Leaderboard

Had this for around 2 months now. Yet to gig it, as for the Soul band, the Dingwall 5P, is pretty much perfect for that. Got quite a few function band deps lined up for next year, so going to have a proper play around, as there is a massive amount of on board controls. So as of yet, I’m still playing around with it. Bought it off someone on here, and wasn’t cheap. Sold two MusicMans, a Framus, and loads of pedals, but it was totally worth it. 35” scale QW5 Modulus Quantum. They did two wide spacing ones- 19 and 21.5 mm. This ones the 21.5 mm. So basically their big standard 17mm 6 string neck, but with 5 strings. It’s really wide

Well, the basic carve is done, ready for final sanding: This is why I like the cabinet scraper - you wouldn't think that this hasn't been sanded at all yet. And so in terms of what's been progressed: The headstock is now at finished thickness - a really nice bit of maple, this. The heel is still presently deeper than the fretted neck, but the neck depth from the spine to the top of the fretboard is now the same, as is the overhang: A volute on a P Bass?? Heresy! (But @SpondonBassed might want to treat it as a Christmas present ) And an offcut of the radiussed fretboard is ready to be cut-and-carved and then added the other side of the nut: I don't know how much extra will be done before family duties for Christmas start taking over, but the next jobs will include cutting the nut/fitting the fretboard extension and drilling the tuner holes so that I can temporarily fit them to allow me to cut the heel to the final depth and angle.

Today there are loads of good basses for £500. I'm a big fan of the Bass Collection Nanyo SGC range - search around and you can find one for around £150 - you'll get loads of bass for your buck. There's a whole thread here where you'll find out why you should. You'll also find G&L basses in that price bracket. I'm a big fan of the SB2 - and you'll find them available for around £300. Lots of Squiers in your budget - I really rate the Standard model (PJ) - again you'll find these for around £200. Sires - there is good reason why everybody has owned one - amazing basses for under £200. If you can find a NS Spector for around £300-350 snap it up. All the above basses are miles ahead of basses that were available when I started playing back in the 80s.

Usual reaction from anyone who sees it..................

Now down to £379 which was too hard to resist. 😎

Something from one of my band's Christmas do's last week. My ol' P sounding lovely, I reckon.

My first bass in my latter period of playing was a Fender Modern Player Jazz, in fact I had a Mk1 and a Mk2. Once set up they were sublime. I got both for £375 each. They don’t come up second hand that much, I expect because it’s a shed load of bass for little coin. I swapped out the Mk2 neck for a fretless neck, it was lush. I think they were easily the best basses I’ve owned in a bang for buck sense, by miles.

Correct. It is only limited by the maximum voltage , maximum current (amps) and the imagination of the marketing department.

@bassist_lewis, @hiram.k.hackenbacker check the 3Leaf site every day this week - there will be another bunch of B-stock Octabvre IIIs listed but they’ll go quickly.

How do you know? The knob position doesn't reveal the amp power output, nor does anything else. With a low voltage input signal the knobs could all be wide open and yet the output -10dB or more from rated output. With a high voltage input the knobs could all be at 9:00 and yet the output +6dB over rated output. I once blew a 200 watt EVM-15B with a 50 watt amp when I hooked up a pink noise generator for testing. I didn't realize that the generator was cranked, so when I turned it on the voice coil blew in less than a second.

.....but at the potential expense of all other aspects of a tone and feel that might not like or be appropriate for the music they play? I'm with WoT on this.....probably not a thing. I find that different basses want different strings (obviously that sits within our personal preference for things). I had flats on my passive P/J Lakland 44-94 for a while, it sounded fine, but wasn't right.....I couldn't tell you why. Put some roundwounds on it, boom, perfect. Similar excercise with my 1971 Precision, it had rounds on it for a little while when I first got it.....wasn't right, but some flats on it....boom, perfect. My 55-01 had rounds on it for a bit, horrible.....put some tapewounds on it, boom, perfect. To that end, I would suggest that all players, if they consider that a certain string isn't working for them, don't be all 'naaa flats/rounds are bad', just think that they might not be right for that particular bass. Si

I spent a fair wedge putting Aguilar pickups, a Babicz bridge and Kiogon loom into a Squier VM Jazz. I did it not because I was trying to build a 'super jazz' on a budget, but purely because I fancied a go at modding. I had a lot of fun doing it and I was thoroughly pleased with the results.

That's quite a shopping list of upgrades for such a budget bass! I'd imagine all that expense will actually make the upgrades cost more than the bass was originally bought for, or importantly would ever be worth in the future, so on that basis alone I would say don't do it.

Another vote for Yamaha... I've had loads, from a BB3000S down to my current RBX460. £170, and it's a cracker with a good setup and flats. Even an RBX170 I found for a friends son was a belter and under a ton on fleabay. Anything from Yamaha or Ibanez can stand up against gear twice the price. I love to find good quality affordable gear, and as long as it's set up correctly and sounds how you want it to, it's a bass for life. I'd rather have a few sub £500 basses to chose from than a couple of expensive ones.

"My muting technique isn't very good, so I'm going to use flats." said no-one. Ever.

Got to agree. That body shape is minging.

There is a queue… every single person in the queue “I KNOW HIM SO WELL!”

I bought a Squier CV Jazz in Olympic White in 2009 for £250 new. I still have it. I very much doubt it would fetch more than £250 now. Which is fine, I’ve modded it incessantly and I have spent probably a thousand hours on it when I was at music school. It has served its need well. IMO there are better ways to speculate with your money. I don’t think the CV’s will appreciate the way the JV’s did. The supply of CV’s is considerably higher.

G&L Tribute, whatever your poison is (Precision-a-like, Jazz-a-like or one of G&L's own take on things)

Sealed designs are simple compared to ported. The advantage to sealed is that they're hard to mess up, so long as the drivers used have the right specs for sealed. It just so happens that the right specs for sealed are high Qts, which are what's usually found with inexpensive drivers, so if you're going to use an inexpensive driver just stick it in a sealed box and you're good to go. Ported cabs work best with lower Qts drivers, which also tend to be more expensive, so if you have a more expensive drive it probably needs to be in a well designed ported box for best results. Ported goes lower than sealed when done right. What you don't want to do is to put an inexpensive high Qts driver in a badly designed ported box, as the result will usually be a boom box. When you hear people complain about ported speakers being boomy it's usually because they had a cheap driver in a bad box. Like most generalizations it's not true. The Ampeg SVT, for instance, was made sealed because that's what gave the best results with the high Qts drivers that they used. They could have made it ported and probably would have if they were able to find low Qts 32 ohm drivers, but none were to be had in 1969. Damping factor is a non-factor other than in extreme cases that are very rarely seen. http://www.cartchunk.org/audiotopics/DampingFactor.pdf

Here's my pedal board! I feel a bit inadequate 😔

I assumed they just did a 50/50 split between Kings of Leon and Wilson Picket and figured they had it mostly sorted.

I’d keep the aerodyne. It’s blue and a pj what’s not to like! 😃😂

There's a couple of fairly reliable blokes I use. I could have a word if you like... oh, whoops, please ignore.

In: Some strings Out: 2020 strings Expecting the same for 2022

I Think It's Going To Rain Today - Nina Simone

It would be a lot quieter with flatfish.

My strings make a noise. Given how much I've spent on basses and amplifiers I'd be really bloody cross if they didn't

Did you really have to bring up the subject of slapping?

My Precisions (or Precisionishes)

I recently picked up one of the Bass Collection Guy Pratt Betsy models, got it s/h with a nice gig bag from Bass Direct for £450. Pretty standard Jazz bass fayre but with EMGs like the actual Betsy. Excellent finish and I really can’t fault it. ‘Cheap’ basses (and guitars) really aren’t what they used to be! I got one of the Harley Benton Les Paul copies from thomann in the summer for £238 delivered and it’s absolutely brilliant!

Like the one @ped is selling?

While I am sure there will be a number of people recommending Reaper, if you are already familiar with GarageBand and like the way it works, then Logic is by far the best upgrade for you. Reaper may be technically free, but the amount and quality of the bundled plug-ins is not a patch on those that come with Logic. You can quite easily cover the £199 cost of Logic just by considering what additional software you may need to buy to get Reaper up to the same level of functionality you are already getting from GarageBand.

I love small-bodied basses. I wouldn't say that I have actively sought them out over the years but I have always enjoyed them when I've had them. The body shape that will always hold an appeal to me is the Spector NS shape. Not only is it relatively small anyway, the curved shape makes it feel even more compact and ergonomic. I cannot say for certain, but I believe that Steinberger must have given consideration to designing body shapes where there is not much 'ground' to cover for the right hand between the edge of the instrument and the strings. Some other notably small-bodied and comfortable basses I've owned include the Kubicki Ex Factor and the Pedulla Buzz shape. The Factor body is a design masterpiece so far as I am concerned. Even now, forty years later, it is nearly unparalleled from an ergonomic and packaging standpoint. The Buzz also has a very small body compared to what you might think when you look at photos of the bass. Whenever I get my Pentabuzz out of the case I'm taken aback a little by how small it really is. They're not necessarily light basses but they are small and compact and a joy to play.

Go to a professional studio to record your bass parts. Seriously. I see this all the time in all sorts of situations - not just recording - where the suggestion is that with the right hardware and/or software anyone can can do anything and get fantastic results. It simply isn't true. Perhaps if you spend many hundreds of hours working at it you may find that you have the right aptitude and ability to produce great recordings, but it's more likely that you will spend a load of time and money and not be any better off at the end. Trust me, I've been there. I started out recoding at home because back in the 70s if you had very little money there was no alternative. Most of what I produced from a technical PoV was rubbish, but because the equipment I was using was low quality, I was able to easily convince myself that with a better multitrack/mixer/more outboard gear I would be able to produce recordings as good as those of the bands that I liked. By the time I got to the 90s, the gap between the "home studio" and the professional one as regards equipment had all but vanished, and finding myself in a position of having lots of disposable income, I threw a lot of it at building up a very serious recording set up. However, no matter how much money I spent, my recording still didn't come anywhere close to the quality of the records and CDs I was buying. It turned out that I simply didn't have the ability to produce recordings of the quality I wanted. This was brought home to me with a bang when I joined a band with a drummer with an acoustic kit, which I didn't have the facility record at home. So we went into a proper studio. There the engineer was able to produce a great sounding recording almost instantly and using equipment that, technically, was actually slightly lower quality than what I had in my "studio". It wasn't a one-off occurrence either. Every studio I went to over the next 5 years the story was the same. Eventually I had to concede that the weak link in my studio was me, and that I had wasted the best part of £30k over the past 15 years, buying hardware and software that I simply did not have the skill to get decent results out of. Since then I've sold almost everything (at a considerable loss) and my studio exists for me to do drum programming for one of my bands (something that I can do well) and very basic demos for songs, where the sound doesn't really matter so long as all the instrumental parts can be clearly heard. If all of that hasn't put you off then I suggest the following: 1. Don't spend any more money. What you have already from a technical PoV is probably far superior to the equipment that was used to produce some of the most memorable recordings of all time. Learn to use what you have, and get to know all of it inside out, before even contemplating opening your wallet. 2. As others have said, the weak link in your recording set up is most likely the listening environment. Learn its strengths and weakness. Spend hours listening to your favourite recordings on your set up so that you know exactly how they sound. Only when you are completely familiar with how great recordings sound on your system can you start to make objective judgements about your own recordings. By the time you have put in the hours doing the above you should be able to tell whether you have the aptitude to make recordings yourself that are up to the standard that you require. I know if I had my time again I'd take all the money I spent on my "studio" and hired a proper one along with a decent producer. At least that way I'd have come out of it with a finished album that sounded great, instead of a handful of recordings that I have never been completely happy with and a load of half-finished tracks that are lost forever. I'd probably even have enough left over to spend on effective promotion.

Fixed it for you.

Look at the length of that head-stock... Indeed, it's all fun and games until someone has an eye out Then it's just a game: Hunt the Eye.

Just turn the bass guitar volume down?

I'd been using my heavily modified Harley Benton 75JB for a couple of years and decided to have something special made around the hardware which is/was: US Hipshot Ultralite Tuners & Xtender on the E Fender high mass bridge EMG Jazz pickups with 2 band BTS system After watching Guy Pratt's lockdown videos, some of Guy's other basses, my enduring love for the Chilis and so on I decided on a Status Graphite Jazz neck and Warmoth body. The body is a chambered alder Dinky Jazz bass body with mahogany top, rear routed with double battery box and finished in satin Taos Turquoise. It's turned out even better than I could have hoped for. It's always a gamble putting something together without being able to see all of the components together until it's all been made and assembled but here it is:

thank god some people also find it differicult to sing and play bass at the same time i thought it was just me, iv taken over lead vox and play bass, iv got 20 songs down so far but by god it has not been easy, first gig march 2022, im now looking forward to it, but its still not natural lol

I play in a loud rock band with two guitarists and a heavy hitting drummer. My Barefaced Two10 destroyed them last week at rehearsal because I got a bit over-zealous with the volume control on my Glockenklang Blue Rock 😅

There's still stuff to do, but visually this is pretty much there so I'll do the 'finished shots' Photographing this, with or without total cloud cover, is...er...challenging. Anyway, here's a few arty ones: And two or three in the great outdoors:

The Boss Tuner TU-3 App which is totally free for Android and Apple smartphones. https://www.boss.info/us/products/boss_tuner_app/

For best results the mains must be out front, lest they feed back into the mics. The subs should be close to a wall, for boundary loading and to prevent boundary reflection sourced cancellations. If you have two or more subs they should be placed either together or at least 16 meters apart, to prevent phase sourced cancellations. This also isn't new by any means, but it is almost universally unknown by consumers, and therefore ignored by consumers and manufacturers alike.