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I do the neck carve over two or three days. I do the carve with a combination of templates - based on profile drawings I got the prospective owner to take off his favourite playing bass - and feel. The bit that takes the longest, usually, is the heel where the feel of the transition is what matters most. However, when you do things by feel, I find it helps if you come back to it from time to time when your hand has forgotten the shape and is re-sensitised. I’m pleased, though, with the first day’s progress. First, I cut a stiff plasticard template from the measurements sent. It's based on a Lakland 44-64 and it's interesting that it's very subtly asymmetric. The closest equivalent I can think of is a Stevie Ray Vaughan 6 string electric : As with @eude's, I use a spokeshave for the very early bulk removal: But quickly move over to microplane and cabinet scrapers to give me a much more controllable cut: This is the result of the first stage: It’s getting relatively close to the template shapes but, more to the point, it is starting to feel right. You can see why I leave the back carve to late in the process. If I get it right, the neck radius will smoothly disappear as the player progresses into the full body thickness at the upper frets. This is the demarcation you get from doing that slightly odd back-to front-binding. It looks great when you add luminlay black-surround side dots in the middle

Right, not having completely mainstream tastes in this bass lark, I've got a few rare-ish things in amongst the herd so, lets start with Steinberger and related. XL5W wide neck 5 string - searched for years before this one came up. Next up, XL2TA. XL2s are not that rare, even in White but the T stands for Trans-Trem so... Shouldn't really put this one here as it was custom built for me but it fits with the first two - Status Custom 6 'Berger Enough of that headless nonsense - this is more like it. Wal Mk2 5 string - not very rare? OK - the clue is here... Kubicki Key Factor 5 And last amongst my rarities - Ibanez Studio 8 - it even matches the couch!

Mostly because regardless of price, it seems there's a selection of buyers who simply haggle because they simply would never pay the advertised price, or thats what they feel they have to do, so many people up the price to cope with the hagglers. Then you have the desperate sellers who sell cheaply because of financial difficulties, and then what you get is buyers pointing to those desperate sales and saying " but that seller sold the same item for blah blah " This is not regular, i should add, but it happens. I had someone refuse to buy something for £22 because i wouldnt knock £2 off. I simply cannot be bothered with such buyers. I sold to someone else in the end. If it had been a £100 item, yes would have haggled, but £22 - no

I'm of the opinion that the bass is a part of the music, and can't be separated from it. Geddy Lee is a fine example - while I can logically and dispassionately acknowledge that what he's doing is technically very good, there's no way I would ever describe myself as "enjoying" it. I am not ashamed of this. S.P.

Well day one was a cracker. It was our home gig, Brighton, and we managed to get nearly 100 people out on a cold, slightly damp Monday night. On this tour all three acts have equal billing. So will play each slot on the bill three times. For our home gig we closed the show. Was a little worried, as the act before us, Italian Eliana Cargnelutti was pretty damned good. Her bass player and drummer were several leagues above everyone else on the tour. No need to have worried though, as we pulled off a strong set and the partisan crowd loved us! To make things easy, we have provided drums and bass rig. Really nice to hear my own rig being played at decent club volumes. Eliana's bass player is using a nice looking, Fiesta Red with tort pickguard Precision - I'll get more details later, and Zoe Green's is using a fabulous looking and sounding Supro short scale. London tonight, Water Rats if anyone is local.

Erm... I'll sometimes listen to music i'm not otherwise keen on, if the bass player's really good, but there's that much great music out there that ticks more boxes, that I don't see the point making yourself suffer just to hear a well played bass... I have to say, many of the most amazing bass players on the planet seem to choose to play the most unoriginal, antiseptic, landfill jazz rock fusion. It seems that being a great bass player doesn't necessarily make you a great artist

I agree, It's the same as art - I can appreciate the artistic inventiveness of Jackson Pollock's paintings, but there is a reason for rhyming slang.

time for a very frightening part... cutting the binding channel... and then binding it! on that second picture it looks hugs, but in reality its about 3mm, which is just about right for the 3 layers of banding ill be using. te be honest, this part was fairly painless, the cocobolo machines pretty well so long as your router bits are nice and sharp. as you can see, the binding channel is fairly deep, and once the binding is installed it will leave about 4mm of the cocobolo top over the top. the plan is then to carve the top down to the binding, so that the body has a nice subtle shape on the top. The first layer of the binding, you can see how much of the cocobolo is going to be carved away... and aslo how close in coclour the tulipwood is without finish on it. in relaity, the cocobolo will darken a bit more once a finish is applied, so there will be a nice contrast. the second layer (the ebony) went on a hell of a lot smoother than the first... its only .6mm thick and the grain runs along it so its pretty resistant to splitting along the tighter curves. and finally... all 3 layers are on! theres a steep learning curve to doing binding, but overall im fairly pleased. i think itll look good once the top is carved and the binding is scraped. but if you think it was nerve wracking doing it on the body... this damn near gave me a heart attack. i couldnt quite put my finger on why... but i wasn't quite 100% happy with how the fretboard looked. i'd placed the inlays about 2mm away from the edge, so that if i wanted to i could bind the fretboard after the fact, and thats what i decided to do. and honestly... im super gald that i did. i love the way the padauk binding looks now that its sanded back. and the inslay survived the whole operation intact. it looks more like a picture in a frame now, and i like that a lot! its starting to look like a bass! ill be glueing the back in place today and then im more than a little nervous about carving the top next week. its slowly getting there....

Went into PMT Bristol to pick up the Orange Terror Bass Mk2 and while I was there did the fatal mistake of going to bass section. I could hear a bass being played that just oozed buttery warm yummy bass tone and went over to see the bass salesman noodling away on a Fender JMJ Mustang Bass, started chatting to him about it. So he let me have a play, the neck plays like butter, the output amazing from the Seymour Duncan mustang pick up, and fender flats as standard. it is an amazing bass. Needless to say I ended up leaving the shop with it. Oh well Christmas presents to family is way overrated anyway lol. Oooops I’m in trouble!

I want one of these so bad - it'd match my '72 Daphne blue musicmaster bass, but apart from me being skint, the missus also seems to think seventeen basses constitutes a complete collection - & I'm still in trouble for buying an epiphone vintage pro T-bird this year. I put a set of the standard Fender 9050L flats on my CIJ mustang & they're pretty good - only the E has an unsilked bit going around the tuning post and it doesn't seem to suffer any ill effects for it.

I can imagine that pain... you are a brave man letting us ham-footed punters stamp all over your nice helix

The funny thing was that he also gave the guitarist a lecture on how to EQ his amp. The guitarist then went and fiddled about with the EQ knobs on his amp until the Sir Richard Head III bloke gave him a big thumbs up. The guitarist hadn't actually altered anything at all on the amp but Mr Sir Richard Head III told him after the gig that his sound was immeasurably better in the 2nd set. This was a few years back but I think he's now been banned from the pub for pi55ing too many people off.

And here’s the evidence of it enjoying the journey to a new set of adventures!!

He is missed in many respects.

How rare is a Modulus Quantum 6 Graphite 1999 with original Bartolini pickups and preamp, original Modulus molded and branded logo hard case, user manual, warranty card plus the mega rare Modulus Graphite sticker ? And in fantastic condition...

Fender flats have green silks. I have them on my 61 Precision.

Sounds like a 6 stringer masquerading as a bass player to me. I had one experience with some bloke in the audience who I'd been warned about. During the break between sets he told me that what I was playing sounded OK, but my technique needed a lot of work. He offered to give me lessons (which I had been told he frequently did even though he couldn't play a note), so I feigned eagerness and asked for his phone number. When he gave it to me I dropped it straight on the floor and walked off.

Each to their own, but I'll listen to a band I like first, and if they have a good and interesting bass player, so much the better - Art Liboon's playing in Mordred is a great example. I don't think it's an exact science - I might like the band more because the bass lines are particularly excellent or interesting, but I'm very unlikely to listen to a genre that I'm not very interested in just because the bass lines are great. the comparison I'd make is that I know that professional opera singers are very talented, but I don't like any opera that I've heard so I'm not going to start listening to them rather than Motorhead just because the singers are more technically adept than Lemmy. I have tried to get into the virtuoso stuff but it leaves me cold. 30 years ago I got dragged to see Joe Satriani on the Surfing With The Alien tour by a guitarist friend who thought it was the best music ever made. Stu Hamm's bass solo was the one bright spot in an otherwise utterly dull evening, so when I found a Stu Hamm solo album I bought it anticipating a brilliant set of songs played by a great musician. Can't argue about the great musician side of that, but the only song worth listening to was the Moonlight Sonata. the rest of it was technique over song craft, and I have no interest in that

Everybody's buying pre-owned stuff these days, nobody wants the second-hand kit.

So, I've been casually looking around for one of these Jags since I started this thread. during my searches, I've found them to be fairly rare. This variation wasn't that popular, and the white even less so. I couldn't import from the US due to cites, and there didn't seem to be any in Europe. So I'm casually browsing the site of a local shop a few weeks back, and there one is. The exact one I'm looking for. New old stock. Yesterday I went and checked it out and he's had it in stock for about a year (he claims) despite it having a 2015 serial number. It played and sounded pretty well, but will need a setup tweak to suit my style. He wanted €799 for it, but when I countered with the fact that the new player series were at a €749 RRP and this is essentially "last years model" he didn't argue when I offered him €700 for it. I popped a holding deposit on it and will pick it up when I scrape together the rest of the cash. It's exactly the one I was looking for and I think he was glad to finally sell it. So now that I own two white basses (I already have a 2005 standard P) can I still really say that I don't like white basses?

I listen to a range of music, from blues to country, ballads to rock, jazz to psychedelia. Luckily, all of those genres are covered by the one band whose CDs occupy a complete shelf above my desk.

If I'm making a specific effort to study a bass player because I know it will improve my playing then I'll force myself to listen to stuff I'm not really that into. If I'm just listening to music for pleasure I'll never force myself to listen to something just because the bass player is good. I spent some time a while back transcribing teen town - musically it's just not my thing, would never put it into a playlist to listen too for enjoyment. But I have taken things from it and incorporated them into my own musical endeavors so it's still a win.

The bloke sounds like a complete knob. When said he was a painter, did he 'accidentally' forget to add 'and decorator'?

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The RetroB really is a nice shape. It’s very much like a P bass, but different enough to feel like it isn’t just another copy - whilst retaining the comfortable and familiar feel. The build quality is the real stand out factor on it - superbly playable, lovely low action and everything feels so snug and tight. In addition, I’m really impressed with the pickup - I have the same one in my Finn 4 and it does all of those great P bass tones and much more besides. I’ve had quite a few basses in my time, and a lot of guitars as well - I would say that Alan’s work is up there with the very best - and probably is the best I’ve played. He is also extremely accommodating and an absolute pleasure to deal with. It might sound like he’s paid me to say this, but he hasn’t (the reverse in fact 😂) but I feel really strongly that as a player, I should spread the word about just how good ACG gear is - very high quality, excellent prices, and a local U.K. builder too!

I always liked Duff McKagan as a bassist, some great melodic lines, but the rest of Guns & Roses leave me cold, including Slash as a guitarist. There's something about his guitar tone that irritates me. Nowhere near as much as Axle Roses nauseating screeching does though, that man makes my ears bleed. I really like Bernard Edwards' bass lines too but really don't care for whole Disco style, it's too happy and twee for my miserable disposition 😀

The only thing I'd add is that you should ring ahead imo, I've seen people on here slag them off after arriving out the blue to be stood around as other people were trying stuff out, which is fine but you can't expect a small shop demoing expensive stuff to customers that have effectively made an appointment to be snubbed when you walk in imo. They'll also confirm what you want is in stock and have it ready for you too, so either call ahead or be patient that's all I'm saying.

The music should always come first. The bass players in all the bands I love are an integral part of the music (and which incidentally include Squire, Lee, Burnel, Macca, Zender). However, following a recent conversation about Vulfpeck (who I’d never heard of, so gave a listen), it recently occurred to me that many bassists seem to be into stuff that leaves me utterly cold. Motown, Steely Dan (who I tried for years to like until finally admitting they affect me like nails down a blackboard), loads of so-called “blues” (anyone who has seen Ghost World will understand), soul/r&b/what I refer to as “funk lite” & “fusion lite” (admittedly early Jamiroquai could qualify here but for some reason I love them). Weather Report are another who I convinced myself for years were great, when actually they only do marginally more for me than Kenny G. Joni Mitchell is another on the Kenny G scale. 😂 FWIW, I love everything about ABBA.

Next up is the top. There was a lot more choice here. Alan suggested a choice from the following: and the one I finally selected - this one: I went for this one as it's got a nice balance between grain, light and dark, and figuring generally. Here's the reverse side of it: Alan will now do some wizardry on it and take a cut from it to deliver a few options for the final piece.. He also has a neck blank in my chosen wood combo ready to go - so here it is:

Maybe, maybe not. Unsupportive and/or controlling husband lets wifey audition for the role because obviously she's useless and (i) will never get the gig, (ii) can't possibly manage without hubby there to tell her what to do. Anyway, it'll shut her up for a while. Then gets all hurt and precious when it turns out that little wifey actually does just fine when he's not there to screw things up for her. Perhaps.

A singer friend of mine and myself were starting a new project, writing songs together. We would meet at mine to write and record a bit of guitar and bass. I was playing guitar but I wanted to stick to bass, so we auditioned guitarists. This guy comes in, and within seconds we realise he can't even play. He was having trouble shaping chords with is fingers... and you could see he was feeling very nervous and embarrased. Singer is giving me this look like "we're done here"... but I felt sorry for him, so I took one of my guitars and showed him something simple to play, and I played another guitar and singer sang a bit... then moved to bass... and over all I taught him 3-4 little things and we played for another 30 minutes or so. Then he left, apologising for his lack of preparation and he laughed at how silly he was for thinking he could do it. Then he says he had only been learning guitar for 2 weeks... I emailed him a couple of days later to see how he was. We laughed. He was a cool guy, he just jumps into things with lots of enthusiasm and not enough preparation sometimes We became friends, I encouraged him and eventually he went on to form his own band. I played a couple of gigs with him as a dep, recorded a bit, I went to his wedding... so yeah, cool audition ha! stinky poo guitarist at the time, but I ended up with one of the coolest friends I've got.

How odd - I have played through your helix but it didn't occur to me to press any of the footswitches, I thought the idea was to listen to the basses!

What gear are you using and some pics of the gigs on here would be nice. A running report on the gigs also a nice touch if you have the time to post during the following day. Sounds good 100 in first night an a Monday too. Dave

What do you think of those Microplanes Andy? We have one in the kitchen but I've never used one on wood. Love that spokeshave too, Veritas? Better mention the bas too, well, it's typical of you, brilliant!!

Loving this a lot

I think he did some solo stuff, mulled around last time I looked, but he was just the nuts. The new LC is ok actually, some nice grooves but the production is heavily compressed

and the fact that Clarky is no longer on the forum...

Here you go....here's my 50's Classic Lacquer DIY Roadworn work in progress...

Too many to mention, when I first heard Dallas 1pm by Saxon the Bass and Drum intro just sounded so good, even today it still kicks butt....simple but effective.

As long as you have an aux available... Behringer P2 off Gear4Music - £26 ZS10s off Amazon - £35 Decent cable, mixer to P2 - £20 £81.

I bought my Dingwall NG2 from them. Had very good communication with them via email beforehand, just to check what they had in stock. Traded my MM Bongo in, and the whole thing was a pleasant transaction. Mark wasn’t there, but the two younger guys were both very friendly and professional. Set me up through a Genzler amp and cab, showed me the various controls on the bass and then left me to it, occasionally popping his head back around the door tomask if I was ok, and did I have any questions. I wouldn’t hesitate using them again, in fact have just ordered some Dingwall strings, but they only had one set in stock (I ordered two sets), had a very prompt email asking if I wanted to cancel the order, take the one set now and wait for the second, or wait and have both at the same time. Very professional in their approach to everything.

I'm with you BS not afraid to admit it. I always listen to the bass in the song...not just the bass itself. I'd rather listen to an AC/DC track with Cliff thudding away root notes that fit the song rather than a load of pretentious fret-womble of the bass kind demonstrating just how technically amazing an individual may be. I can admire their ability but it leaves me cold

Indeed. I've tried getting outside my comfort zone of funk, electronica and hip hop to check out acclaimed players in metal, prog, jazz, classic rock and fusion but I just can't get my head around the music they or their their bands make to get to grips with the basswork. In the end I decided that as I've got limited music listening time I might as well use it to listen to stuff I actually like. It'a a shame many of the technically advanced players -e.g. Clarke, Wootten, Bill Dickins etc -play some of the most anodyne guff that would shame an elevator - There's much to be said for being narrowminded 😀

I am sure I have said, although I have sold one recently. Its not a secret, it used to be in my sig but it got too long. I have a SR1000, 5005, 1605, SRF705, ICB305, ATK305, Thunderbird, Squier CV P Bass, Maruszczyk Elwood, Fireman, Dean 8 string and Spector Q5? Technically there are a few more in states of being built, being used for parts etc, but they don't really count. So 12, but I would be happy to sell the ATK, ICB, Spector and thunderbird if I could be bothered, so I am sure that only counts as 8. Guitars, I honestly don't know - I have a yamaha RG, PRS SE, Ibanez SA36, Peerless tonemaster, Two acoustics, Indie tribal, and some more I can't think of. I would happily sell all but one electric and one of the acoustics, I really don't use them much. Did I mention the keys? The Roland Gaia, Yamaha piano, Waldorf blofeld, Bassstation, Roland Juno DS. Or the Akia EWI? Oh I have tons of stuff, but I still feel if there was a fire and I lost every non living thing in the house apart from one bass, and I walked out with the 1605, I wouldn't be unhappy. So yes, if I wanted a full helix I would faff about it for a while then go out and get one, but TBH, if the B3 had a decent drive on it, I would probably be happy with that. If I played guitar in a band now though, I would almost certainly have a helix or even a stomp on order, they are fantastic with that. And if I owned a decent PA with bass, maybe I would have one for the bass too, at the moment I do love my CTM100 a bit too much for that!

I love music as a whole but actually find most bass players boring to listen to on their own, regardless of how widdly they get. I don't like solo instruments at all really, I much prefer a whole band playing I actually get more enjoyment listening to drummers which is odd in itself but not so odd in the fact that my drummer prefers to listen to bass players than drummers

Dude, that's a monster board! Like some of your choices. I've just completely reworked mine as well - I got a Ditto X2 and wanted to alter the routing to make it easier to use, as well as having a space for my wireless on the top right - The Mooer bitcrusher is excellent - the FCB1010 is actually controlling patches on the Future Impact and the envelope filter, as well as providing midi expression pedal control into both. The two boss expression pedals are plugged into the filter and the boss SYB-5 - so my filter pedal actually has 2 expression pedals - mad flexibility while stood up. I can't tell you how good the SYB-5 is with the expression pedal, it makes it a supremely expressive synth. This board was constructed for a synth based project, but it's going to get use in a funk context as well - I've got a lot of flexibility in here. The FunkFace has great retro funk tones, with the valve filter on board, the FI is supremely flexible, the MarkBass has the best tracking for faster stuff, and combining valve fuzz, octaver and bitcrusher sounds pretty synth as well. All with a final mini wah onboard as required. The Ditto is just for my own creative fun.

We did some testing on the Basschat 1x12 design. One large port versus four small ones. There was no contest, the four port design was making noises way before the single large port.I believe that there is less friction on the larger port and that makes for less turbulence. Real estate is a problem though as a 5" port takes up a lot of the area of a front panel. One of the reasons people rear port. Other ports are chosen to aid cabinet strength. Corner/triangular or slot ports port also act as bracing and are efficient users of space when paired with circular drivers. However they (triangular) are the worst in terms of friction. One large round driver has less surface area than any other design. Every speaker design is a compromise. It is like squeezing a balloon. A gain in one area raises problems elsewhere.