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In the seconds before, her facial expressions give everything away. The fart. The wait. When it hits her nose... and then the dirty girl is secretly digging on it.

Surely that would only be if he'd ricked his back?

Same with the Beatles, great songwriters, I mean truly great, but I can't stand their whiney nasal racket... I have changed my mind about a few bands over the years, I genuinely detested Steely Dan as a youngster, but I find them fascinating now, same is true of Country and Western.... No, wait, I still hate Country and Western.

I've just soldered up a cable for Mark King if anybody is interested in taking it off my hands. £100.

Don't post a picture or you'll bring John Hall down on us!!

I sometimes wonder what I started with that FrFr thread!!! Nice cab

Nope - for a live interview (NOT an easy thing to do - especially a long one) much better than most. And very interesting indeed. Full marks Andy

@shug Good advice there. I won't be stripping the finish off this again,the first 5 times were bad enough 🤣

Last stage. Still more heartache on the horizon 😱 Lacquer got peeled off with a razor blade,back and sides rubbed smoooth,satin black applied. No drama 🙂 Putting the bass back together wasn't straight forward. I was fitting a 2 saddle/through body bridge, from that you want the strings and pickup to line up near as possible. The Bloodstone P-Bass 50's chosen for this job didn't fit the hole,nor did the Roswell ?? I had a smaller single coil bought on ebay so used that. Bridge drilled and fitted,string bushings drilled/fitted. String it up for first time. All OK except the neck is arching back on itself 😱Slacken off the TR helps but even with the saddles jacked right up the strings are hitting the fretboard. Never had this bother fitting the other 2 saddle so start investigating. Turns out the new PB-50s have a different bridge,that bridge has a thicker base plate so the neck pocket was shallower. Got the router out and trimmed down the neck pocket Still couldn't fathom why the pickup didn't fit. I'd 2 Roswell pickups and lifted the wrong one,the one for this PB-50 had been trimmed down by 1mm. I had the router out anyway so cut a bigger hole 👍 You'll be glad to know I now have a playing bass 😉 I may add a skin to the back at a later date.

I feel like my aversion to the looks of the ART 7 models is being won over by the responses of how well they perform!

Warwick always take a considerable hit used. They're the bass that comes to mind whenever I think of a brand that depreciates like a stone. The used models tend to hold their value because they've effectively bottomed out once they're no longer brand new. I'd take the cash it would cost for that Thumb new and buy a used model.

Thanks for sharing this Q. This pedal does look very interesting. I've had a quick conversation with Olivier. He has confirmed: 1) As an alternative to (i) 4 band pass filters (BPF), this can be made available with (ii) 2 BPF and 2 Low Pass filters (LPF) or indeed (iii) with 4 LPFs; [my preference is likely to be (ii)]; 2) all filters (whether BPF or LPF) will have a 5 octave frequency range from sub bass to treble and resonance goes from flat to self-oscillation; 3) UK price = 360€ (i.e. circa £320). Given that a decent gated fuzz by itself e.g. the Mastotron is £129, that seems fairly priced; 4) current draw is 200mA (at 9V), which should be well within the capacity for most decent PSUs; 5) The Fuzz is a variation of the Lovetone Big Cheese gated fuzz. Olivier is of the view that with the gated fuzz this pedal will work great on bass; I'm inclined to agree and I'm definitely tempted!

Progressed?? I like a bit of progressive music, but it sounds a bit dated these days!

Yeh, women, how can they play stuff, they would be too distracted by kittens and handbags to learn a proper mans job 🙄

I've finally managed to listen to the whole of it. Well done all involved, and thank you for working so hard on it. Thumbs firmly up: good audio quality, good presenting, love the news and what's hot on the forum bits, the Q&A section with its humour as well as useful info, liked the interesting talk about bass necks. Although I knew most of the general info, I wasn't familiar with the functioning of the double truss rod, so I learned something I didn't know. Only gripe, bit too long - as in, the talk is fine, but it IMO could/should have been divided into two or three installments to publish in two or three episodes. That obviously would require tweaking the script so it doesn't get chopped at random intervals. The same goes for Stephen Chown's interview, IMO. *Puts her music journo hat on* I like Stephen a lot, and enjoyed working alongside him, David and Scott at NAMM. I like how open and straightforward he is, and his natural, relaxed interview style; I wouldn't want to see that interview shortened, as would happen if, say, I had to make it into a BGM article (it would have to be edited into a crippingly small number of words!). However, once again, the interview could be split into two or three sections that follow the chat's progression, and published in more than one episode. I think it would be an incentive for the listener to look forward to hearing more from the man in the next episode. *Takes music journo hat off, and bows* So, really, the only thing I found daunting was the 2-hour-plus length. As others have said, no need for you guys to travel up and down the country every week, just gather the same amount of material each time, and use it for more than one episode. IMO, of course.

For all those wondering if she's actually playing, ask yourself this... Since when has a Stingray had such a pronounced G string...?

I know that feeling. I popped into PMT for some strings and left with a EBMM Stingray a few years ago. The former Miss Bass wasn’t terribly impressed, until I mentioned the time she nipped up the retail park for a Burger King and came back with a leather sofa from DFS. I think that made us even.

But they sound their best when nobody sings them 😉

Korg Pitchblack works well for me, big display, easy to use, handles low B no problem.

Afraid so. It's a decent size,the best natural light and had less junk. Not recommended.

Plan of attack was glue the paper to front and back,feather the edges then spray a pink burst. Here I made a major mistake. The paper was too thick to feather properly ,ended up with a defined line and paper fibres, In hindsight,soaking the paper with shellac would have allowed me to sand smooth to the body edge. The fibres,being trapped in shellac, would have sanded out too.The heavy line and a major overspary caused this to be "match abandoned" I also managed to get a fine coat of pink on every surface in the living room 🤬

I have a Warwick GPS fretless that cost me £1400, I couldn't get £600 for it so I decided to keep it. If I was you I'd wait it out and grab an old second hand fully fledged thumb

Here is my contribution to the July 2018 Basschat Composition Challenge, inspired by a picture chosen by last month's winner: Discreet. A sequence I've been playing around with for quite some years, really, but bent, this time into an abstract form of 5/8 time, at 88 BPM (they looked like eights, to me, so I leaned on the 'five eights' concept...). Brushed drums are Superior 2, in two batches. The bass is my trusty Trillian, a rather buried piano is a very basic 4Front Vst, all guitars are my Xaviere, played as 'one takes' by myself. Little treatment, just a bit of comp, eq and a spot of reverb for one of the guitars. Mastered using AAMS, 'Jazz' preset, otherwise 'brut de pomme' as recorded and mixed with Reaper. Again, it is what it is. Thanks for listening, if you already have; if you're about to, enjoy.

There are several rockabilly/psychobilly upright bass players who play left handed, most notably the bass player with Vince Ray & The Boneshakers. Whether any of them play with the strings swapped around for left handed I don't know. However you are very unlikely find any playing left handed in orchestras, as their bowing will clash with the double bass players seated next to them.

If we're going to be all sexist. Where she goes "Ooooh" along with the song as 1:29 😈

There are a couple of lovely used thru neck thumbs in the classifieds at the moment. That's where my Warwick funds would go :-)

Ah, so you are the thigh rubbing perv making comments on her YouTube videos?

big sales and good records are not related at all, big sales could mean people bought it because it was easily accessible and dumbed down, not always true but more likely to be if it's an established band already

I just got Def Leppard's remastered collection Vol 1 - actually for the first two albums which haven't previously been remastered, but it goes up to Hysteria. Easily the weakest of the bunch - you can hear the progress from raw heavy metal to overproduced pop as the albums progress, and while Pyromania's electronic drum sounds are very dated now, it's the full AOR production of Hysteria, drowning in saccharine backing vocals, synth lines and electronic drums that marks it out. Not that you'd know if from the accompanying book, which seems to think that the astounding album sales (can't dispute that, they shifted a lot of units, no mistake) means that it's one of the best rock albums ever made...I humbly beg to differ...

This is my absolute favourite. https://www.youtube.com/watch?v=zVELpokOD6s

H&K stuff is usually well built and decent. If it was cheap, I'd be surprised if you're disappointed, provided it works OK. You can get that acoustically transparent foam very cheaply on eBay if you fancy recovering the grille.

Is it Adam Clayton’s latest Signature bass?

I was listening to some desk recordings a few weeks ago (our guitarist just bought the 32 channel Mackie iPad desk thingy where you can master tracks down individually) and thinking how great the bass sounds just coming straight from the Fishman, pretty much the sound I went through a ton of amps trying to achieve. Went home really pleased with my tiny but great live rig yet a couple of hours later I almost bought a GK Plex just out of curiosity, had to have a word with myself and remove it from the virtual basket.

The problem I found is getting all the contenders together in one room. I managed to do that at Drew’s Great British Bass Lounge, before it changed hands, and ended up buying 2 x Tech 21 VT500s. They’re great. I’m actually considering selling the spare (never used) to help fund another bass as most of the time I use a VT Pedal and no back line live, so my amp is mostly used at home. I’ve tried many of the Class D heads (including the Orange) and I like the VT500 best.

I think the RCF HD32-A is at that size/price point too from memory. That's what I'd have gone for if the K10.2 wasn't so tiny, although i am getting sick of explaining to people where my amp is.

I've just finished listening to it - nice work, @SpondonBassed and @Akio Dāku :-) No negative comments about the production, writing, vocal style, etc.; it all sounded good. I thought the length was fine, but I'm used to listening to "long-format" podcasts (it was at least shorter than The Intellivisionaries). The interview with @Chownybass was really interesting - thanks for going into lots of (messy!) detail for us about how the business works. It makes me wonder whether someone at Harmony in India would be willing to be interviewed about their end of the process... Are you planning on doing a "show notes" page (which I guess would just be the first post in the comments thread)? It'd be nice to have links to the companies/threads you've talked about, the pedal settings you were demonstrating, and so on.

As you can see from the bobbly lines, I still have the final sanding of the neck to do and will finish off the volute at the same time - but this is pretty much where I want it to be in general terms: Not quite as butt-ugly as its creator

That poor piece of wood looks terrified. S.P.

It's on my set list. I was practising it yesterday with all of the doors and windows open, wearing nowt but shorts and sandals, sweating like I was at a gig. Priceless. (Image withheld out of common decency)

I believe Solidworks is about as good as it gets and you can get a student licence for it quite cheaply. It may well be what you use in college once you start. I used to work with a young lad who used it as part of his job and he could build anything out of it. He also used a third party rendering package that was very impressive too but I forget the name, if I remember I'll update with it edit: Keyshot

With regard to the bass, have you tried splitting the input so you can have a channel for foh and channel for IEMs on your XR18 - means you can run different EQs - this will help greatly. Remember you have a compressor and EQ on your aux out also.

I have used a Korg Pitchblack for about five years and I'm only on my second battery. Works well and you don't have to use harmonics to get down to a low B. I was thinking about moving to a clip on tuner but my first experience of one wasn't good. It couldn't spot my bass note in a very noisy stage environment. I'll stick with the Pichblack.

This it's a great tuner easy to see and use well made and accurate

I have a Polytune clip as well which is also excellent.