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Great day today. Thanks to everyone for organising, see some of you around soon. If anyone is interested, Richard's band Corduroy are playing in Guildford on the 26th October at the start of their tour. Well worth seeing if you get a chance - https://www.seetickets.com/event/30-years-of-acid-jazz-corduroy-eddie-piller/suburbs-guildford/1250971 Cheers

The only thing that ever worked for me was staying away from Basschat. Seriously. Bought nothing for years. Came here spent my retirement fund in six week.

OK - last shots before the potential of me wrecking it and it becoming BBQ fuel. This is one of the more - er - exciting bits of building acoustics. The fact that pretty much the most critical and difficult bit comes at the very end! Fitting the bridge. Here we are before I potentially wreck it: The neck is fitted - and I'm pleased with the fit. The tuners are some leftovers of a gold/black mixed set I used for one of my electric builds - that one was black knobs on gold bodies, so the leftovers are gold knobs on black bodies. The neck profile will be tweaked once the strings are on it - because then I can shape and play and reshape the neck to get it just right for my playing style. Then it's just the fret-levelling and final setup. But first I have to fit the bridge. And it has to be right. The only thing you have to play with is the saddle insert height and the 1/2mm or so either side of centre of the saddle top for intonation. So that bridge HAS to be glued in the right place. If it isn't, the guitar will be, at best, lack-lustre and, at worst, pretty much unplayable. This weekend is a bit higgledy piggledy for family reasons, but in any bits of spare time I will be re-looking on the various websites about the best way of positioning and fixing, finding my bridge clamp and then checking, re-checking, re-re-checking EVERYTHING before attempting the scrape (the area that the bridge will be glued to needs to have the varnish scraped off first) and finally the fix. It's only a guitar, but this is the bit of the whole thing that most scares the c**p out of me!

Last night I saw Paris Monster in Glasgow, at The Hug & Pint. Great gig. However, the support band were brilliant local band - so much fun. TOM McGUIRE AND THE BRASSHOLES. Really great syncopated guitar, bass, and horns - I'll be going to see them whenever they're next playing live.

Huge shout out to @silverfoxnik, @Hamster, @cetera @NancyJohnson and everyone else that made today happen. Great day out as usual. And Richard Searle was a revelation. I knew his bassing would be great but what a raconteur and so entertaining to listen to. Well done guys. Great to chat to so many of the regulars and try some lovely basses out too. Can’t wait til next year’s!

Got to agree with the sentiments above - great day out even if the numbers were down on last year. Good to see that Jack made it despite also having the lurgee which brought down the drummer. Many faces old and new alike - got to chatting with a few people I didn't know. Loved the Rob Allen Mouse and the two Alembics. I'm sure Silvia will be along shortly with photos. Richard Searle was excellent, but I would say that as a big Corduroy fan. Got him to sign some CDs and a HRC baseball. Not sure how many got to trial the Elwray bass which reached me on Thursday. Check my review elsewhere. I believe that Grangur will be collecting this in a few days, before passing it on to GaryMac. Get your name on the list if you're interested. One of the stars of the event was one of Jez's (Jabba) basses which was highly acclaimed in the "Bass Identity" Test. Have to fess up, I didn't get a single one right - but did have a near miss with the Ricks. Controversy remains following "The Heft Challenge" - was there a discernible difference between Class D and Valve Amps?? The committee is still out and if we can't tell the difference, how can we expect the punters too?? The usual fun/frustration with the raffle. Due to reduced numbers there were raffle prizes left over which Colin (Hamster) and Nik will be advertising here and the proceeds going to this years Charity. As I said, great day out. Many thanks to Cetera for getting Richard Searle along at short notice, everybody else who helped out behind the scenes and especially Colin and Nik for putting together another fine event. Long may they continue.

Aye... Our band decided before our 1st gig that we'd all wear similar clothes (basically the urban commando look). I turned up with camos, boots, the lot. Suitable, I felt, for a protest sort of band with songs like "Fight The System" Singer wore a Stussy t shirt with jeans (he said "but I like them!" with no irony at all in wearing a corporate logo!), drummer wore shorts and metal band tshirt stretched over his belly - his excuse was that he'd be too hot in anything else; I pointed out that camo shorts are available, and that I'd specifically gone and bought stuff according to what we'd decided! So no unified band image - we were just another band on the circuit looking the same as all the others.

True. You post some cool photos Blue It probably helps that I play in a trio. That way I get at least 5% of the attention

Ah yes, the poison from within. I think that at the grassroots pub band level there are too many lack-lustre, mediocre bands who have no chance of attracting new listeners. I've stood supporting too many of them just through loyalty (and played in some to be honest). Also, visual image has always been crucial in rock. For physical and sartorial reasons the majority of pub bands look terrible. About a year ago, whilst at the bar during the break I overheard a youngster, "that guitarist, he looks like the old **** next door to me who cuts the grass when I'm trying to have a lie-in'. A sort of epitaph.

Just picked this up today as a swap for my Ibanez Singlecut, a 2014 Mex 50s Roadworn in the best colour. Now, when I’m going through a Fender playing phase, I’m normally a dyed in the wool US made or nothing kind of chap. But this Mex P is, by quite some margin, the best P I have ever played, and I’ve owned, like, 2. A weighty ‘78 and a ‘79. Oh, and a brief but successful affair with a Jap 57RI until GAS got hold for a Jazz. It has everything I want in a P. Fairly hot growly pup, superb action, very light, and that unbeatable combo of Fiesta Red/Maple neck/Gold scratchplate. I’m pleased.

Good Afternoon all, My name is Sam Bisset, 25 from Lancashire UK. I've been playing bass for 11 years, 10 of which have been spent performing live. The band i currently play with is called "suburban symphony" a 5 piece alternative indie band. https://en-gb.facebook.com/SuburbanSymphonyUK/ Aside from this, I have performed in function bands, jazz ensembles and progressive metal bands. I look forward to engaging in bassy conversations\debates with you all. Good Afternoon, Sam Bisset

I will be KING of great little basses, oh yes! My first Bash, I had a great day meeting lots of new folk, everyone was ace! I spent half my time discussing @Jabba_the_gut‘s superb builds with @TheGreek and the other half of the time just wanting to nick one of them. I want a version of that dark semi acoustic so much. Another highlight was playing an upright for the first time (thanks @bassace) and particular thanks to @cetera for making me welcome right at the beginning when I was wandering around wondering where to set up and actually considering legging it, cheers Sir. Great day, excellent company, can’t wait for the next one.

My first bash, really enjoyed it, top organisation by those involved - kudos. ’Spot the bass’ blindfold test was an eye opener, or should I say ear opener. Fortunately, I recognised my own basses (sort of, I confused a vintage 4001s with my 4003s, but I nailed my Maruszczyk Elwood) but was at sea with the others. The ‘heft’ test was another interesting demo too. I took away the personal conclusion that one should play what you like the look, feel and up close sound of, because from a FOH perspective, there’s not much in it. A cure for GAS? Unlikely Played some really nice owned basses, with some absolute stunners, everyone was so generous with their often very expensive instruments. A big shout out for our own @Jabba_the_gut‘s semi acoustic build, easily at home with the Alembics, Wals, Rob Allens and other exotica; top work, sir. I’d definitely come to another bash if possible, preferably without the tiredness and banging headache I brought with me this time.

Soft Cell. Oh dear.

In between all the other stuff on the day's agenda, I managed to steal enough snatches of time to get all of the bridge stuff sorted up to and including gluing! A bit picture heavy, but this is how I went about it - First was to use the Stewmac fret calculator to determine the exact distances from the nut to the middle of the saddle slot for the top and bottom E. The masking tape will be used to prevent glue squeeze-out going onto the finished top, but is also useful for ensuring that the position doesn't inadvertently slip: Next is to score round the bridge with a scalpel into the finish: Then to scrape away the carefully applied finish from within the score line!: Then I double checked the position and drilled through the peg holes for the top and bottom E. The two pegs will be used in the initial clamping to prevent the bridge 'floating' out of position on the wet glue: Then I put more masking tape around the back (should have done this first and just scalpeled though it round the bridge!) and got out my bridge clamp and home-made bridge sides clamp: Then added the glue, and at first just used the metal clamp, positioning the bridge with a couple of string pegs through the bridge and into the two peg holes drilled in the top. Once I was sure the bridge was secure, I removed the two pegs and popped the home-made clamp to press the bridge sides firmly down: Then carefully wiped off the squeeze-out before removing the masking tape. This will be left clamped overnight to fully dry: The bridge is still accurately within the scraped area, but I won't know if everything is stuck where it should be until the morning! Here's hoping

...oh dear, I've got a very bad feeling that I might not make it to the end of 12 days. Is there any known therapy available, that's been demonstrated to work? 😂

Seriously considering putting down a deposit on one before Christmas, depending on how other things go. Will miss my 40th birthday for sure, but should be just in time for 41st Anyway - I hope everyone had a smashing time there. Will keep my eyes peeled for the date of next year's

Sorry, Dave, but it doesn't work like this and hasn't for decades. The reason that stations now sound so homogenised and samey is far more prosaic. When there were only a few radio stations (R1, R2 and perhaps one local commercial station) DJ's and PD's used to choose songs that stood out from the crowd, the idea being to compete for audiences through innovation and difference. There are now many more competing radio stations (and media outlets) so programmers have adopted a defensive philosophy where the aim is to retain audience for longer periods of continuous listening. It's no longer about gaining an audience - it's about preventing loss of audience. A PD once said to me: 'We have to make it like a constant stream of warm water, not too hot, not too cold. No nasty surprises or anything that breaks the flow and makes the listener hit the button'. Songs are chosen not because they're 'good' but because they comply with a policy of anaesthetising the audience so they don't change stations. Mediocrity prevails not because of corporate greed but because it's the objective. Indeed, on bigger stations many PD's are careful to be seen to be not choosing the songs. New records are put out to panel testing where interviewees listen to 30 sec snippets and rank them. The results go back to the radio station and the playlist is structured accordingly. If a station's audience subsequently declines the PD can hold his hand up and say 'Not my fault, guv. We played the records the panel said they liked'. So: not so much a corporate conspiracy as an institutional failure of nerve and good, old-fashioned ärse-covering.

Thanks! It's a bit of an evolution from a number of the builds I've done over the years. It's actually identical to Jane's Swift Lite: I like it because it lets the strings be perfectly straight through the nut but isn't quite as cut off as, say, a Seagull acoustic (which is very triangular and a bit 'cut short')

We who participate in the Bass Chat community are truly blessed with a wealth of knowledge and experience. We enjoy contributions from bassists, other musicians, artisans, crafts men & women, engineers of many disciplines, technicians and hobbyists. It was one such design engineer, “threedaymonk”, who kindly offered to manufacture a plastic Pup cover for my Jess Loureiro 51P split coil Pup. Paul & I shared drawings of the Pup and he went away and designed a 3D printed Pup cover. Here are his CAD renderings and a photo of the cover actually being manufactured. Having remembered the sadly missed Brother Dave evangelizes in his review of his own Fender 51 RI on his website (which survives his passing). I wanted to make my 51&3/4s Tele-P as robust as possible so it made sense to seek a solution for protecting the Pup. Paul has posted the finished Pup cover and it should be with me on Tuesday.

Saw Kylie at the O2 last night. Bleddy brilliant show! Lots of 'proper' instruments as she's in her 'country' period, but lots of re-arrangements of classics and some full-on disco too! No sign of amps on stage so i guess its either all DI or mic'ed cabs backstage somewhere... Rock'n'roll? Yeah. Let it die. This was joyful, no po-faced 'serious' music, just fun, entertainment, some great playing, singing and dancing and a genuine warm from the performers and the audience..! I've not had so much fun at a live event for a long time, if ever...

After a slight incident with Brian Downey's band, and too much beer, I've yet to drag my aching head out of bed.😂 Definitely coming... Definitely gonna be late. 😊

I wouldn't take that as a criticism Blue. Bass playing in a band is one of those things that, when it's done right, the average punter doesn't indentify as a separate thing. Plus, I know Norris. You look a lot scarier 😀😀. In a good, rock way. 😉

Sad stuff. It's standard practice to remove valves, and pack them separately. They could still get broken, of course, but it takes quite a bit more willpower. Too late for this one, but might help someone else another time..?

It's a long long story... So it has two pickup solutions - an under fingerboard mag (jazz style) and the ghost piezo saddles... the ghost saddles were run through a ghost acoustiphonic preamp. Well, the acoustiphonic preamp gave up the "ghost" lol. Farty noise followed by no piezo output. The preamp is kaput. I also swapped out the mag pickup for a Nordstrand, and it highlighted the fact that the (now 10 years old) preamp for the mag is, in fact, a bit rubbish.. either that or it's also kaput. So - all innards ripped out. Now, as the rest of the bass excluding the electronics is frankly just about the best instrument I have ever played.. I wanted a solution that would do the bass justice. No more crappy graph tech preamps for me. I'm going to keep the graph tech ghost piezo saddles, and they are now rewired to a single "hot" and "ground" connection, ready for a new solution.. Having sampled his delights before, I decided to approach John East - mainly as I honestly think he does the very best stuff. John embraced the project with gusto, and rather than cobbling something together, he's properly adapting a UP-4 to accommodate a piezo and mag input, with a single volume and blend, a piezo HF roll off tone control, a mid with mid sweep stacked, and a treble/bass stacked, with pull bright and all the trimmings, including an active/passive switch so I can amp the piezos off bass if I want, and a mute switch to kill everything (something I wish every bass had). It's now at the "he's making it" stage. He's a busy chap (for good reason) and so it's taken a little while to get to this point. But, ultimately, I should end up with the electronics that the bass actually deserves - a Nordstrand noiseless Jazz and piezo saddles going into a custom John East preamp system..

Yup, my favourite P-Bass is my RW too. Mine now has a US pup, Kiogon loom and added ashtray and tug bar. This pic also shows a Hipshot D-tuner on it, since removed and replaced with the original tuner..

Wow....lovely...I think we need a dictionary of superlatives... All paid up? Have you actually met with Mike? I may need to sneak down to his workshop and pretend to be you.

I enjoyed this last night...

My little lad just can't get enough of music and has spent the last 2 weeks trying to play daddies bass. I was wondering what options there are for little ones of such a tender age. Thought about a short scale but still think the body of this might be to heavy. Any suggestions? Cheers Proud Dad

My first bash too as a long time lurker and sometime poster/commenter and I really enjoyed it. Big thanks to all involved in organising, running and recording the day. Great to meet some faces behind the avatars - my neighbours in the hall Paul (Prowla) and Colin (ezbass), Hen Barn and Rod Funnell - all lovely blokes, great fun to chat with. The spot the bass test was bizarre and real shock. Everything I thought was a Rick or a Jazz-type wasn’t and everything I thought was a P bass turned out to be a Rick! I managed to get 4 right but that was an absolute fluke!! Bass highlight for me was that exquisite tiny little thing that Jez (Jabba) built. Incredible build quality and absolutely thunderous tone from such a compact bass. I want!! Tick V G all round!

Welcome Sam!

It just so happens. Room 335 bass.pdf

Well if everyone liked Yamaha that would lead to shortage of Yammy basses and the prices going up, so I go guess we should be grateful when people don't! 😄

The problem is that a lot of the sorting and delivery process is automated. They’re also dealing with tens of thousands of items a day, it’s not practical to separate the fragile items and sort them separately. I’m not defending them, merely pointing out that a fragile sticker won’t protect the item, that’s entirely down to the packaging.

For a normal 5 string set a low B string tuned up to C will be lower tension than the standard E. Have a look at D'Addrario's string tension guide.

Both fixed frequency mid band controls and (usually) semi-parametric mid controls (those with a sweepable frequency range as well as a cut/boost control) have their uses. In my experience neither one is 'better' (whatever that means to you) than the other, they are simply different ways of controlling the critical mids. Fixed mid controls, be they part of a multi-band graphic EQ or 1 or 2 controls on the pre-amp, allow you to cut and boost the mids around the stated frequency centre for that control. If it's part of a multi-band graphic the range of the control (the frequencies affected) is usually quite narrow but you have the neighbouring sliders to help craft your tone. For amps with only 1 or 2 mid band controls the range is usually wider and has a more noticeable impact on your sound. Semi-parametric mid controls allow you to select the exact frequencies you want to control. While a single semi-parametric mid is ostensibly more limited than 2 or more fixed frequency controls, they allow you to isolate troublesome frequencies e.g. in a room where the bass is booming you can pinpoint the offending low mid and cut it. Likewise, in a dead sounding room you can find an upper mid frequency that gives the bass some clarity and definition in the mix and give it a gentle push. If you like the fixed frequencies that the manufacturer has chosen in their pre-amp design and they work for you then job done. If you want more surgical control to isolate problem frequencies then a para or semi-parametric control will serve you better.

I'd sell , the market seems quite good with 54/55 year old suckers looking for YOB basses , get its £value maxed 😉

On closer inspection it isn't the Terror Bass that is in his live rig but four AD200s. Pics here. https://orangeamps.com/artist/john-mcvie-of-fleetwood-mac-2/

I was just reading this that a friend shared on Facebook. https://concreteshelves.blog/2018/09/25/taylor-dupree/ I personally love a physical product, especially when it’s well presented. I’ve been very fortunate over the last 3 years or so to have my music released on vinyl a few times, I also had an album released just this week by a new label on cassette.

Going to see him again next year at the Jazz Cafe. This guy has to be heard to believe how good he is live. His voice live is incredible as were his backing singers and bass player were amazing. I met him after the last time at the Jazz Cafe with my sister. Very lovely man. He meant to be a carpenter at a young age but started playing the piano and singing in his local church... Yet to hear the new album.

I haven't read the whole thread - sorry if anybody else has already mentioned this. What killed RnR? I'll tell you...facking 12 bar blues, that's what. As a Bass player and Music Lover, I can't find anything more abhorrent than having to listen to, never mind having to play, this mindless cack which is probably what most of us were first forced to learn to play. Roll over Beethoven? Roll over all of 'em, with a bloody steam roller. Give me strength...and a sharp knife to slash my wrists with!

Saw these guys (Biscuithead and the Biscuit Badgers) at a festival not long ago.. bonkers but my kids love 'em.

I have to admit that on the punk scene in the majority the audience are the same sort of age as, or older than me - I`m 52. Every now & then there will be younglings at a gig, but even for the newer bands (such as Dirt Box Disco, Booze & Glory, Wonk Unit to name a few) it`s still predominantly middle-aged people that go to see them. There are a few young punk bands on the scene and it`s really refreshing to see, but it`s not that often you see people under 30 in the bands.

That sounds cool. Do post photos of the results!