Leaderboard

In the time since this was originally posted, I have moved house 7 times, got married, had a child, divorced and remarried again.

Good morning, If you haven't seen what I do before : I build basses and guit@rs from reclaimed wood, body , neck, the whole thing (apart from an occasional bit of binding) all reclaimed , mostly from old pianos. A couple of weeks ago I was working on a bass neck for a Fenderbird that I have planned when I had one of those negative Midas touch days. I drilled the holes for the machine heads and then noticed that one of the holes was about 10mm from where it was supposed to be. Fuming I cut the headstock off and threw it on the fire so I didn't get constantly reminded of what a nerk I'd been. I was planning on prizing off the fretboard to salve the truss rod when I remembered something... A few years ago after carrying a heavy jazz bass in a hard case for miles through a crowded festival for a gig I build this: It features a chambered body to keep the weight down, asymmetrical bottom end so that a single strap button let's it lean against an amp without falling sideways, a cutout so it can be played sitting without the need for a flippy out thing and an upper horn to improve ballance. It was my main gigging bass for several years. I have some ideas for further refinements, watch this space. If anyone is interested I have also entered the Great Guitar Build Off , check out the Scavenger Music YouTube channel to follow my progress.

So I’ve recently been having a bit of an epiphany and after decades of only playing active five string basses, I’ve recently assembled and gigged my first passive five string and loved the experience. This got me thinking that I’ve never owned or gigged a four string passive P bass, and of course GAS set in and the search began. As one of my side hustles is a three gigs per year Black Sabbath three piece, and having failed to find a precision at a price I was prepared to pay, I advertised on here for a Lakland Skyline 44-64 and thanks to thebrig, this little lady has just been delivered safe and sound by Parcelfarce. She’s an ‘06 model with the jazz width neck with the single P pickup, finished in natural. I’ll update later when I’ve had a proper play but acoustically she sounds nice and bright with a great low action.

Just realised I've never actually posted a pic of my three. Let's remedy that.

Well, my rig hasn’t ended up being the 1x12 combo I originally envisaged, and today I picked up a Traveller 1x15 to match the rig I ended up starting with. I now have the rig of doom, which some of my bass playing pals have informed me would easily cover a gig at the Albert Hall without going through the PA. Anyway, behold the wonder of the rig of doom in a tiny bungalow! I think they could hear me all over Morecambe this afternoon. Rob

Just found this picture on my hard drive, and thought the bass looked good, so here it is ! A really simple color layout but with the right piece of tort, it looks sweet.

Here are some pictures of my 1978 Precision. It's a middle weight bass for this era at 4,4 Kg.

Mark asked me to create a contour on the back of the body to aid with upper fret access. Here are a couple of pictures of how it turned out.

Recording the Eve Of Destruction video on Dungeness beach (with The Pretty Things) - borrowed Rivoli bass! Touring with David Aguilar and Roy Blumenfeld Teed Up in Holland Sorry. Wrong picture This was an acoustic performance in a record shop.

I am loving Alex Lifeson's new post-Rush project. If nothing it more than proves that old guys know how to make decent pop music, because that's what this is. It's a bit of a departure for all you Rush diehards, reminds me of Curve. A bit of Missing Persons.

I've been very lucky to experience both ends of the spectrum. From starting out at 17 in 1987, lugging around big old bass rigs, driving the length and breadth of the country to gig, to having roadies, tour managers, drivers, A&R men and even a chef and makeup artist to do literally everything for me. I've done thousands of gigs over the 35 years of playing, from the nastiest, smallest, crapiest pubs known to man, to the weird and wonderful like bowling alleys, a barbers, a steam train and a passenger simulator plane, to stadiums, music halls, festivals, theatres and Radio 1 roadshows. I've loved every minute of it and being in a band, with mates, sharing the highs and lows and being in a musical gang is the best thing in the world. It's not easy, far from easy but with the right attitude of all in it together and a healthy work ethic of everyone pulling their weight then it's the best thing in the world. However, now I'm in my early fifties, the shine is starting to come off a little. Pre-Covid, I was playing over 100 gigs a year, playing 50's Rock 'n' Roll in working mens clubs, festivals and some pubs and despite the money being good and in most cases, an audience expecting us, the lugging of gear, setting up, dressing up, performing, packing away and getting home in the early hours did get tiring. I loved it but the longer it went on, the more I was finding I was wishing I wasn't out gigging that night and was staying at home relaxing and watching a film. For the last year I've been playing in an acoustic 3 piece playing a mix of originals and covers and only doing a couple of local gigs a month in pubs or music venues. It's been really refreshing and enjoyable and very musically creative but I do still get moments when I wish I was not going out gigging but then I end up really enjoying the gig and glad I did have the opportunity to go out and play. One thing that has really helped is slimming my gear down and making it efficient to carry. I have a Barefaced Two10 which is super light and can be carried with one hand. I have my pedal bag that can go over my shoulder, a flight case with leads and stands, a bag with my amp and back up amp and then my two basses. So I can do everything in 3 trips, even 2 if I wanted and it's all lightweight. If has made such a difference. Saying all of that, I have played for 35 years and in 3 years I'll be 55 and I've kind of pencilled in that this might be a good age to call it quits. I'm not sure how much longer I'm going to want to play in pubs, lug gear about, get home late in the hope that it was an amazing gig when the reality was a disinterested audience who just wanted to hear Wonderwall or Sex on Fire. I feel it's more of a young mans game these days and I'm quickly leaving that demographic. Family commitments are also increasing with my daughter getting heavily involved in motorsport and I feel like there are other thing to see and do in life, for example road trips around the Swiss and Austrian mountain passes in an old sportscar. Either way, people should enjoy what they do, be it gigging, home recording, studio work, streaming etc. I'm of the generation that gigging is what you did so it's all I know so I have no regrets but whatever you do to express yourself and be creative, if you enjoy it then keep on doing it. Life is too short at the end of the day.

Happy new bass day. After having a particular crap time at the moment, I decided to treat myself. I've had my eye (ears) on the EMG gzr pickups for a while and for some reason after all the basses I've had, I've been gassing over a P/PJ bass. I saw this beauty in stock and took a punt. First impressions, I thought the box was empty it's that light. Came set up real nice, fretboard is gorgeous. Had a quick headphone jam whilst setting up a new preset in the stomp. I am very happy! Nice clank with the p pickups, lovely mid fart with the jazz, together a lovely clanky fart! Sounds great haha. Oh it's all black like my soul so very suitable.

Both Jacks are now fitted with the string adaptors (allowing non-double ball end strings) and restrung with my favourite nickel Roundwounds. Those adaptors are a bloomin' marvel and completely transform the basses for me and make them eminently more playable.

This has just moved in with me, will get some more pics and details up after Easter, when my daughter and grandkids have returned home !!

Snap! I got this quite recently and I too am no guitarist. I can just about strum three chords but I plan on learning a fourth soon. 😂 For the money you can’t go wrong and it’s worth a punt just to mess about on.

Just arrived today. I'm no guitarist by any stretch of the imagination, but thought I'd treat myself.

My freshly rebuilt "covers all bases" travel board - Battery-powered for use anywhere and everywhere - Ultra compact, fits in the front pocket of my bass bag (23x15 cm / 9x6 inches) - DI out with cabinet simulation for going direct - Headphone output and aux input for quiet jamming - TC Electronic Wiretap for recording ideas on the go (or recording live sets). Can easily be reamped later The board is designed for "set and forget"; there aren't really any effects that are there to be turned on and off. Those footswitches are too close together to hit in the heat of the moment too 😄

I was kind of obligated to check out Big Country myself, being from Dunfermline, but I was glad I did. Tony was just a monster on bass, and I was not surprised to read, years later, that he had been a fan of Chris Squire among others. Flame Of The West is still one of my go-to plectrum practice pieces. The first time a I saw them live was in Dublin on the Final Fling tour, a gig kind-of ruined for me by the PA, sadly - way too loud where I was, ear-wrecking levels. The next year, I found myself at the Barrowlands in Glasgow, for the Stuart Adamson Memorial concert. I remember Bill Nelson was there with a massive rack of guitar electronics, playing a long piece he wrote called For Stuart. Bill, with Be-Bop Deluxe, had been a major influence on Stuart, who got Bill to produce one of the Skids albums. Bill introduced Stuart to the E-Bow and IIRC to the MXR Pitch Transposer (kind-of a budget Eventide Harmonizer) that was such a major part of the “bagpipe tone” in the early years. I know some people are down on the Peace In Our Time album, but I don’t get it, since it contains some of Stuart’’s best songs. Thirteen Valleys, Thousand Yard Stare, the title track, and in particular I Could Be Happy Here is up there with the best in my opinion.

Tony Butler was a very under-recognised part of Big Country’s sound.

? ! It's a bit heavy but...

Following @FinnDaves new pair of sunburst beauties, I received this today, a Fender 2016 US Standard. Shock horror, it’s not black as you can see but the classic Precision imo in sunburst/tort/rosewood. Plays and sounds fantastic, largely thanks to the Custom Shop 62 pickups. Thanks to Mark at Classic & Cool Guitars for a nice & easy transaction.

bass removed from the track, just a quick recording, not played this for ages.

Stingray Special in my favourite colour scheme 😊

@MertonSo far so good. Not had a chance to gig or rehearse with it yet, it's been in its bag most of the time, but I'm pretty happy with it so far.

Inspired by @niceguyhomerpost that was recently resurrected in to Zombie Thread status, I'm responding to this post simply because it was the oldest post I could find on BassChat. Childish I know, but I wonder what Basschatters will say looking back on their own posts in 2007!

You got in a band on the first day? Usually takes a week😆

Sorry Mark, you meant now it's turned out so well you'll only play above the 14th fret, that's correct isn't it?

Ace of Base - The Sign

I've used various Ashdown amps for some time, but my main rig for the last year or so has been an Orange LBT and Barefaced Super Compact - both small and light, but a few days ago I bought an ABM 500/2x10 combo which is certainly no lightweight - but it sounds incredible - played it at rehearsal last Sunday (day after buying it) and even the guitarists were moved to comment favourably on the tone - even the one who was conscripted into helping me carry it down the stairs! I have to keep hold of the lightweight rig for places with difficult access, but it certainly doesn't have that huge enveloping warmth and clarity that the ABM combo has.

Not read the whole thread but saw the OP's original video. I call these guys 'jugglers' and 'acrobats'. It is interesting to note that all of these guys (and girls) are presenting videos that they have recorded in their home studios/bedrooms etc and never on a gig. That's because most of this stuff is party pieces. An awful lot of work to impress other bass players. I can't say I ever actually get to the end of one of these videos. I remember spending time on these techniques many moons ago but quickly realised that, whilst progress is evident and it is perfectly possible to get the chops together, I just didn't like the noise very much. It's great that these things are out there but I am not going to invest any time in learning how to make sounds I don't like until I have mastered those that I do (which will likely be never).

When is good good enough? When you enjoy what you play and it fits the music.

My bass weighs just over 7lb. I play in our church band and we do four or five songs per service. There are gaps between the songs so I can take the bass off and sit down. Last night we had a two hour rehearsal to sort out a new sound system and my back felt the affect! When you have back problems the weight and balance of the bass becomes an important issue. The lighter the better for me.

Old school metal band playing a biker rally in 2009

Really nice email from Leszek at HB explaining the issues he has at the moment with his covid issue plus he's lost some of his enginners thru Covid. Approx a 6 week wait for the R-400 and WB-100 but he's working on upgrades to the pre-amp at moment too. He has given me a price and its a fantastic price for such an amazing bit of kit. £20-£30 shipping. How do they manage to produce such an amazing amp for that kind of money. I'll be ordering a WB-100 but have said there's no rush and can wait till he's fully recovered and his team back to full strength again. Will proceed as he sees fit under his guidance. @wateroftyne just thought i'd let you know since you also sent a message for me. Sounds like things are a bit tough for them at moment but hopefully picks up soon. Dave

It's perfectly workable, I'd say. Definitely won't have enough control for compressor nerds, but I only need it to even out my attacks a bit and give me a little squish feel under my fingers, and it works great for that for me. The voicing and attack switches give me some options, and the blend knob lets me mix in my clean signal to where it feels nice. No complaints, but it's definitely not a "studio grade" compressor.

Use a mic stand drinks holder ( drum accessory ) because if you don't I guarantee it'll go on top of your amp at some point. If you make a mistake , don't react. Folk will think it was deliberate , so do it again in the next verse to make sure ! Take no notice of praise from punters. If you do you'll take notice of criticism too. They are nought but ants designed to dance to your tune. You are the creator - they the lowly consumer - entertain them for your own amusement then disregard them. If you've run a 20ft cable , the 12 ft cable in your bag is not a spare. Find an exit sign or clock or something on the far wall. Perform to it like it's a person. Every one in the audience will think they're getting a low level of eye contact but none will find it threatening - particularly the pond dwelling worthy with more kids than teeth that'll otherwise accuse you of staring at his creature's thre'pennies. Always carry a chip fork.

The Greyhound, Fulham, 1975. With a '63 P !

Its far too good for the price, looks smashing andbplays well. Not a perfect copy. Will raise the pups to increase output and adjust intonation and I'm happy that will gave it gig ready l. Action is low and buzz free, nut is cut well. Nice touch is thin satin varnish on neck, nice looking bit of maple. Another is the six bolt neck fixing. For the silly price it's a no-brainer that doesn’t need any parts swapping out, except I might replace one of the volumes with a serial-single coil-parallel rotary to get closer to the MM options.

Generally it would be a nonsense to try to sort a neck heel without the actual body to fit it to - but @fleabag's intended body has a 'standard' Fender type pocket and he has sent me some double-check accurate measurements he was able to do with his vernier. And I have 'for this kind of purpose' a paulownia Fender-ish body in my bits pile! In fact, some folks who were at one of the Midlands Bassbash might recognise it as the one that I did a 'live' veneer application demonstration on Also, @fleabag won't fit the bridge until he has the neck and so can do the micro-adjustments with the bridge positioning once the neck has been fitted. The test-bed body also has a Fender-type socket and the dimensions match: So paper template and the all important centre-line drawn: And that let me plane, scrape and sand the heel to size and shape. There's a lot of fettling involved to ensure a good fit and a neck that is straight to the centreline of the body: And a good double check - the fretboard is at finished taper and, of course, that heel is now also at finished taper...so when the fretboard is in the right place, the fretboard and heel sides should be completely flush. And...... So I just have to cut the curve at the end of the fretboard overhang and the fretboard can be epoxied. After which, we move to the neck carve

@Deedee and @jimmyb625, I can solve this problem for one of you at least. You buy a nice 1965 Precision (my YOB), and I’ll trade you straight for my lovely ‘73. Simples. 😎

Mabye that is the way that videos have to be, like Scott Devine said on that post he did here about getting income from youtube.

Past through his home town last week in Crossgates