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I love showy things, I love the colour and flip flop paint, but that surface on the warwick is horrible. There is a honda civic down our road that someone pained themselves with household emulsion that looks just like that. Hope it looked better in person!

If you sell a bass in this way then presumably you have: 1. Decided that it's a desirable thing to do (presumably because you feel it improves your chances of selling your bass in some way); 2. Decided to take advantage of the reputation and/or facilities your chosen agency offers; 3. Decided to accept their terms and conditions of sale; and, 4. Decided that the net price you will get from the sale is at least as much as you would get from selling it yourself (and without the inconvenience of having to advertise it, field dumb queries from the great unwashed or arrange delivery/courier/collection yourself). If you're unhappy with any of the above, then without wishing to be rude why are you doing it this way in the first place? Why not just sell it yourself and be done with it?

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 🤓

So... For the impatient amongst you I have a little video! It's just what i've been working on composing today, so not incredibly real-world for most players and just on an iPhone. However, plug in some headphones and you get an idea of some of the warmth and the cleans it produces. I will do some proper/more in depth but talk-free demos, as per the rest of my channel, later this week! T

You bought this from them at the LBGS? It looks like a nice tidy wee unit. The inevitable sound clips request has officially been lodged. side note LBGS just makes me think Lesbian, Bisexual, Gay and Slappers (bass or otherwise) I have an hilarious image of the LGBT community showing up at the London bass guitar show being massively disappointed and confused!

Damn! Not Tina then ...

Undoubtedly to everyone's utmost surprise, I've got a pic of the whole bass. Edit: click on it to see it in full resolution.

Isn't the B1on just the best value for money thing any bassist could ever buy? After my Vox amplug suffered a prolapsed input due to me standing on my cable I recalled folk here saying the Zoom can do the same job and more. At £45 I thought why not take a punt. I'm stunned. It is a superb piece of kit. Perfect headphone amp, with aux input. Now with Audacity on my pc and this beauty connected to the sound card song learning has never been so easy. Oh and it has an excellent tuner too. Oh and the effects are really nice and easily customisable. And did I mention it only cost me 45 quid? Brand new? In the future people will describe any wonderful and innovative novelty as "The best thing since Zoom B1on" trust me.

Not a quest I've ever been on! If it ain't saturated, I ain't infatuated.

Roasted swamp ash body, stained flamed maple top, roasted flamed maple neck and fingerboard. All passive Nordstrand MM + J blades. I want them as lightweight as possible!

Angry Birds?

Yes - Spitfire.

I was planning to go on Saturday only but there were so many good masterclasses that I went back yesterday as well. Joe Hubbard and Yolanda Charles were both completely inspirational. Scotts performance/session in the SBL room yesterday was fantastic. I really enjoyed Chris Childs masterclass as well - a great insight into his role as a gigging & session musician. Overall, a really great show (although I found it a completely humbling experience because it highlights to me how little I know and how basic my own skills are!!)

So the biggest unanswered question.... were those the Warwick special discounted show prices...?

Probably the packaged weight. I bet those aren't the bass's actual dimensions either. I mean, I could be wrong but 5.5 inches deep?

Yep, just got home after having attended both days. Arrived quite late yesterday and missed all the workshops/seminars but got in a couple of hours worth of gear-drooling. Spent some time with Alan Cringean of ACG who was an absolute gent and had some glorious basses on display. I had the pleasure of playing a lovely red P-Retro 5 string which I fell a little bit in love with. Just before closing time I got chatting to Scott Devine who asked if I was coming to the pub afterwards. The answer, obviously, was yes. So off we all went (many of the show’s exhibitors, SBL faculty as well as ordinary folk like myself) to The Albion. On arrival it transpired that the pub were hosting a LBGS jam night, kicked off by Dave Marks who had to promptly leave for a gig after playing the opening number. Before long one of the guys I’d gotten chatting to earlier in the day started spreading a rumour that I wanted to sing. I soon had a small rabble of folk peer-pressuring me to get on stage! To be fair there was a distinct shortage of vocalists so after putting it off a bit I obliged. Got to close the evening with a bit of Never Too Much followed by a blagged rendition of Superstition. It was great fun and I got to meet some great musicians! When the pub kicked us out many of us trawled to the Hilton for another bevvy. Got chatting to Thomas Eich who was happy to talk shop, clearing up a few questions I had re: the Tecamp/Eich split. I didn’t stay long though as I wanted to get to the show a bit earlier today so as to sit in on a couple of workshops. So today I saw the Scott Devine workshop followed by Rich Brown who was incredible. Wanted to stay for Henrik Linder but got caught up in a wild goose chase looking for John East! In the end I never did find him, much to my dismay. Spent some time at the Aguilar stand, wincing at the prices of their pedals. Also, wincing at their ludicrous signal path: Filter Twin > Chorusaurus > Octamizer > Agro > TLC Compressor > Grape Phaser. I was gagging to tear their board apart and reorder the whole lot . To be honest I was mainly there to try the new Grape Phaser but it was borderline impossible to tell if it was any good or not because there was too much ambient noise and I felt like the TH500/SL112x2 setup wasn’t able to cut through it with any real clarity. It may have been wise for Aguilar to do what many of the other exhibitors were doing and provide a couple of Phil Jones headphone amps. Towards the end of today I had a chat with Nick Smith (haven’t seen him in about 10 years) with whom I lamented the absence of several British companies. The likes of Barefaced and Alpher Instruments, amongst others. Bit of a shame not to see them at LBGS to be honest. All in all though, a great weekend was had. I met some lovely people and saw some great playing. I was a first-timer and it wasn’t the mad slap fest I had anticipated, though of course there were moments of it. I’d happily go again next year.

If you want that dull thumpy flats thing just buy normal Roto rounds and play one gig, job done

The Puth track is a keys part played into Spectrasonic’s Trillian Total Bass vst with their Hofner emulation used as the sound. It was then passed through the Waves CLA Bass Plug-in which has a very specific speaker emulation tone which gives it a lot of the character of its attack. It also has a very heavy compressor if desired and a sub (much the same as an Ashdown sub down) and chorus element to it. I find the fact that it’s so liked interesting, but I too totally dig it and it’s very much right for the track. I only have super specific knowledge in this one track as I emulated it in the production of a different track for a different artist as part of my masters, and the bass sound is so distinctive in adding timbral colour. On a note relevant to this thread: I’m loving my recent switch to Ashdown amps, and it’s totally the sound I was heading towards in my head - but it does need the flat button on the ABM-pre pushed in to get there! T

Here's the Motown guitar and bass preamp if you've not seen it before ...

There was certainly a fair bit of drive in those bass sounds though. I'm a big fan of the Aguilar Tonehammer for replicating that with modern equipment!

As this man would say: It's not unusual...

That was by Bananarama, right?

It is indeed! Lovely thing!

I think this could be the perfect head for that, I truly adore the clean, warm valve tone. The Feedback knob really helps get the tone to where I want it, I find.

Only a little bit? You're just not trying hard enough! Were you there when she turned round to Michael G with a big smile on her face and shouted out "I like this!" We certainly liked THAT

It's the attention to detail that I love with your builds.

If you mean Allparts, their necks are right up there with the best in quality and 'tone' - they are at least as good (If not better than) stock Fender necks. The Allparts neck fitted to my Bass Doc custom P is as good as anything produced by the big F.

No problem, it's solved now, i've got one on it's way to my local store and they got me a very nice discount.

We finally made it for Sunday. Apologies to all for missing the first day! Was great meeting everybody, really appreciate the time of everybody who popped by the booth to try out our stuff. Overwhelmingly positive feedback reminds us why we do this. @Happy Jack I hope you like your fretless. @NickD I hope you like your Pitchcraft pedal. Spread the word! We've booked again for next year.

I used the Jazz 3 for a while, before discovering the petrucci picks. They're slightly larger, but the feel is better for me

A big +1 from me. I’ve got some serious learning to do.

Yeah, well that's what happens when i try typing on an ipad when ive just downed half a bottle of rum. Thanks for reading all the way through the thread just to point that out though.

well spotted... I didn't check the dimensions... you are right, I'm sure.

In terms of bang for your buck, I kinda feel that Ibby put many brands (including other personal 'favourites') in the shade. Eg if I want to get a neck through with individual bridge pieces on a Yammy, this is currently the preserve of the very top of their range the (albeit gorgeous!) BBNE2. And that does not come cheap!

Entirely down to personal preference. I enjoyed my dalliance with 5 strings but I prefer to keep things simple. I didn't like swapping between 5 and 4 and didn't want to give up my 4s. For me those extra few notes and positional possibilities weren't worth the extra weight, expense and weird string spacing. Also, I couldn't shake the feeling that the 'B' string was just too... different from the other strings, somehow... it didn't sit right with me. YMMV of course.

Welcome Bean9seventy

It's a really nice bag, lots of room for storage and well padded.

Nope, it is powered at very high DC voltage. Obviously to make a high DC voltage you need a way of generating it which is generally a high frequency oscilator, and these things tend to be made cheaply, so you can actually hear them whine, although I have put some around my headstock and one gig and they produced no electrical noise. Our singer wrapped his saxaphone in one: it produced no electrical noise but fouled the valves Obviously there is no 50hz, unless you power your bass by the mains, which might not be so convenient! Edit: Turns out I was wrong, it IS AC, but AC at about 100V 2KHz.

I got my Yamaha BB424x for silly low money and I can happily confirm that the label "precision killer" is completely justified. Sounds absolutely lovely with flats or rounds, then you've got the added benefit of having a J pup and a PJ scooped sound.

Unlined fretlesses just look the coolest of any guitars and you can still make them sound as funky as f**k What's not to like?.

Enjoyed saying hi to the team on the Basschat stand yesterday and I will try not to lurk as much in the future. As to the show, the exhibition was a bit underwhelming - as has already been said there was an absence of some big names and it surprises me that Promenade Music and Bass Direct can attend but more local retailers like The Bass Gallery and even GAK don’t - no doubt there are cost and logistical issues I don’t understand. Bobby Vega was great, more funk in his little finger than I have in my entire body, and the Yolanda Charles main stage set was superb with Guthrie Govan as well. Enjoyed hearing Steve Lawson’s throughts on improv - a pleasant contrast to the mad slapping happening on some of the stands. The luthier talks were difficult to engage with as they were right next to the (overpriced) cafe. Wish I could have stayed on to hear Guy Pratt and can’t get back to today either.

If you can play a fretted bass why wouldn't you want to try fretless? Theoretically at least, just about every member of this forum has the fundamental skills needed to play a fretless, it would be stranger if most of us didn't fancy giving it a go at some point.

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

I have 5 pickguards for my P-bass and I just switch them about. It really helps reduce GAS / future potential impulse purchases.