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And as promised, some fancy pics

Well, the good news is that you don't hate Tobacco Sunburst. You hate Three Tone Sunburst.

It's 4 years since I bought my first PB-50. I'd just signed up on BC and had no idea who Thomann were, that soon changed First time I viewed their site the PB-50 caught my eye but it was £76 and £76 buys you nothing remotely playable. Bought one anyway just out of interest. 2 1/2days later a big box of goodness arrived. Now I don't have a list of conditions when it comes to basses, I like a decent neck, a bridge that holds strings,tuners that hold a string in tune and a pickup to convey bassy sounds. PB-50 delivered that Interest in these spike everytime @discreet posts one of his mods and I will post headstock templates out to any BC'er who fancies having a go themselves. The templates started off for use with a router and guided cutter but as yet no-one seems to have used one. @MrTea suggested I do a post on shaping the headstock so here goes First thing I forgot was to take a before photo so here's the Thomann link. https://www.thomann.de/gb/harley_benton_pb_50_sb_vintage_series.htm I use the Mike Dirnt headstock shape and print on 200gsm card The set up on the newly delivered PB was great so the neck was left attached. Removing the tuners was first job. I'm working from the back so left the bushings in place. The screws can sometimes be awkward so if you've an old PH1 screwdriver,file the tip down and it'll seat itself into the screwhead better. The printed template has the tuners marked so align them with the holes and draw round the template. Remove the large areas with a copingsaw or in my case a pullsaw. ( in the photo is a router template made from doubled up floor tile) This is the rough cut, then I used a rasp to clean and round the shape. Sorry I forgot to take a photo after the rasp stage. After getting close to the pencil lines it's sanding next. Make sure you check the front face when sanding as you may not be sanding vertical. If you veered away from the lines you can hide it by sweetening the edges of the headstock. At the tip there it looks irregular. I managed to chip a bit of the front face so it's actually tape holding the glued in chip you're seeing The boss reckons I should tackle the 2 saddle bridge next. I masked off the edges so I had witness points then removed the bridge. Lady Luck came calling and the centre screw on the 2 saddle bridge matched the centre screw on the PB's bridge but I glued and plugged the other 4 holes.After fitting the bridge using only the centre screw I added the new Herrick pickup,this way I could run a string from saddle to nut and see they went over the pole pieces. Another thing was the bridge base was smaller then the PB one so the machine screw on D&G got swapped for a longer one (just robbed it from the PB's bridge) All lining up the back got masking tape before I drilled for the through body holes. Thought I'd a picture of the 4mm pilot holes but guess not The string ferrules had a 9.5mmm body but the rims were 12mm. Marked the depth on a 12mm flat bit and drilled for the rims,then swapped to a 9.5mm countersink. Tapped the ferrules in with a mallet and it was ready for strings and set up. I really shouldn't have bothered with the 2 saddle bridge, intonation is a hassle and I've decided to fit an ashtray There's also a bit too much shiny wood showing so I'm thinking about a scratchplate. Still undecided about the logo, I wished the HB logo had been in a different area so I didn't cut into it Looking at it now I'll get a Benton logo printed up and fit that. No shame in playing the HB

Strong word isn't it? Hate? A couple of years ago I had a dream (nightmare) that I was driving around my locale, visiting friends, in a clapped out old Austin Metro. The jalopy in question had been finished in tobacco sunburst by a previous, semi-professional, pensionable rock guitar wombler, who needed to express his intrinsic love of everything rock and/or metal to absolutely everybody he passed on the street. I'd found myself the owner by virtue of being unable to afford anything else. Each body panel had individually been resprayed tobacco sunburst... the roof, wings, doors, hatch and bonnet each had that brown middle moving into red and then to black along its edges. The stanchions that held up the roof were black, as were the bumpers. I woke up and was awoken to a basic internal disgust for any guitar with a burst finish. At first, I thought it a mildly amusing figment of my imagination, one that I would soon forget. But I can't. My dislike tobacco sunburst has since extended to any type of burst finish, surpassing my previous best dislike of coffee table basses... even more that the nausea I feel when I see quilted maple, which looks to me like baby has just vomited a Farley's Rusk on my shoulder. I despise it. I see perfectly good basses that I'd like perhaps to own, but couldn't entertain the thought of buying just because of their finish. Is it just me? What is my problem?

I'm not a carpenter and use a drill guide like this one.

The law's been pretty clear about two tone sunbursts for the last 9 years or so. Here's a breakdown of what's legal and what isn't: The sentencing tariffs vary from community service (for a RW board P-Lyte) to a minimum 5 years custodial (for an unbound Ric 4000).

I've no time for that bandy legged, aren't I hard, Poundland Stevie Wonder-U-Like dwarf... but my God he always got lucky with rhythm sections.

Remember to set up a dedicated user on the laptop and have all internet, notifications, alarms and updates switched off. Otherwise prepare for embarrassing hour long waits whilst it updates and unmistakeable windows themes tunes coming in at will. Even a usb going on and off will cause the alarms. And set so your screen saver doesnt kick in and lock your laptop mid playing.

Had several brown bursts at the weekend - poorly tummy.

When was after a Yamaha Bex4 it seemed all anyone had bought were the trans orange or blue. I'm so glad I hung on until a tobacco burst one came up for sale. I've seen plenty of blue and orange but you don't see the burst one very often. Isn't it a beaut!

‘Tasteful Slapping’

So my white one, up there ^^, can stay as it is. As today I traded my Musicman Stingray, that wasn’t being used much, for this (that I didn’t even see was on here, Hi Dave!). I’ve been after one for decades. Just never managed to nab one until today! I’m beside myself with joy, just looking at it gives me a huge smile!!

Can you read SPL charts? This compares response of a Simplexx 15 sealed and ported with the Eminence BP1525 driver. Note that if you want to get the same response from the ported as sealed you can, just back off on the bass EQ, which also reduces power draw from the amp. The chart only extends to 200Hz because above that they're identical. The ported advantage in low frequency sensitivity is there, but it's not huge. Now consider this, a maximum SPL chart, which takes into account the response, the driver thermal power handling and driver excursion limit: The sealed cab doesn't even come close down low. The difference is attributable not only to the output added by the port but also the reduction in cone excursion that porting results in, and it's excursion that primarily limits how loud a cab will go below 70Hz or so, not the thermal power capacity. You can get a ported cab to sound like a sealed cab, but you can't get a sealed cab to deliver the low end output of a ported cab. There will be those who say otherwise, but in controlled double blind listening tests when EQ'd for the same response listeners are unable to tell the tone of one from the other.

To echo what the others have already said, I had a great time. It was great to meet a bunch of bass players with all sorts of backgrounds and interests, and play some really lovely and diverse gear. Thanks all for a great time. See you next year!

There's some excellent bass playing waiting for you when you get there.

At one point with the Pogues covers band, I was swapping between banjo, bouzouki, fiddle and mandolin for different songs, all 4 instruments routed through the same acoustic guitar amp which I used as a monitor and then DI back to the desk. Something like this would have been very handy - I cobbled something together using an LS2 and both inputs of the amp if I remember rightly.

Well, it's getting closer. The last bits always take an age but I'd be surprised if I can't finish it this week. Final weight, putting everything left to fit on the digital scales, is looking like a touch under 5 1/4 lbs

Ooh, you're going to Hell for sure!!

The Rutles: "Ouch!"

That... rippled beige texture. It reminds me of quilted maple. Gross.

Top Tips: If you think you sound good with 1 cab, use 2 you'll sound even better. If you think you need 300 watts, get 500 watts, turn up and play lighter.

Also, everyone should invest in a roll of ProGaff - you can tape leads down with it and it doesn't leave awful residue. Comes in numerous colours! Lots of flight cases on the tour, all of mine have a white strip of tape on, with my name and what each case is for. Same with the guitar stands, plus, strip round the bottom of the legs, show up under minimal light so you don't trip over them!

I hate TSB and also hate gold, except when they are together on a '57 P, when the sum is greater than its parts:

It's John Carpenter's own soundtracks for me, Halloween,Assault on Precinct 13, The Thing, Escape from New York. They fit the film's mood perfectly.

Great post, but in my experience it often really is the drummer's fault.

Nice Zon @ Bass Direct http://www.bassdirect.co.uk/bass_guitar_specialists/Zon_Sonus_4_LH.html

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Status Graphite something 😁

Perhaps, but sadly a complete non-starter for me; since to learn said basslines would involve also having to endure Morrissey's voice. In short; a step way too far.

A nice day indeed, Thanks to everyone who braved the bad weather conditions on saying that the weather was prity good here on the wirral, it was all clear by 1pm, nothing like up by owen. Everyone brought really nice basses and amps to try and were only to glad to let you try anything you wanted and go through the various set ups with you. Nice pics with tasty bass porn already posted by Alan, cheers Alan mine were about the same so i will just add a few, Great big thanks to Andy "Ruarl" who spent time to bring and show me how that synth pedal worked im still scratching my head andy and your SEI bass is stunning, that thing really sings, thanks. Kev where is that pic of you with your bass, its on your phone... common lets av it... cheers for all your work kev. There was another guy that turned up, Alan who was not a member yet but came because he read about the bash on the forum, He had 3 very nice basses and a stunning sounding jazz, nice talking to you Alan, now sign up, say hello and get a pic of that jazz up here :-) Thanks all i really enjoyed everyone's company, chips buttys and tea were a very welcome aid to my hang over. Nick with wal no matter how hard i tried vinny i could not get a note out of that jazz :-) Alan making pino sound like a beginner, tom with his fridge which helped keep the whole room nice and warm, and that stunning jazz Here is an amazing thing, ... Dave makes these stunning bass amps that you can use for busking, you can do a 3 hour gig with this, and here is the amazing thing... the battery is inside it ! ! yep, inside that ! ! dave you should do a thread on showing us how this is done as im sure this would be of interest to alot of people on here. Dan and his very nice sandberg, instant marcus miller, Dave and his home made cricket bat, is there no end to your talents dave ?

This thread has got me interested in digging a bit more into the quality Aria basses ... here's the SB series in all its glory from Matsumoko's website: http://www.matsumoku.org/models/ariaproii/bass/sb/sb.html My Aria Pro II with a P/J set up (actually my missus' - but it was the one we had around the house and what I learnt on!) was one of the entry level ones I'm assuming(?), so I've yet to try out one of the higher end models. Anyway as we're reminiscing, here's one from the archives...

I`ve recently had the port on my ABM410 closed off. I spoke to Ashdown about what I was after, as the cab seemed too "wampy" and backing off of the bass, although getting there, wasn`t getting as near as I wanted. They suggested closing off the port so last week I stuck a towel in the (front) port. Instantly the sound I want was there, tight and focused, it really made that much difference. Previously, using my Para Driver as my main eq I still had to use the eq on the amp to back off the lows and up the high mids, now I have the eq on it bypassed using only the Para Driver.

Maybe 7, which is too many, the only ones I use are my MRX Bass Octave, Phase Shifter, and Chorus. I've given up on my MRX Bass Distortion, it very hot and doesn't seem to like my other pedals. Blue

@dmccombe7 is that the BXP with the mono saddles ? The ABM 3D bridge used on some USA models is a clearance item. https://abm-guitarpartsshop.com/ABM-GUITAR-PARTS/Angebote-Ausverkauf/Bass/ABM-3565b17::80.html Easy swap

Frankly, there's some punters who should be required to take out public liability insurance. The most obnoxious drunk I encountered didn't need to drive because he lived about 200 yds from a working mens' club we used to play. He'd storm around in front of the stage apron (about chest height), screaming and shouting. Then he'd try to climb on stage, get halfway up, fall off and land on a table. This being a regular occurrence, we'd advise audience members to move their drinks as soon as he appeared. The great thing was, he'd manage to fall off the stage all on his own. I never once had to stand on his fingers.

See the "well known " bit has missed a bit on this thread

I hated tobacco bursts until about a year or two ago then it all changed... For me though, a handsome underlying wood grain is essential!

I've done this three times now - with the help of your kindly-supplied templates - and it's a lot of fun, shot through with lumps of anxiety and a few qualms. Nice result, though - my OCD just won't allow a 51-style P body not to have a 51-style P headstock!!

Fretless Precision (being really pedantic about it).

from 6.00 mins in.....

But, of course

I have, and I think they were steadily getting better from about 2005 - mid-to-late 90s was a bit duff, but then I owned Leigh Gordon's late 90s model (Morcheeba) and it was at least "okay" quality even then. I think they got an undeservedly bad press since 2000.

Not a fan of brown bursts. I doubt it would stop me from getting something I really liked though, but as someone else said, it reminds me of the cheap copies (although not as much as varnished light wood). I do have a red burst though, and I love that

Yummy.

I don’t like the finish generally but would more than happily give that house room. It’s subtle and has been done really well. Some sunburst finishes just look naff but that looks a very quality finish.

It's good of you to share it. I've seen inspiration taken from these sorts of projects by members who might not have had a go otherwise. I applaud you saying that you will reinstate the HB logo. From what I hear they're very good for the money.

You play a Rickenbacker ? Well done sir.

Grown ups? We’re bass players. You can’t have both.

Hi Everybody! I am new at basschat.co.uk and came here because I googled for Limlight basses. Some months ago I threwing my PJ Bass made by a german luthier (Herbert Müller from Cologne) into the market to sell or trade. And now I got this beauty out of a trade: Limelight 00203 - a '64 Jazzbass, Olympic White over Sunburst. The picture is taken from Marks website, so credits to him. It took some time to get familiar with the neck shape, but now we are bound in blood. This thing sounds really fantastic. Last week I put out an order to build a Limelight PJ Bass in Sonic Blue and a Maple Neck ... now I have to wait until the new PJ will arrive. For sure it will wear Marks Logo on the headstock instead of a 7ender Decal. Best regards from germany, Marius

I don't think GAS is limited to bass players. I had a friend who was keen on golf and photography. He changed golf clubs and cameras more often than his socks - just looking for the perfect set of clubs or camera. We've all seen the people who sleep out overnight to buy the latest iPhone, which turns out to be not much different from the one they bought six months ago! I love cycling and read plenty of cycling magazines. I could spend thousands on the latest bikes but then I pull my modest road bike out of the shed and within a mile or so realize that that my alloy framed Bianchi just suits me fine. I don't have GAS for another bass guitar. The one I have (Chowny SWB-1) is ideal for what I shall be using it for - playing in church for those who asked "who goes to church"! I'm still getting to know it but I like what I have. Sometimes I think we need to spend time with the gear we have and appreciate it. I made the GAS mistake a few years ago when I was playing the chromatic harmonica. I now have drawers full of the things in my quest to find the one. I enjoy reading reviews on bass guitars and bicycles and can appreciate the high end of the market - "Cyclist" magazine has just featured a bike costing £22,650! I'll stick with what I have and try to get the most out of it. Having seen what Scott Whitley can do with the SWB-1 it should be more than enough for me to handle!