet to see anybody who has invested in the higher end IEMs regret doing so. I think @dood and @tonyf would agree wholeheartedly with me. And both of them have been through some serious rigs. Ask them which rig has been their fave - their 64 V8s... or their cabs. I don't know if you are about to come to LBGS or Bingley Hall at the weekend but hunt me down and I'll get some top end stuff in your ears if you want to hear the difference.

Pet hate of mine. I am ALWAYS on time. The only way I have ever been late for something is if my extra contingency travelling time is used up by extreme traffic conditions, and I generally allow enough time for that not to be a problem. The way I see it, if someone is always late they can just as easily always be on time. It believe it to be arrogant and disrespectful to make others wait 'just because' they are always late.

It was the first Vigier I tried as well but, it was a long(ish) time before it became mine. I ended up with a Mike Lull PJ5 and then sold that for 2 US Fender Precision 5 but every time I saw the Vigier I wondered why I hadn't bought it. One morning, seriously, I woke up and thought "that's it, I've got to have it" so, I sold both the Precision's and bought the Vigier. I haven't thought of buying another bass since, no GAS at all. I really have found my home hence the purchase of another Excess 5. It's taken me a long time, taken me on a cool journey of discovery and cost me a lot of money but to be here, has been worth it

I forgot “dancing Queen “with ABBA @4000 thinking on same lines I see

As if by magic... this appeared a few hours ago... I'm sure they didn't film it for me! (But it could be a buying omen...)

Dropping the action lower is also more likely to reveal other setup issues with a bass, such as uneven frets, sub-optimal amount of relief, etc. And how much clank you get will also depend on the tension in the strings (and obviously you playing style). Also - dropping the action by around a full 1mm in one go, if you've been playing with >3mm action before, is quite a lot - so not surprising that it would feel weird. Anyways - you asked for numbers, and insofar as I can tell, only @discreet mentioned any ... so here are a few more (all measured at the 24th fret / whatever is the last fret on a particular bass) I recall that Warwick's setup video specified their "standard" (= as delivered from the factory) action as 2mm on the hi-G, and 2.5mm on the low-E. I find that a useful "reference point for medium action". When the guys at Freedom CGR were doing no one of my basses, and asked what action I liked, I said "pretty low"... it came back with a bit under 1.25mm on the high-G, and around 1.75mm on low-B. Played beautifully with minimal buzz (which couldn't be heard amplified). So that would be my reference point for "rather low". Over a few weeks, I couldn't get my touch quite light enough for that action to feel natural on the high strings, so raised it a bit to 1.5mm/bit-above-1.75 on hiG/lowB - i'd still consider that "low action". Conversely, anything above 2.5mm on the high-G i'd consider "high-ish", and >3mm as "high". No idea whether these numbers for low/med/high would be shared by everyone, but it seems to match up well with what i've seen at my local bass shops (in Tokyo).

Here's some proper photos of the show and that... https://www.sundayforsammy.org/2018-photo-gallery

Thanks for all the kind comment chaps. You’re a lovely bunch xx

Mentioned on here before - Rick Wakeman famously ate a full Indian meal. "It was 1973 and we had released Tales from Topographic Oceans, which I didn't particularly like. The third piece in the show was a particularly long percussive piece and I didn't have much to do. Now, I used to have this roadie that worked for me, he would lie underneath my keyboard ostensibly to fix things, but mostly he would just mix me drinks and pass them up. So on this occasion he asks me if there's anything I need, but I heard it as him asking what I felt like doing after the show. I just replied 'oh, I'll probably go for a curry' and then he asked me what I would have so I started naming various menu items, 'onion bhaji', you know...and then, 20 minutes later there is this smell. Of course you know that curry is a smell that wafts, you detect it. And he's standing there under the keyboard rig with these bags of takeaway curry." The story, a classic pull-the-other-one, is "absolutely true". And Wakeman says he proceeded to "lay out the meal across my keyboards to have some." If you are thinking Spinal Tap right now, remember this is 10 years before that film. And Wakeman chuckles as he adds the coda, "I've probably been offered curry at gigs a couple of dozen times since, I don't have it on stage, but I'll arrive backstage to find that someone's sent a takeaway curry to me, or it's been ordered, or there's a takeout menu there. It's nice. It's funny.

Of course mate, especially in the jazz venues ;-)

These photos are definitely food for thought. I’ve toyed with the prospect of a 6er of late. Though I already have a 5er with a low B and a 5er with a high C so technically I’m covered... It’s not the same though is it?

Ok I just had to go look that up - it's bonkers! The demo on the Roland site is crazy, damn. I've never heard of Bubby Lewis before, how the freaking hell does he manage to play that fast?? And the fact that it's picking everything up nicely - awesome.

I reckon Down Though the Night on Space Ritual is the best example of Lemmy's bass playing, so much drive, energy and melody.

Buy this immediately and then get the gold hardware. https://www.ebay.co.uk/itm/Fender-Japan-PB70-70-BLK-Made-in-Japan/183049189614?hash=item2a9e94f8ee:g:7ecAAOSwDVtacy8I

just take the shine off with some wirewool , or the green/rough side of a pan scourer .

Just to be clear, I actually decided on ABBA, Stevie & Kate because I adore them as artists and they have all written and recorded many of my absolute favourite songs of all time. Stevie and Kate are arguably my all-time favourite solo artists, as well as Stevie being in one of my all-time favourite bands. ABBA are certainly in my top 2 or 3 bands of all time - and may be at the top - hence the choice. The fact that Stevie, Kate, Agnetha and Frida all happen to be fairly easy on the eye is just a lucky bonus.

Welcome into the light Monsieur Krow!!

What is REALLY bothering me is that I'm very likely trading my Warwick (for an Ibby 5 fretless) and as part of another trade getting a Spector this weekend (busy gear weekend in the Krow household!). All part of this year's ill conceived 'one-in one-out' policy that for some reason I seem to have got religion about. One very valid way of considering the net result is that my rather lovely Warwick $$ 5 string will have become a Spector 4 string (albeit hopefully also lovely!) That means I can no longer wind up monsieur Le Greek anymore, with good conscience, when he is being derogatory about Warwicks and now start having to take his side on such matters. Ugh! The whole thing somehow feels very tawdry to me

The bass was actually found without any electronics in it, so it was just a bare 'chassis' of body/neck, so although I rate the Vigier pickups very highly, the setup in this one is different as I couldn't;t find any pickups on their own. So - it has Basstec humbuckers (as opposed to single coils as standard) and a Marleaux 3 band pre-amp, where the stacked bass/treb has been separated into two controls. Ages ago when I started Bassworld (the site before Basschat) a bloke in Australia made the pickup surround for me. Finally, I installed a Roland GK system and pickup.

Barnes & Mullins. They'll be at the London Bass Show in a couple of weeks time....

so too sum up, when you produce a product that doesn't wear out, it's market is in decline, and can be made just as well mostly by machine anywhere in the world, you're fcuked

I bought a G1 Compact pretty much as son as they came out. Before that I used enormous Trace Elliot cabs that sounded nice but were too much for my poor old back. The Compact was no only light but sounded immense - perhaps lacking a bit of top end clarity. I added a G1 Midget, which by itself lacked bottom end, but together with the Compact made what I considered to be the perfect rig - the two cabs complimenting each other perfectly in that it was full spectrum, lightweight and a pretty transparent output. I didn't see myself changing, tbh. Then Alex brought out the Supercompact which was claimed to sound exactly like a combination of the Compact and Midget - the perfect one cab solution!. I bought one and was blown away with just exactly how full range, lightweight, transparent, loud, small to load in and out etc. it is For my particular requirements the Supercompact represents such a perfect one cab solution that I, er, bought a second one. Simply because this one cab does what two cabs did before in a smaller single unit and with a touch more transparency I would say the Supercompact is a better cab to aim for - if the sound is what you are looking for. Some people prefer the more coloured sound of the Retro range. I have a One10 for its extreme portability but haven't tried any of the rest of the range to compare.

Huge double congratulations Nick, so pleased to hear you are in the clear and love the Ray John

I have to say I have a bit of a soft spot for the Firebird X. Also I guarantee you that some time in the next 20 years there will be a big-name guitarist who uses one of these as their instrument of choice, causing the price of the few remaining examples to go through the roof, and whoever owns the Gibson brand at that point to hurriedly bring out a re-issue that incorporates none of the important features, and only just about gets the shape right.

I couldn't get on with my Euro 4 , small hands and a deeper 'spine' to the neck.....however , my legend 4 is sweet, really sweet . I could never find a Spector Shorty I could afford ......however , the Shorty Bantam is making an appearance at the LBGS and is cheaper new than US used , so I am taking my credit card

Ale in an ice box?! Philistines!!

Having owned both, I'd say it makes an even better P sound than the TRB5P . The combination of the stacked humbuckers and the pre-amp gives you any tone you want. Just because it looks like a Jazz, doesn't mean it is one.

Crikey has no one here been to an Irish music night? By the second set the band and the audience are so whizzed no one really knows what's happening, most of the audience end up playing something and possibly for the first time ever, lots of fun.

Worth noting that Bobby Vega is actually appearing in the SBL workshop too: http://www.londonbassguitarshow.com/features/bass-workshop-with-scotts-bass-lessons Looks like just on the Saturday for SBL Henrik Linder exclusively on the Sunday though (again in the SBL Workshop). Si

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I don't eat or drink anything on stage. Usually, with the bands I play in, there is no time (dead space) between songs. I've been in bands who like to take it easy during the set and have a drink, a chat and a joke amongst themselves. I always hated that. IMO we are here to entertain so we should be socialising off stage.

Who knows what engineers can do knowadays?? I mean they put a time machine in an Delorian in 1985 for goodness sake 😱

Oof, rough day? The CTM 15 was never intentially marketed as an ‘all valve’ amp if we are abiding by the strictest definition, it is however a valve amp with valves in the pre amp and of course the lovely EL 84 power section which is where the majority of the tonal goodness comes from anyway. If some where stated it as ‘All Valve’ or if even we(Mark talks... a lot...) said it was then we apologise as that was never the intention. It is however a great amp with valves in that sounds like a great amp with valves in.... Please feel free to call in if you are ever Essex way as it would seem we owe you a hug and we also have top notch coffee. ps the new Stubby CTM 30 is ‘ALL VALVE’ ;-)

My new rig

[quote name='Grangur' timestamp='1490792418' post='3268022'] I know a fair bit of theory, but I don't know what it is I don't know. As for the rest, yes I guess that's what I want to learn. I'm an analytical person when it comes to a lot of things. I'm an engineer by trade. So, I guess that is what I want to learn. I guess what I need is a good chat with a good teacher to discuss the next stage. [i]IME as soon as I say "I'm not in a band" most tutors are dead in the water.[/i] [/quote] Any teacher worth their salt would have no problem with this. Plenty of my students have no aspiration to play in a band. Not inclined or simply wouldn't have the time to devote to it. They get the same 110% from me every lesson.