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An alternative, more visually pleasing approach would be to tie a large, colourful helium balloon to the headstock. The more neck heavy the bass, the bigger the balloon. Thunderbirds generally need a giant rainbow coloured unicorn. 😎

Sorted, bought an Ibanez SR500 of a fellow BC member. Thanks Stuart!! Off to find an amp!!

So kind of you But no - this is paying forward what others have helped me with. I suggest getting yourself a massive jug of Pimms on this summery day!

I've experimented with many solutions and the most effective was still a little inelegant. I have a canvass pouch designed to hang from a belt or bag whilst out hiking. This pouch holds a water bottle. So when I cycle to my rehearsal with my tiny travel bass I take the bottle from the bike, fill it with water at the rehearsal room, clip the pouch to my guitar strap (at the bum end of course) and the weight of the water precisely balances the instrument without me having to carry anything heavy on the bike (which would kind of defeat the object of travelling light). I carry the bottle anyway and it becomes lighter throughout the ride as I consume the initial quantity of H2O. So I rehearse with a bottle swinging at my hip. Perfect if, as I say, inelegant. I am therefore adapting the idea for when I'm actually gigging with a neck heavy bass. Quite simply velcro attached to the back end of the strap and a certain number of curtain weights sewn into a flat pouch with the other half of the velcro sewn to the pouch. Balanced bass? Remove the pouch, neck heavy? Velcro it on. The 'certain number' of weights is arrived at through trial and error but by using three smaller pouches rather than one big one I can stick on differing amounts of weight to suit each bass on a case by case basis. Or a bass by bass casis. A bag of curtain weights, yesterday: Pictures to follow. When I've actually done the sewing.

Looking for a jazz neck for my P bass, found this: https://www.ebay.co.uk/itm/202542172424 I think he has assembled it wrong. Shouldn't the strings go in the front?

Right, photos time. My Stanley Clarke.

I'd use whatever the manufacturer says is good for bass fishing

Orion is a very comfy set-neck ride

If you think it would help I'd be happy to give that a go, as long as it was fully funded of course. Maybe the hotel in Antigua where the rehabilitation would take place should have a catchy name like Antigua Support Scheme Inclusive Therapy Care Home, although a bit long it could be abbreviated.

The difference is it doesn't shine - it glows.

Relicing = a very good thing. IME.

To stop neck dive on my EB3 I pass the strap behind my belt.

I'm very much in the realms of a cover being a version of a song, not a slavish copying of the original. That, in my opinion, is the job of a tribute band.

Sounds a lot more organised than any I've attended! Chord sheets are a great idea. I'd also start a Facebook page and encourage any musicians to nominate songs they'd like to play (e.g. posting a YouTube video), that way you could end up with a bunch of strangers agreeing to learn them before the night and playing some lesser known tracks that otherwise wouldn't have a chance.

Now there's a prog band just waiting to happen

Relicking most definitely exists in lots of other areas, shabby chic furniture, ratlook cars and bikes, ripped and faded clothes, tarnished and dented brass instruments, scratched and faded string instruments, etc. All fair enough, whether you like it or not doesn't matter as it's most definitely a popular style, the one thing that does matter is that Antigua finish exists and only exists in the guitar/bass world and should be stamped out. Even the bizarre world of fashion or the unemployable that declare themselves 'interior designers' wouldn't stoop this low, so what does that say about lovers of Antigua. Wronguns the lot of ya!

Cuzzie.. That blob of solder was absolutely it...near it there was a bare wire in amongst the birds nest. I have resoldered to wire to the blob and guess what.. It is absolutely quiet.. No more fizzle. I have maxed out the treble on both bass and amp everything remains quiet. Please PM me your PayPal addresses and I will send you the price of a pint.

As @dmccombe7 says, the black labels have twin pole pieces per string. The pups in the photo above are definitely Sandberg’s “standard” models, hence the little Sandberg logo (4 dots) on the corner of each pickup. Black labels look like this:

Totally normal for that model, bridge weighed about the same as the rest of the bass

Today I sold a Westone Thunder 1A to Max. It's been good to deal with him. Good communication and fast payment. He's new and seems like a really good guy. Thanks Max!

You'll also need a fair amount of coffee and a few free days. However I think it is one of the most informative threads on the internet regarding IEMs. I even bought my gear off the back of this thread.

Swapped my precision for Mark's Lakland DJ5. Genuinely great guy to deal with and I would not hesitate to recommend dealing with Mark to anyone. Oh, and he also has a VW camper van which makes him cool as well as nice 😎😁

I love this too! I have a semi acoustic bass which hangs all over the place and this might just be the answer.

Waddya know; they do lefties too!

I have an CIJ mustang & a JMJ - Both with fender flats as fitted to the JMJ as stock. Both are excellent basses & the JMJ is my main rehearsal/gigging bass. The biggest differences for me are the finish - I prefer the thin nitro on the neck of the JMJ compared to the gloss of the CIJ and the neck profile. The CIJ has a very skinny neck like a jazz whereas the JMJ’s is a little chunkier & more comfortable for me. I’ve wanted a daphne blue mustang with 'lollypop' tuners since i bought the (white) CIJ & I was initially put off by the ‘roadworn’ finish of the JMJ, but it looks a lot better in person than a lot of Fender’s stock images which I think were of an early prototype where they went a bit overboard with the aging & made it look really grubby. Sound-wise there’s not a massive amount of difference between the two & I’m happy to gig with either using the same fx/amp settings but in a side by side comparison I'd say that the pickup in the JMJ has the edge with a slightly chunkier tone.

I had a walnut one. It was gorgeous, but every time I picked it up my spine compressed half-an-inch.

A few years ago I tried the Suitcase and found it a very awkward lift. It has 2 handles and trying to use just the 1 handle doesn't work! I also preferred the sound of 2 cabs rather than just the 1. My preference would be for any of the 112 cabs (Mesa, Genzler, Aguilar, Bergantino, the Greenboy cabs in the classifieds or Barefaced ) on the market rather than the Suitcase.

I always think of "covers" as being the player's version of the song and not the "original" (if there is such a thing) public known version. Lesson or instructional videos, IMHO, should very closely reflect the public known version. If I am looking to learn a song from You tube, I would pretty much avoid a "cover" version unless it is very close to (to my ears) the "original" (again, whatever that means). I do agree with Mykesbass' post above though. PS Having watched a little more of the video, it is awful!

Some really interesting posts here. this is what I'm attempting so tell me if I have this right. I'm trying to do two things, get a community of musicians together, people who have gigged and are winding down a bit and people who are working up to forming bands. Giving them a chance to network and to make music. It's got to be open and welcoming but giving people the stage time they want. Above all it is about playing in a band, there are plenty of acoustic nights round here so I'm clear I don't want solo acts, apart from anything else that's only one person having fun. For the pub and audience it's got to be entertaining and attract an audience, a good atmosphere and lots of customers for the beer. So it's got to be reasonably slick and organised. I going with a house band, someone has to play if no-one turns up or rescue the evening when everything goes **** up. Apart from kicking off the evening though they are there to play for any singers and support the other musicians filling in for incomplete bands and so on. I'm going to look for another bassist so I can do front of house and work the desk. I've filled the first session with friends, some decent singers from previous bands who'll do a session with the house band and a couple of bands who'll do four or five songs each. I'll end the evening with a jam session of another four songs to make people feel there is a chance for them to join in. I've got a set list for god's sake. Is this too controlling? I'm going to try and have chord and lyric sheets there, people can take them away and learn songs if they want or join in and at least know what key it's in. I'll collect any details from any musicians who turn up, fit them in if I can but try and book them in for future sessions and offer short showcase sessions to any local bands who fancy it. good ones invited back. Beyond that I'm expecting to have to adapt to whatever turns up on the door. I want to try and keep it to 4-5 song slots to keep the gap between acts down and give people time to enjoy playing. It makes no sense to me to get people up for two songs, have them warm up and then have a break only to call them back an hour later to spend five minutes re-tuning and adjusting the drumkit. I'm hoping it's going to be busy enough to let me run a book each month and keep the musical standard up. I'd really like to see people having their first band experience here but I want to attract the best musicians I can and keep a proper live audience coming back. I wouldn't expect good musicians if all they hear is c**p. Lot's of ideas on this thread I'm going to copy, and I don't expect plans to work out exactly or even roughly but what do you think?

That’s because my iPad won’t let me say re-sprayed without putting in the hyphen

Have you tried recording yourselves and listening back to it. In the past I have done that, and it help identified note choices and lengths that weren't working well.

I like the idea that I pay for tickets, money goes to charity and their are higher chances I might win some little thing. It’s going to charity after all.

Bit of a preamble The JMJ or the ‘Justang’ (they’ve missed a trick naming this bass!) has a thicker headstock which may add something to the tone but that’s beyond my hearing, different nut width and I believe the neck feels chunkier, more precision like than jazz like than the MIJ but I’ve literally only played a MIJ briefly. The JMJ does feel great to play and the sound is bang on for what I’d expect of this type of bass. I do generally favour a P bass. The sound ... If you were really wanting to try before you buy fitting a Seymour Duncan mustang pick up would likely answer the question. The SD pick up is what’s fitted in the Justang and it can do punk right through to deep dub and the tone pot on mine is very effective across the whole of its taper which is a massive plus. Not a massive help but I’m sure but with any bass all these little things like the thicker headstock do have an impact but ultimately it’s the pick up which might just edge it in terms of tones. I think Fender have just sent a new stock of JMJ’s into the wild so they should be popping up in shops about now. I nabbed mine locally via gumtree (it’s a first run model form 2017) and it’s a cracking wee bass and the pick up sounds good. A mate had an issue with his MIJ sounding too flubby in the lows but I’ve not had gigging experience with a MIJ, the JMJ hasn’t suffered these issues on my recent gigs.

I'm going to see my niece's band, Honeyblood. She's got a 3rd album out in May. The last two were both nominated for Scottish Album of The Year.

A variation on this story but three times I have re-bought a variation on what I sold off and originally then came to regret. My Orange SP212 cab is a replacement for the much missed SP210 (& I improved on it!). I own a Japanese 57RI Fender P-bass that is a modern version of my original first bass (but in a better colour) and I missed my Hofner Verythin bass... I sold it as the intonation caused issues in the studio on a session BUT those good people issued one in a full 34" scale. So all three meant I no longer regretted any hastiness in the original sales.

Yup, twice. A P bass and an ACG.

I like the look of the Newport and have a bit of gas for a short scale again ..I did have an SG Bass and really liked the neck humbucker sound ....

8 inches surely ? Written on a napkin

I say he deserves it. So full of himself with all that plumage. in your Face, peacock!

Here's a relic Jazz I recently put together! Loads of fun spraying this, getting a perfect finish then hitting with things ! haha Oh the wood underneath will eventually be a coffee table!

Didn't the T Bass made by Status for Trace have a a hidden 3rd pickup under the scratch plate?