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For those of you with Amazon Prime - found this bass-fest (whilst searching for the Stanley Clarke bio-film which I don't think is on there.) So if you're into Andrew Gouche, Damien Erskine, MonoNeon, Janek Gwizdala and Hadrien Feraud it's worth a watch. It's pretty much unrelenting shredding over standards and gospel grooves. So cue peeling 32nd notes from super high-end basses - MTD & Fodera particularly. Stand outs for me were Hadrien who is freakishly nimble and articulate and MonoNeon for having a bit of personality.

We are going to be there Sunday! Provided no more snow drops

Can’t wait to hear what you have to say about this bass! I have to say I predict greatness too - if not from you then at least from the bass itself

Can't say enough about my Spector NS5 XL. Bought in 2000. Issue no.18. In that time I've had one pot changed. Had a Warwick Steamer before that. Heard they stole the design from Warwick and sought one out. Can't play anything else now.

Sorry, my poor explanation. He wanted collect only and advertised it as such, but after a bit of persuasion offered to courier and asked which courier I would prefer. Hence my fruitless search. In the end I coughed up for a train, went halfway across the country and made a day of it.

I'd expect them to sell the instrument. They set their rate and I agree to it or not and set the price accordingly. The rate itself is irrelevant. The commission, in many cases, includes VAT.

Lovely story, enjoyed reading that so thank you for sharing. I think I have one of your old basses, a teal green 2eq Music Man Stingray with maple neck. Mega light for a Stingray and I named her Sinead 😊

True. But sometimes one just have to take a leap of faith and risk it. If I don't like it, back it'll go, I'll lose postage costs but that's the only way to try one around here it seems. It's all because of this damn snow... it's given me far too much time to think about toys! In fact, if it weren't for the snow... instead of clicking "buy now" I'd have been driving to a gig! But it has been cancelled due to the weather. I'll call the bass "Snow". I should receive it on Tuesday... but I would not be surprised if there are still some delays as there must be a huge backlog with just about every courier.

I had the strangest experience in GAK once. Went in for a wander, decided to buy some guitar strings on the way out, to be polite... Me: Hello, can I have a set of D'Addario nickel 11's please? GAK man: Have you tried these? (Ernie Balls) Me: Ah, yes, tried them many times but I prefer D'Addarios, so just those, cheers... (points to strings in question) GM: Have you considered these (gets a packet of Rotosounds and goes into a long and confused explanation about wrap material) Me: (eventually realising he's trying to push stainless) Er, no, I use nickels. Can I get the D'Addarios? GM: What guitar do you play? Me: (a bit exasperated now) Eh? They're for a Gibson ES330. GM: Ah, you don't want them. You want 10's. Always, always use 10's on a Gibson. Me: Seriously, mate... this guitar's had nickel 11's for 20 years. GM: (firmly) You should try the 10's. Me: Uhh... forget it. It was so, so bizarre. And a bit aggressive, and unfunny. I can only assume the assistants were having a bet or something amongst themselves. I hope he lost

MiniMert and I quite enjoyed the Little Stubby. The overdriven tones are sublime and it goes quite loud, I’d say louder than the CTM30 but I’m basing this on fuzzy memory only. The feedback control is very cool, it literally feeds the signal back through the preamp valve (pre EQ) to thicken up the tone and add more “girth”. It also adds more volume too. The drive control seemed quite sensitive, below around 10 o’clock there seemed very little if any signal passing through, then it suddenly burst into life with warm thick valvey goodness. After about 12 o’clock you start dialling in more and more grit and overdrive - this thing is a monster for a hellish dirty tone. It’s not something I use a lot of but I can see myself trying it more, hehehe. Anyhoo, the pic is of MiniMert, sensibly defending his ears from the slapathon, giving my the all clear to buy it 🤓

gigrig isolators/distributors/timelord, etc plus your choice of psu. (onespot/diago/powerall, etc) been powering my board like that for years without any issues. More expensive but for me its worth it. Here is one of my former board using diago/gigrig. All of them fully isolated; Diago psu is rated at 3000mah. All of them purchased used to save on cost.

i just joined the club!!! ive been looking for a tasty P 5er then i came across this.... well happy

Zoom A3 will definitely give 48V supply- Ive tried it with an Audio Technica ATM clip on mic. Not a huge amount of gain, but you can insert the mic after all the modelling stuff, and still have two effects, plus 3 band eq on the front and anti feedback. But it is fiddly as hell!

Thanks for the tip with switch inside. Just tried it and the pop is gone. Got a power trio dep gig next weekend so will give the Soul Food another run out and see how it does.

I have one exactly the same except with a clear Perspex scratchplate.

Bass looks ok to me in the photo. If its a genuine American 74P bass i would have thought £1200 wasn't too bad. I'm no expert in them to be fair so i'll be curious to see what comes back on this thread. Like a nice maple neck You can pick up a decent case for not a lot anyways. Dave

My seemingly never ending quest for the perfect PSU is currently settled on this... I am using a Strymon Ojai to power generally high draw pedals across 2 PT Nanos. I am currently in the middle of fabricating a couple of riser platforms. Once complete I will no doubt share full details elsewhere on the site.

The two points everyone misses are 1) whatever you play on four I can still play on five. 2) I have more choices of where to play those parts. Those two points have nothing to do with the extra notes or synth bass.

Here’s his signature head... he’s a groovy little so-and-so..! https://youtu.be/NS-zZaVJVm4

Also @skelf, will you have a presence at the show? If I don't see either of you guys - or indeed your stuff - I'll make sure to re-post the photos I took at NAMM.

Yeah I like John too, originally I thought he was an airhead, but warmed to him loads. to be fair, he didn’t have his signature head, he uses a really nice P bass and Flats, there is not a huge amount more to say!

I dunno... My headless Hohner came in a rectangular vinyl covered hard case, wasn't even fake leather, with rounded corners and a zip!

MTD without hesitation.

I own an Ibanez BTB and an MTD Kingston. They’re both very good and I’d buy instruments from both companies again without hesitation. Overall though, the MTD wins for me. You have to play one to understand - I just love the neck profile with a passion and it makes me want to play it all the time.

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Might be. Overwater are a very good company making an excellent product. I don't know anything about the Tanglewood's though.

I have a Korean MTD. SUPER comfy to play!

Could have been worse, you could have had the matching braces.

I hope all of you guys can get here in time! I read that Sander de Gier’s flight got cancelled and he’s on a boat, and more people from Holland are in trouble. I’m in a pub with a beer. Come say hi at the Eich stand tomorrow!

Still puts a Super Midget at around £100 cheaper than an Aguilar SL112 in the UK. Si

tell him you're trying out a guitar in the wrong shop. Then watch him shut up.

Just to clarify, the 2i2 (as all Scarletts do) comes bundled with Pro Tools First as well as Ableton Live Lite, as well as a number of other very helpful free plugins (I can elaborate if needed) Cheers Si // Focusrite

Why on earth would you choose to take exception to me posting that? I was merely attempting to make a whimsical reply on the back of the previous post. I linked the previous thread to save people repeating themselves whilst also sharing the info already contained within it. Peace

Made of Monogamy with a framed marple top. Got a glued in neck not one of the ones from Bolton. It’s a Gibson Les Denis, played through a Jim Davidson WakkaWakka pedal.

Beauty, welcome to the BassChat 'passive 44-94' club......it's just you and me basically lol. Si

Me - Could I take a closer look at this bass please? Them - ** reaches it down and starts slapping 7 shades out of it ** Me - Is that hard to play? Them - Umm...?? Me - Cos it's f**king hard to listen to.

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Yes you can, can't you? I couldn't have put it better myself.

That vomit has clearly had a bird walk through it. Last time a bird walked through MY vomit, I got nil points and had to clean it up myself. Bloody hell.

Only if the collectors in question are refuse collectors!

I like slut red.

Well this is interesting, isn't it. I post some thoughts on an FRFR speaker I bought and look where we end up. I bought it to amplify my bass signal from the DI of my Ampeg SCR-DI. Last album we just finished? Bass - Ampeg SCR-DI - Desk. And it sounds like, Er, a bass. Recorded just like most bass tracks for the last 60 years - straight into the desk. I like the recorded sound, and to replicate that live, I have bought a cab that lets me do that as neutrally as possible with no colouring from a bass cab or amp. But this thread ends up as a modelling vs valves vs massive amps vs well, you get the point. Emotive subject huh? I always thought bass playing was about what you did with your fingers. Then again, you know what they say - opinions are like bumholes - everyone has one, and usually they stink. I would also like to subscribe to the "I know s**t" gang as well please!

Well there's more nonsense in the thread now

Compression is something that I think is widely misunderstood by a lot of people. When used in moderation it is the icing on the cake of a great bass tone, in my opinion of course. Because it isn't an obvious effect as such in the way that something like a drive pedal is, some people (and I'm not saying that you are one of them ) have a tendency to set the compressor so that they can hear it working, at which point you're invariably adding way too much squash to your tone and killing all dynamics. The secret of great compression is to use it in moderation so that the peaks are tamed but you still have dynamic control when you're playing. A little goes a long way. Compression is more obvious in a band mix that it is when it's just the bass in isolation. Once you have found the compression sweet spot, the bass will be more punchy and even across its range in the mix that without any form of compression. I find the best way to find the compression sweet spot is to set it up at a rehearsal while the rest of the band are playing, it is more obvious in the mix and at a louder volume than at in-house levels. I prefer to use my ears rather than any sort of in-built metering in the compressor itself. I used to play a lot with a plectrum and used a touch of compression. These days I play more with my fingers and still use compression and I do think it is more obvious with finger playing that with a plectrum, but it is still a subtle effect to listen out for. As with everything in life, there are people who won't like it and you might just be one of them. Nothing wrong with that at all I personally won't leave home with one