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well things have been progressing slowly but surely... first of all ive sanded down the pickup covers: from this: to this: very pleased with them, i think they'll be a nice touch once verything is nice and finished up! i do need to get some gold pickup screws, as they came with silver ones so they match the rest of the hardware. also, got he headstock plate glued on with some more alaldite (the saviour of the man trying to glue cocobolo to anything): the purpose of the huge cutout for the Truss rod cover is so i can have a flush fitting one made of padauk. I love the look of padauk, but im trying to keep it's inclusion in this build to some subtle highlights here and there. along with the truss rod cover, im going to put a thin sheet in between the back piece of cocbolo and the wenge core of the body, and possibly along the edges of the fretboard as well. its such a bright colour when its finsihed, and although the figure of the cocobolo is pretty striking, all the other woods in this build are a bit more subdued in terms of their colours. speaking of which: the padauk glued to the back of the wenge. at the moment, that is just roughly cut back with a knife and some rough sandpaper, so theres a couple of rough edges where i had to glue some chipped off bits back on. its 1.5mm thick, but splits along the grain so easily. and i cut the pickup holes and neck pocket from the top piece of cocobolo while i was cutting the F hole with a fret saw: couldnt resist dropping the pickups in just to see how they looked, you can see from the picture how much the body wood has darkened since it was cut, against the freshly sanded pickups! and one bit of self indulgance deserves another, once i got home i layed everything on top of eachother together: its just about starting to look like a bass - exciting times! will be moving onto the bigsby at some point this week. the plan is to machine a new string bar with 4 holes spaced to match the schaller 462 roller bridge - about 16.5 mm. then, once the top is glued... itll be time to cut the binding channel (Gulp!!) im a big fan of the "bound on the top, round on the back" look, a bit like the fender aerodyne, so the top and F hole will be bound with a combination of ebony and tulipwood: the colours will give a nice compliment to the cocobolo i think, without being too light. i wanted to keep it all fairly dark for this build. stay tuned!

It’s easier if you play notes rather than frets or string numbers.

Went up to Exeter today to have a look at a few basses. Not really getting on with my MIM p bass and as I’m back in a band again I thought I’d have a look around, try a few and see what I like. I was expecting to be coming home with, if anything, an Ibanez SR as I had an SR600 in the last band and quite liked it. Anyway I tried a few out today - Rockbass NT Streamer MIM jazz Aerodyne Jazz ibanez SR500 Mustang PJ And this Ray 34 that was heavily discounted at Project Music. I’d never played a stingray type bass before but always been interested. Once I’d played it I kept coming back to it and nothing else seemed to have as good a combination of playability and tone for me. Pretty versatile tone wise too. Can’t believe the punch, definition and clarity. I absolutely love the neck on this. The notes seem to just flow out of my fingers! ! Very happy and can’t wait to try it out at band practice this week. cant stop playing bullet in the head!

Been thinking about a compact low wattage/valvey set up for home practice for a while. Two things happened over the last fortnight that turned it into a reality : Local dealer dropped the new price on the Ampeg PF20-T and then these two Ashdown cabs came up for sale 2nd hand just along the road from someone who it turns out is a friend of a friend. The cabs are RM110's but they've had Ashdown CL/AAA red grilles added which I think makes them look pretty classy. In fact it's pretty enough that I'm allowed to keep it in the dining room and don't have to relegate it to the spare room! Sounds-wise is really lovely and warm - especially with my flatwound loaded P with the tone nearly all the way off. Perfect output and volume for home practice as I can get the tone without waking the neighbourhood. I'm a happy bunny.

It obviously worked, but an OBBM cable would have worked better.

It would also show I can afford to buy underpants, not like poor Mr Kravitz.

What’s the point in Internet forums if you can’t overthink things, discuss stuff that’s broadly irrelevant for hours on end, or postulate opinions and discuss minute details on stuff you’re unlikely to ever own or use? 😁

@eude and I have opted for a bookmatched katalox headstock plate and a flurry of screaming AJR swifts. The plate will end up the same colour as the body once it's sanded and finished but this is broadly how it will look: This was also a good test of how well my little bandsaw can cut the katalox into a 2mm slice. Worked well which means that I can do the same for a contrasting katalox cover for the control chamber at the back (with magnets for easy access). I have an offcut of katalox which is JUST big enough (phew!)

Nobody? Ok - this is coming next week...

The magic words were uttered from the other side of the room tonight, "Turn that f^@¥!ng thing down I can't hear my amp..." (OR100) 😊😊🤣🤣

Funnily enough, I’ve got a gig as a drummer, where I’ve been a bassist forever. Looking forward to the switcheroo. It’ll be temporary, of course. Unless I join drumchat, then develop an insatiable thirst for the ultimate drum tone, buying and selling and fretting over tiny details that no one will notice.

I'm still perplexed as to why you keep saying things like "fake news" 2000W amp" when no definitive proof has been offered that it's not the 2000 watts PEAK that Bugera claims.

I know this doesn’t have any bass on (yet!) but this is my new arrangement of a fantastic tune called “kishor’s tune by a Breton guitarist called Soig Siberil. I’ve wanted to play this tune for years, but it’s always been just beyond me. Well, finally did my own version. Rough, one take recording just using ipad Robbie

I'm assuming the test was carried out around 11am when it was nice and quiet.

You would probably be better off starting a new thread. The title of this thread is rather uncomplimentary. 😊

Strange one last night. Pub wasn't ready for us so we ended up setting up in a rush. No proper sound check. I basically plugged in and played tweaking the sound of the Veyron as I went along. Thought I'd be eating my words. Could not get any of that elusive heft from it. Sound was just a bit gutless. Turns out I'd wound the compressor/limiter knob way up to nearly one o'clock. In the break I had another look and dialled it right back and presto! Heft, weight, depth, ooomph, boom, bang and wallop a plenty.

The main thing is to be sure you know what you are looking for, that applies to any audition and pretty much any job interview. A new singer is probably the most disruptive thing that can happen to most bands. If they sound good the whole band sounds good and if they aren't it won't matter how well the rest of you play audiences won't enjoy what you do. On top of that voices are far less flexible than most instruments. Capo-ing a singers neck is probably illegal Is it important to you to keep your current set? If so then you really ought to put them through their paces with the whole vocal range of your songs. We've had singers who have struggled with fast articulation (lots of words in the line) some where the lower range is weaker other where top notes are the problem, you need to think about what is important to you as a band and pick out some songs which will explore this at the audition. Then you need to find out if these people will be good to have in the band, that isn't just about how charming and friendly they are, most of us can do that for an hour or so if pushed. Are they going to practice before rehearsals? That'd be one of my criteria so I'd want at least one song they are unlikely to have sung before, you'll soon see who is blagging and who is prepared. Again what is important to you? You also want to be fair to them and see them at their best. It'd be a shame to pass up on the next Freddie Mercury because you didn't let them show what they can do! Let them choose at least one song, maybe it will have to be from your set list or sung with just a simple accompaniment so the whole band don't have to learn a new song for each singer. So go through a list of things that are essential to you and things you think are desirable and make sure your audition songs will give you the chance to explore that. Also make sure the band are ready, I've gone to auditions with agreed songs to find out half the band members don't really know the songs or haven't played them for years and have done zero preparation. Good Luck

These are the ones on my recent acoustic build. It is a mixed set of the new lightweight ones that Axesrus have had specially made for them. They are a nice design and work well. The previous build to the acoustic was for my sister-in-law and she wanted a black and gold mix so I had a set of gold and black spare parts left over which I thought may as well go into my 'bitsa' acoustic build

So, could I wait 36 hours? Could I b***ery Thing is, one of the remaining major co*k up potentials is fitting the machine screws. It has to be right because there's no wiggle room with machine screws. The inserts have to be absolutely in the right position and absolutely vertical. So rather than worry about it, it was better to just do it. First I dowelled the previous holes - they were originally drilled to 5mm and the machine screws are 4mm and they weren't quite in line with where the neck is now going to be: Then remeasured and drilled the holes for the stainless machined ferrules: Next, drilled the 4mm holes, using my mini press drill to keep it all vertical: Used the point of the wood drill to mark the exact centres on the assembled neck though the body, used some packers to make sure I was square to the mating face incorporating the neck angle, drilled a 6mm hole and fitted the machine screw inserts: Then moment of truth - would it all line up and would the machine screws fit (trust me, they usually don't!). Another 'knock me down with a feather' moment: And THAT means I can look to fit the fretboard very soon and start the neck and heel carve!

It all depends on your requirements. A 5 has always made more sense to me than a 4 string, not just because of the extra low notes, more so the positioning thing, especially on reading gigs where you can pretty much stay in one position on the neck and concentrate on the part. A 6 string is fantastic for soloing and chordal stuff; I personally love the chord voicing possibilities that a 6 allows.

Either a decent interface or a decent headphone amp will do you. Interface wise I’m biased (work for Focusrite), however 99% of the time I use a 3Leaf Enabler headphone amp/EQ for home practice, I have no amp for home use other than dragging out my gigging rigs (never happens). Good headphones help of course, I use KRK KNS8400. The Enabler is discontinued and usually quite sought after used, but the Shift Line Olympic MkIII looks impressive, tube preamp, EQ, aux in, headphone amp and cab sim! Don’t know how it sounds though. Si

Naaaaah.... Get the blue paint back out 🤣

Been there, done that. Always been a gearhead, no matter what instrument I'm playing (guitar/bass/drums)

Looks like this is a device that could be marketed to all musicians who use a lead: may I suggest it's called the 'Jean Genie'?

Very nice! I almost snapped up those cabs a few weeks ago when Andy was selling me his Ashdown LB30, luckily for you (and for my wallet and marriage!) I didn’t Great little rig, love it

That just balances visually so well!

Nice video. I wonder if I might make a few observations though. I'm a retired player and tutor, so please don't be upset if I sound overly critical at times. My comments are given bearing in mind the intended audience. Also I've only watched this one video so if issues are addressed elsewhere then my apologies. 1. The voice is nice & clear but the bass is still too quiet. Useable, but could do with more still. 2. Have you considered sitting on a high stool for these sessions? You move around quite a lot as you talk, and TBH I found it a bit distracting. Keeping a little distance between you and your students is a good thing, and that applies to video work as well as 1-1 sessions. Also, keeping still is much easier to do when you're seated. 3. I don't know how closely these sessions are scripted, but you seem to fumble a bit for your words occasionally. You can get away with it a bit in the teaching studio, but on a video it can come across as you not being too sure what you're saying. If you don't do it already you might want to consider having a lesson text on a music stand close to the camera (but invisible to the viewer), and following it as closely as possible - which means rehearsing it a few times before you turn the camera on. I know they're beginner sessions but that doesn't mean you can be sloppy with presentation - quite the reverse in fact. A more accomplished player will be able to filter out that kind of thing a bit better. As a side benefit, it will encourage you to think about what it is you're trying to say, helping to make your lessons a bit more focused. 4. I think it would be a good idea to develop your onscreen graphics somewhat. The presentation comes across as a bit dry despite your obvious enthusiasm for what you're doing. Everybody likes pictures to look at. Just a few thoughts. Hope it helps. Good luck with the project.

I used one of these for years https://www.headwaymusicaudio.com/product/edb-2/ It is an exceptional product. Two channels as well, if you ever get to adding a microphone as well. Robbie

You find them amongst the guys you know from other bands.

Off topic, but very pleased for you, Matt. I was laid off ten years ago along with some close friends and i know first hand and from seeing how others struggled that your outlook and attitude on these things shapes so much more than just what next job you get. Glad you've got a happy story there, made me a little warm inside!

Testing in a different room is a good idea. I had a wierd string resonance issue that was eventually tracked down to sympathetic vibrations from a glass cabincet in the corner of the room. Another common culprit for wierd notes is a twisted string (can happen when installing new strings if you're not careful).

For me, it was more like getting used to one bass and then expanding my pallet. Getting used to my first 5 string took me 2 years of practice and gigs before i relaxed. After I learnt to relax on 5 I picked up a double bass, then synth, then baritone, etc... It's a process, I think the key is to keep pushing yourself and challenge your comfort zone. It takes serious amount of time to get yah body to do what your mind wants. Keep the faith!

Pickup cavities, control cavity, arm and belly carve done!! 1st coat of Danish oil on it! Now just waiting for neck screws, bridge, knobs and tuners......... I think it's starting to look really nice now if I do say so myself!! 😁

My finished Pitbull RD kit build, it`s a bit yellow 😀

Go on then 😉 just got it back again for the last time after a fret dress and setup, finally got the pickups wired and screwed in properly ( i missed a connecting wire DOH!) and here it is, the finished customized Pitbull RD kit.... the finish on the headstock is all that lets it down but I can live with that ...for now 😉

Had a request competition from my email subscribers and here's the winning entry - George Porter Jr in fine form... The Meters - 'Funkify Your Life' Transcription

Not yet sanded, but the basic top carve is pretty much there. As usual, I put an early coat of oil on to see better any planing marks or lumps and bumps. The back has still got a few sharp corners to round off and then I can start sorting the neck. The wood is quite figured!

I change all the time, it's not a problem for me. 4 or 5 strings, frets or fretless I am equally ham-fisted on all of them!

You all know what they say in guitar building circles: "If you haven't got anything else to say, then just do a quick mock-up" Here it is in better light. Once the tru-oil finish has been done properly, the surface will be silky smooth satin but the colour tones will be pretty close to this. In real life the red hue comes out a touch more (Canon CCDs are notoriously poor for accurate red shades) but it's starting to look like a bass: Today is all about the neck joint. I'm going for stainless steel allen-head machine-screws and inserts with set-in ferrules rather than the plate shown in this shot here. I'm going to plug and re-drill all the existing holes first so that they are an accurate 4mm dia. I have some machined ferrules - slimmer than the 'normal' ones - on their way from Kay's Fasteners and I MIGHT add a couple more, angled inset from the front two in order to prevent any movement resulting from the string pull. It I was clever enough and skilled enough, I would put a hardwood biscuit joint in the heel area - but I don't think I am Once I've got the joint sorted, I can start carving the neck and heel transition. This is definitely one of the 'measure 14 times, drill once' days...

Just about to go on with my two latest basses (P-bass bitsa and Hohner Jack) and my freshly refurbished Bayma-loaded Peavey cab...

The latest incarnation! Still toying with the idea of getting a Darkglass M900 head though.

The main live rig now looks like this -- it's getting its first major outing on New Year's Eve in Cheltenham: Trantec wireless, Yamaha FX, Focusrite Trakmaster preamp, and Crown XTi-1000 power amp. The cabs are still the Nemesis 2x10 and 1x15. The first time I cranked it up in my garage, my bike toppled over and a shelf fell off the wall. Mission accomplished.