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Hi Folks Don't often do this but with this one I thought I must.. So, there I was in my local music shop in Bognor Regis (Mike's Music) buying some strings when I saw this hanging on the wall looking a bit unloved.. Being the kind chap that he is, Mike let me have a trial with the bass and after spending some time with it at home, I realised it was a must have.. As far as I can tell from the serial number, its a Made in Japan 1991/2 Fender Precision. Sounds great, beautiful Ash body and maple neck and is in brilliant condition for a 27 year old bass. Happy days, or should I say, happy NBDs! Thanks for looking.. 😊

Ive had my P34 for a week now, and love it to bits. Not had a lot of time to play it this week, but i can honestly say i had had no ‘i wish it....” moments, its the most complete bass ive ever owned. Ive struggled to take any phots that make it look interesting, its hard to photograph at home and, well, we all know what it looks like. Still, a few to prove i have it lol.

Awesome gig yesterday evening at the Farmyard Bikers rally in Helmsley, North Yorkshire. This is one of big ones at about 6-7000 punters and loads of bands over 4 stages and 2 days. Great weather and enthusiastic crowd, even had time for a beer after our spot and watched a couple of bands. Loved the backstage request.....lol

😂 Si

Milli Vanilli

Liam Gallagher in every band he's ever been in.

Just back from a local (festival) gig... now off to a pub gig. Oddly the pub gig is going to be paying way more than the festival but I reckon the festival gig might be the better experience; we shall see.

took a good bit of cleaning, was like a dusty headache. Wearing some BB knobs now too.

Woo! First one I've actually recognised. I'm nowhere near my bass at the moment so someone else should feel free to continue

“YAMAHA”

Could you please update me about everything you've posted in the last... oh, I don't know - 3 months?? 😃

Yay! 👍

Here’s some https://www.allparts.uk.com/collections/wood-horn-knobs

Female bass-player? Boogie Oogie Oogie, A Taste of Honey?

Completely disagree. He was great with AC/DC at the Olympic Stadium a few years back. Aside from nailing the songs, he looked like he was living the dream. I guess this post is about replacement singers, because (like it or not) the singer is almost always the focal point for an audience and everyone else is essentially a backing musician. A change in a high profile frontman can be hard for some fans to take, but - so what. And just for the record, I think that Adam Lambert is awesome with Queen.

Couple of good gigs this week in Milton Keynes and Aylesbury. We have a new lighting guy, so enjoying seeing what he can do to make us look better, not an easy task....

I remember when it was all fields.....

All my basses are active. Passive basses are a bit meh these days (with the exception of Hohner) They were all the rage back in the 50’s 60’s, but not so much in recent years. 🤔😆

Dear friends, after more than 4 years the first 4 String bass is ready to rock the world ! EVO-FX4

The thing is, when Gibson were going bust, everyone was saying “they need to go back to what they do best, Les Paul’s/SG’s/335’s!” And were criticised for all their “innovations” (which incidentally were poop...) Fender and Gibson do what they do, Imagine Levi’s making tracksuit bottoms or Dr Martens making tennis shoes. It just doesn’t work that way. Fender have a staple 5/10 models and have to work with that. They try stuff and it doesn’t always sell - there are 100’s of models which didn’t stay long. I sold Fenders for years as my Job, and all the weird and wonderful sat on the wall while black strats and white telecasters turned over in huge numbers. For years their best selling Telecaster was the butterscotch 52, their second biggest selling telecaster was the left handed version. After that it was a natural finish USA with a black pickguard and the Baja Tele in blackguard blonde...etc. Its about an “Icon” thing for players. Jaguars/Jazzmasters/Mustangs were sort of dead until Grunge - the artists bought them because they were reputable branded guitars but cheap. Then in the early 2000’s the 72 Custom Tele/Thinline Tele/Tele Deluxe were in vogue because of all the hip indie bands using them for that same reason - before that they couldn’t raise an eyebrow let alone a big ticket price. They have a legacy and they’re bound to it, damned if they do (by some) and damned if they don’t (by others). More stringent quality control and they’d be away - but that adds cost, and that’s why a Deluxe USA Jazz is £1800 or so and a USA Sadowsky is about £4500. Incidentally - I side by side compared a USA 2010 Deluxe, A USA sadowsky and an Alleva Coppolo (check spelling) and the Fender held its own, massively. I preferred it in sound to the other two and it felt as nice as the Sadowsky. It was just a bit heavier than the other 2. It was also about £1449 at the time. They should open up 12 month contracts to us all and see if we could do a better job. Anyhow, as someone said earlier - if you weren’t thinking of buying a Fender this year - these probably aren’t aimed at you...I’m off to play my yamaha 😂

I just think that Gibson are behaving oddly pi55ing on their own chips by behaving like a peevish gorilla at a time when they should be focused on mending fences with a sizeable slab of disaffected consumers. The time to pursue copyright infringement is when customers (and potential customers) are back onside with the company. That said, it might be that the hedge fund wonks who now run the company are attempting to enhance the value of the company by clearing up any unattractively loose ends in respect of trademarks which might excite the concerns of future investors or outright buyers. A sign that Gibson may be back up for sale sooner than expected? Who can say? If, however, Gibson's plan is simply and negligently to run high-profile lawsuits alongside their customer re-engagement strategy then that's Juskiewiecz levels of crazy.

You can create your own Glastonbury festival at home. Pitch a tent in your garden,put on radio 6 Then get whizzed and stoned out of your mind. Don't forget to steal your own shoes and urinate up the side of your tent.

It's not a daft analogy. I think you'll find a lot of non-primitive basses are active these days. Fender even tried making a couple of primitive basses active. I don't know how they compare - it was 25 years ago that I owned a fretless 4, and with my memory, I can't even remember whether it was active or passive. I do remember it had a very nice neck and was incredibly light - so light that I found it disturbingly so, and eventually sold it and got a Vester bass (the Thumb-ish one) that had been defretted.

Tuff cab dried, the corners and handle were fitted, along with the back plate and 2 pole speakon connectors. See a problem with any of that? I didn't.... I also couldn't find my soldering iron and had to wait for a new, better one to turn up from Amazon before I could wire up the speaker. I noted the holes for the top and bottom holes in the speakers weren't quite lined up properly. I'll fix it if it's an issue, but I lightly glued the tee nuts into place to stop them falling into the cab when inserting the screws so it's going to be a big faff, and the finish line was in sight. Thanks to Phil Starr for letting me know my 16 gauge cable was likely going to be find for the internal wiring which saved me having to order some cable in. The speaker wires were soldered to the lugs, passed through the internals of the cab, and the speaker screwed into place with a piece of speaker wadding stuffed in there. The back plate was then wired up, the amp sat on top of the cab, and..... ...the speakon cable wouldn't fit into the connectors. I didn't know that there were at least 2 types of Speakon connector, 2 and 4 pole. All my cables are 4 pole and the connectors are 2 pole. 2 pole male will fit into 4 pole female, but not the other way around. Some combination speakon connectors allow a 1/4 inch jack to be used in the centre barrel, but not the ones I bought, so I'm stuck until I order some 4 pole connectors, or 2 pole speaker cable before I can see if it all works. I'm leaning towards the 2 pole cable, as it'll sidestep the need to re-wire anything. So close, yet so far.

Lovely bass! There’s something about the feel and tone of 90s MIJ Fenders.

Well you're the first to actually name it, get your track up!

Honestly I'd find a different luthier if he's foxed perhaps he shouldn't be wiring in pick ups!

My other top tip for noting settings is take a photo on your phone! you can even time link it to a quick and dirty phone recording or computer recording as you have a focusrite and you have the settings for the tone

I thought he sounded pretty good on a youtube clip I saw, and I don't like his voice in Guns n Roses

Just bought some strings from Dave, quick delivery and perfect condition, deal with confidence , Thanks Tony

With the stacked DG boxes I'm really after a quite defined tone, along the lines of Nolly Getgood but with a little more bottom end. So the high part of the fizz needs to be there, just not too fizzy! I had a play last night and running the Q last I just can't get a tone I'm happy with, however, with the Q bypassed the tone is also a hollow fizzy crap fest! So, it seems that the magic happens when driving the Walkabout preamp and the VMTD and B3K settings won't read across. So tonight I'll start from everything flat or zeroed on all three pedals (after noting the current settings) and go from there. I'll also swap the order if that fails time permitting. Cheers all for the input!

Defiantly... If not, get Animal in on the gig. He'll nail it.

Your amp shocks someone. Your PA system falls on someone. One of your bandmates throws a guitar in the air and pink torpedos up the catch and it hits someone in the mouth. Someone trips on a cable you put there. Someone trips on a cable you say the Venue put there but the Venue say you put there! Seriously - the opportunities for a flip up are endless! The Venue is only liable for their own negligence - not yours as well. And they will try to make any problem your problem. Or rather the insurers of the Venue will try to blame shift to the band if they can. If you both have insurance the insurers will carve it up between them to avoid a fight. There is also something REALLY scary now. It's called Qualified One Way Costs Shifting, or QOCS. If you sue someone for an injury and you win the opponent pays a lot of your legal fees. Not all, hence the percentage deduction that a law firm can make from your award. Now flip it - you are the band. Someone claims you have injured them. You are the defendant instead. The claimant sues you. You do not have insurance so you have to pay for a lawyer yourself... You manage to win. You don't owe the claimant a penny. You'd think the claimant would then have to pay your legal fees, wouldn't you? After all, you won. You successfully defended the claim. Not anymore. QOCS means that even if you have bankrupted yourself defending the claim the losing claimant does not have to make any contribution to your legal fees. You might have spent £25,000 defending a reasonably heavy claim. And you won't get a penny back. It's gone. There are some VERY limited exceptions of course, but generally speaking if you successfully defend an injury claim you don't get your legal fees back. So don't think "I will never cause injury to a punter" - think "Even though it won't be my fault if a punter is injured, can I afford to defend a claim properly?" And don't think about "No win, no fee" for DEFENDING a claim. The lawyers don't offer it, because due to QOCS there is no other party to get their fees from even when successfully defending an injury claim. So you'll get billed monthly like any regular client. If you ever get a letter of claim for an injury (QOCS doesn't apply to non-injury claims) and you are not insured you are effectively forced into working out whether it's cheaper to settle quickly compared to the fees you could pay defending the action.

Not forgetting a sense of emptiness and shame.

Series would give an additional boost to the mids like you say and a series parallel switch or push/pull pot would allow for the original Parallel Jazz tone as an extra option. I have a series parallel on my Jazz and it's great for that extra tone.

Go for four-conductor wiring humbuckers and run each individual pickup in series.

Amazing prices but amazing musical history. At least it’s all for charidee mate 👍

@51m0n thanks very much for taking the time to put my mind straight on the subject of transients. I've shared your comments below for the wider forum as it was such a helpful pm and I am sure will be of interest / benefit to many others! Transients and compression Transients are one of the keys to understanding compression and how compressors tick, true. The threshold is always crossed by the transient, that is the trigger, it is always the loudest part of the signal (with bass), only instruments that swell volume can achieve crossing a threshold with the body of a note rather than a transient: certain ways of bowing a note with violin family instruments, e-bows, volume pedals, keyboard pads and a whole raft of other sources do behave differently, but general bass playing, it’s the transient that engages the compressor. There is no 'note' or pitch info in the transient, it is percussive noise, but it has more or less higher frequency content, the nature of human perception of sound means that a high frequency heavy transient will give the impression of a sound having a generally brighter timbre throughout the note duration, even though that transient is just a few milli-seconds (ms) ?in duration. Anything that allows you to hear the transient 'better' will result in the timbre of your instrument sounding brighter generally - tweeters do this, they tend to reproduce transients better than full size drivers, as well as dealing with the high frequency energy of the transient particularly well, brightening things up a great deal. Ergo anything that dampens the energy in that transient will also darken the perceived signal timbre. Anything that increases the transient energy will effectively brighten the perceived timbre of the entire note. It’s subtle but very real. Some sound engineers swear they use compression to help EQ signal as much as an EQ. I agree with them. This is important because compressors and limiters can hugely change the relationship of the volume of the transient compared to the volume of the main body of the note materially impacting the difference in level between the two. Hence, they can definitely impart or remove brightness, which they do as a direct function of the attack time setting. They modify this relationship depending upon the type of compressor / limiter and the settings you have and the input signal. This is what a compressor really does, the make-up gain does the rest; people label this with many simpler things e.g. “compressors make your quiet signal loud, your loud signal quiet, your dynamics more squashed etc” all of them an over simplification, which is where the problems really arise. A transient is typically less than 100ms long, it can be much shorter, in order to not trash the brightness in your tone you need to get your compressor out of the way of your transient. In order to not make your tone too harsh when using higher compression ratios you need to still keep control of that transient, and that is why attack time is so vital, and a limiter can seriously help from a timbral perspective as well. The final super-important nuance is that no two types/models/brands of compressor achieve full compression up to the set ratio after the threshold is crossed in the same way, the compression is almost never turned on linearly, or 'immediately' it takes time to ramp up, and it is rarely linear. The same with the release. The very sound of optical compressors is the relative slowness of the way they turn the compression on and off, coupled with the very curved nature of the optical circuitry, the light starts going out very quickly but as it dims it slows down in its dimming. This has a massive impact on the sound of the compressor.

Gotta love the period-correct Pau Ferro fingerboards 🤨

How good does this look? This looks like exactly the thing I've been looking for for ages... https://www.boss.info/uk/products/eq-200/ In fact, all the new 200 series stuff looks pretty ace...

Wow, congrats Dave!! 8 days to go from a BB425 to a BB P34. Took some of us a couple of years to make a similar journey! 😀

Welcome to the club! A few notes for you: The mono jack socket is the one nearest the strap button and if you plug a mono jack into the ""Rick-O-Sound" one you'll only get the treble pickup. I'm not sure if your one has it, but on current 4003 models the Treble Tone knob is also a push/pull switch, which allows you to switch in the "Vintage" style treble capacitor. The strap buttons are Schaller Straplocks. Don't put too heavy gauge strings on a Ric; I use Swing Bass 40-60-80-100 on mine. Enjoy the Ric! (BTW, the Laredo is a 4004!)